Nevertheless, she starts to confess to a police inspector. Meanwhile, at this very moment, the terrorist bomb maker sneaks into Verloc's flat to retrieve the birdcage that had been used to deliver the bomb out of fear that it might incriminate him. The police surround the building, and just as Mrs. Verloc blurts out that her husband is dead, the bomb-maker detonates a bomber-coat he wears in the event he is about to be caught. The explosion destroys all evidence of the death and confuses the inspector about whether it was before or after the explosion that she told him, "My husband is dead!" Hitchcock wanted to cast Robert Donat (with whom he had previously worked in "The 39 Steps") as Spencer, but was forced to cast John Loder due to Donat's chronic asthma. According to Hitchcock, in his interviews with the French director François Truffaut, Alexander Korda, to whom Donat was under contract, refused to release him. Hitchcock, who was not happy with Loder's casting, later commented : "The actor we got wasn't suitable, and I was forced to rewrite the dialogue during the shooting". Hitchcock also chose the young Bobby Rietti (later known as Robert Rietti) to play the part of Steve, but was not able to sign him for legal reasons. Frank S. Nugent of "The New York Times" praised the film as "a masterly exercise in suspense." "Variety" wrote, "Competent and experienced hand of the director is apparent throughout this production, which is a smart one and executed in a business-like manner from start to finish." However, the review noted that the motivation of the terrorists "is not made clear. As a result, the audience watches the piece and its suspensive moments with interest, and when it is over, is still hazy as to the why and wherefore." "Harrison's Reports" called it "A thrilling melodrama," adding that Hitchcock "again shows his skill in building up a situation to a tense climax." "The Monthly Film Bulletin" wrote, "The individual genius of Hitchcock is very clearly shown in the distinctive and original direction," and called Oscar Homolka's performance "remarkable." John Mosher of "The New Yorker" called it "rather exciting for the most part. It's a lively, minor Alfred Hitchcock picture." Writing for "The Spectator", Graham Greene gave the film a good review, pronouncing that "in "Sabotage" for the first time [Hitchcock] has really 'come off'".