A wartime propaganda programmer ably directed by the young Dassin. Because this is a dual role, Veidt gets to be a good guy--or a good guy pretending to be a bad guy--for most of the movie. He breaks free from the Nazi stereotype he had been reduced to, gets a chance to show his humanity and have a real love interest, and there is even one moment--while he and his love gaze at the moon--when the youthful beauty of Caesare the Somnambulist shines through through his aging face.