When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

I personally think that the cast is excellent including Bob CUMMINGS AND Priscilla LANE I think that they both are very believable.Perhaps the most interesting part of the movie is the Frank Capraesque scene in the carnival caravan where the freaks hold a town hall meeting in miniature to decide whether or not to turn Cummings over to the authorities. the idea is that in a democracy we don't automatically assume that the authorities are always right. we should study the matter and decide by majority vote what to do. Everyone is willing except the nasty midget, probably a parody of Hitler, including a mustache. Hitler having a midget character though not body. he is small in every other way. since this is a democracy run by the people Cummings is given the benefit of the doubt and allowed to pursue his Quest to prove his innocence

A wartime propaganda thriller, Alfred Hitchcock's Saboteur is designed to evoke a strong sense of patriotism and righteousness in its viewers; as such, it is about as subtle as a brick, but not totally without its merits, delivering a couple of reasonably executed suspense scenes and a fun finale atop the Statue of Liberty.Robert Cummings stars as airplane factory worker Barry Kane, who becomes a fugitive after he is wrongly accused of sabotage. Going on the run in an attempt to clear his name, Barry teams up with beautiful blonde model Patricia Martin (Priscilla Lane) and uncovers a group of ruthless fifth columnists who are plotting a series of terrorist attacks.Hitchcock handles the action well enough, but even his deft direction cannot overcome the silly nature of a script that sees Kane repeatedly escape capture due to the trusting nature of complete strangers (where, in reality, he would be turned over to the authorities tout suite) and which relies rather heavily on chance (the taxi cab drivers seeing Pat flicking the light switch on and off in a room at the top of a skyscraper is beyond dumb).Also not helping matters much is the occasionally poor editing: a shootout in a movie theatre proves hard to follow, whilst Kane's escape from a locked storeroom, where he has activated the sprinkler system, is nothing short of a miracle—one second he is trapped, the next he is out on the street.Thankfully, the giddying finale at the pinnacle of America's proud symbol of freedom rounds off the film in style, with Hitch using lots of inventive camera angles (and some dodgy matte work) to raise the tension.

When reviewing a film like "Saboteur", there are a lot of "perhaps"-es that come to my mind. Perhaps the movie was better for its time? Perhaps it needs to be seen as a propaganda piece and nothing more? Perhaps it represents a different age of cinema? Even considering those factors, however, I cannot endorse this as an engaging Hitchcock flick because it just doesn't bring anything unique to the table of film-making.For a basic plot summary, "Saboteur" focuses on Barry Cane (Robert Cummings), a man on the run from the law after being wrongfully accused of setting fire to an airplane factory. While pursuing the true baddie Tobin (Otto Kruger), Barry finds a tag-along love interest in Pat (Priscilla Lane).This movie has all the elements of a traditional Hitchcock movie: the MacGuffin plot device, the "wrong man" scenario, the espionage plot, and the strong, independent female lead. Some of the camera-work is vintage Hitch, while the locales are distinctly "American" in nature in keeping with the wartime nature of the film.Sadly, though, the overall plot is about as stale as they come. It is a scenario that is almost "too easy" for the genre and provides no true suspense or meaningful character development. I suspect that a film like "Saboteur" was made with a strong eye towards propaganda instead of overall quality.Thus, I can't recommend "Saboteur" to anyone but die-hard Hitch fans or those who can sit through generic war/spy tales. You really just won't be getting anything new here.

Underrated Hitchcock Propaganda Piece that has Many Stunning Sequences and a Few that Don't Quite Work. It is Entertaining and Enjoyable with a Good Deal of Suspense Amidst the Shenanigans.Robert Cummings is Much Better Here than in His Later Role for Hitch in Dial M for Murder (1954) and Priscilla Lane is Bland but OK. It is the Slimy Villains that Shine. Otto Krueger is On His Game as a Snooty Traitor that Can't Abide Americans that He Calls Stupid. Norman Lloyd is Also Remarkable as Frank Fry the True Saboteur.The Fantastic Opening from the Credits to the Blazing Act of the Title are Prime Hitchcock and Ultra-Stylish. The Soda City Scenes are Ominous and Introduce Another Great Villain, Alan Baxter as an Effeminate Baddie that Likes to Dress His Youngest Son in Girls Clothes and Never Cuts His Hair, because His Mother did the Same. That is Pure Freudian Hitchcock and the Scene Tingles.The Circus Caravan is Also Offbeat as is the Scene with the Blind Man. They Echo Freaks (1931) and The Bride of Frankenstein (1935), as Hitch Pays Homage to Two Great American Films. The Scene that Works the Least is the Clunky Movie Theatre Thing where Patrons are Yucking it Up as a Gangster Sprays Bullets Everywhere. The Scene Seems Awkward and is Completely Goofy.The Shipyard and the Statue of Liberty Pieces are as Good as the Opening and Highlight the Movie Along with a Fast Pace. One Can Overlook the 1942 Speechifying Rallying the Citizens. Mention Should Also be Given to the Words About the Rich and Respectable Class that are Given a Pass Because of Their Status in Society. Barry Kane States this More than Once and it is a Profound Warning and a Nod to an American Ideal, Not Always Adhered to, that Everyone is Equally Innocent Under the Law. The Film is Rich Enough with This Type of Thing and the Craftsmanship is So Pristine that its Flaws Can be Forgiven.