Abstract
The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.
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