Address Unknown (1944)

70 or 72 mins | Drama | 1 June 1944

Writer:

Herbert Dalmas

Cinematographer:

Rudolph Maté

Editor:

Al Clark

Production Designers:

Lionel Banks, Walter Holscher

Production Company:

Address Unknown, Inc.
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HISTORY

Kressmann Taylor's novel originally appeared in Story Magazine in Sep--Oct 1938. Although onscreen credits read "introducing K. T. Stevens," Stevens, who was the daughter of director Sam Wood, had previously appeared in films as Katherine Stevens and made her motion picture debut as a young child in her father's 1921 film Peck's Bad Boy (see below), billed under the name Baby Gloria Wood. Address Unknown marked the first time that she was billed as "K. T. Stevens." The film also marked the first onscreen credit for child actor Gary Gray (1936--2006), who had appeared in films since 1941.
       According to an Oct 1943 pre-production HR news item, this film was to be the first joint venture of Wood's independent production unit and Columbia. The DV review notes that although the project was originally slated as a Woods production, William Cameron Menzies, the film's director and Wood's associate, took over the producing chores. A 1 Feb 1944 HR news item added that Menzies rewrote sequences to expand the role of Carl Esmond, who was borrowed from Paramount to appear in the film. According to Columbia publicity materials contained in the production files for this film at the AMPAS Library, the beer hall seen in the picture was an exact replica of the beer hall frequented by Adolf Hitler. This film was nominated for an Academy Award for Best Art Direction and Best Score. ...

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Kressmann Taylor's novel originally appeared in Story Magazine in Sep--Oct 1938. Although onscreen credits read "introducing K. T. Stevens," Stevens, who was the daughter of director Sam Wood, had previously appeared in films as Katherine Stevens and made her motion picture debut as a young child in her father's 1921 film Peck's Bad Boy (see below), billed under the name Baby Gloria Wood. Address Unknown marked the first time that she was billed as "K. T. Stevens." The film also marked the first onscreen credit for child actor Gary Gray (1936--2006), who had appeared in films since 1941.
       According to an Oct 1943 pre-production HR news item, this film was to be the first joint venture of Wood's independent production unit and Columbia. The DV review notes that although the project was originally slated as a Woods production, William Cameron Menzies, the film's director and Wood's associate, took over the producing chores. A 1 Feb 1944 HR news item added that Menzies rewrote sequences to expand the role of Carl Esmond, who was borrowed from Paramount to appear in the film. According to Columbia publicity materials contained in the production files for this film at the AMPAS Library, the beer hall seen in the picture was an exact replica of the beer hall frequented by Adolf Hitler. This film was nominated for an Academy Award for Best Art Direction and Best Score.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
22 Apr 1944
---
Daily Variety
17 Apr 1944
p. 3, 6
Film Daily
24 Apr 1944
p. 12
Hollywood Reporter
25 Oct 1943
p. 7
Hollywood Reporter
25 Jan 1944
p. 3
Hollywood Reporter
1 Feb 1944
p. 8
Hollywood Reporter
17 Apr 1944
p. 3
Hollywood Reporter
24 Apr 1944
p. 12
Motion Picture Herald Product Digest
1 Jan 1944
p. 1695
Motion Picture Herald Product Digest
29 Apr 1944
pp. 1866-67
New York Times
17 Apr 1944
p. 20
Variety
19 Apr 1944
p. 12
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
ART DIRECTORS
Art dir
Art dir
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
Ward
MUSIC
Mus score and arr
Mus dir
SOURCES
LITERARY
Based on the novel Address Unknown by Kressmann Taylor (New York, 1939).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
1 June 1944
Premiere Information:
New York opening: week of 15 Apr 1944
Production Date:
22 Nov 1943--13 Jan 1944; addl scenes week of 25 Jan 1944
Copyright Info
Claimant
Date
Copyright Number
Columbia Pictures Corp.
1 June 1944
LP12703
Physical Properties:
Sound
Western Electric Mirrophonic Recording
Black and White
Duration(in mins):
70 or 72
Country:
United States
SYNOPSIS

In the early 1930s, Martin Schulz, who owns a San Francisco art gallery with fellow German Max Eisenstein, leaves San Francisco with his wife Elsa and their sons for a buying trip in Germany. Remaining behind to run the business is Max and Martin's son Heinrich, who is engaged to Max's daughter Griselle. Griselle, an aspiring young actress, decides to postpone the marriage for one year while she pursues a stage career in Europe. In Germany, meanwhile, Martin meets Baron von Friesche, a cultivated nobleman and advocate of the recently spawned Nazi doctrine. Swayed by the baron's charms, Martin begins to embrace his assertion that Hitler is Germany's destiny. Back in San Francisco, Max and Heinrich become concerned when Martin begins penning letters in praise of Hitler. One night, Griselle, who had gone to Vienna to study acting, visits Martin to tell him that she has won a role in a play to be performed in Berlin. When the baron learns that Griselle's last name is Eisenstein and that her father is Martin's partner, he warns Martin that he must choose between his loyalty to Germany and his friendship with the Jews. Accepting the baron's ultimatum, Martin writes his partner that they must cease all communication because of Max's "race." Certain that Martin's sentiments are motivated by fear of the German censors, Max asks a friend who is traveling to Germany to deliver a message to Martin. When Martin reads the missive, which asks him to signify his affirmation of democratic values with the word "yes," Martin responds "no." One day, during the rehearsal of Griselle's play, a representative from the office ...

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In the early 1930s, Martin Schulz, who owns a San Francisco art gallery with fellow German Max Eisenstein, leaves San Francisco with his wife Elsa and their sons for a buying trip in Germany. Remaining behind to run the business is Max and Martin's son Heinrich, who is engaged to Max's daughter Griselle. Griselle, an aspiring young actress, decides to postpone the marriage for one year while she pursues a stage career in Europe. In Germany, meanwhile, Martin meets Baron von Friesche, a cultivated nobleman and advocate of the recently spawned Nazi doctrine. Swayed by the baron's charms, Martin begins to embrace his assertion that Hitler is Germany's destiny. Back in San Francisco, Max and Heinrich become concerned when Martin begins penning letters in praise of Hitler. One night, Griselle, who had gone to Vienna to study acting, visits Martin to tell him that she has won a role in a play to be performed in Berlin. When the baron learns that Griselle's last name is Eisenstein and that her father is Martin's partner, he warns Martin that he must choose between his loyalty to Germany and his friendship with the Jews. Accepting the baron's ultimatum, Martin writes his partner that they must cease all communication because of Max's "race." Certain that Martin's sentiments are motivated by fear of the German censors, Max asks a friend who is traveling to Germany to deliver a message to Martin. When Martin reads the missive, which asks him to signify his affirmation of democratic values with the word "yes," Martin responds "no." One day, during the rehearsal of Griselle's play, a representative from the office of censorship appears at the theater and demands the deletion of several lines extolling the virtues of the meek. Defiant, Griselle speaks the lines during her performance, and when the audience learns that she is a Jew, they hurl racial epithets at her and storm the stage. Narrowly escaping the angry mob, Griselle plods through the countryside to seek refuge with Martin. Learning of his daughter's danger, Max sends Martin a plea to help Griselle. As the police close in on her, Griselle reaches Martin's door and knocks. In response, Martin slams the door in her face, leaving her at the mercy of her pursuers, who shoot and kill her. Furious at her husband for allowing Griselle's death, Elsa decides to leave the country for Switzerland. When Martin sends Max a callous note informing him of Griselle's fate, Max cables back a cryptic message. Soon after, a messenger delivers a letter from Max to Martin, written in code. Martin notices that the censors have deleted part of the document and becomes worried. Martin's concern turns to panic when more coded letters arrive. After writing Heinrich a plea to stop Max's letters, Martin is visited by the baron, who informs him that it is illegal to send or receive coded documents. Desperate to stop the incriminating letters, Martin asks Elsa, who is leaving for Switzerland, to mail a final appeal to Max. Soon after Elsa' s departure, the baron visits Martin and informs him that Elsa was stopped at the border and destroyed a letter written in Martin's hand. Although Martin protests his innocence, the baron refuses to believe him and abandons him. That night, Martin is tormented by imaginary voices calling Griselle's name. As he runs downstairs into his study, he hears the footsteps of soldiers coming to arrest him. Back in San Francisco, the mailman returns Max's letter to Martin, stamped "address unknown." When Max insists that he ceased all correspondence with Martin long ago, Heinrich steps from the shadows, and Max realizes that the incriminating letters were penned by Martin's own son.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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