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1935 film by John Ford

In Dublin in 1922, Gypo Nolan has been kicked out of the outlaw Irish Republican Army (IRA) for not killing a Black and Tan who killed an IRA man. He becomes angry when he sees his streetwalker girlfriend Katie Madden trying to pick up a customer. After he throws the man into the street, Katie laments that she does not have £10 for passage to America to start afresh. Gypo later runs into his friend and IRA comrade Frankie McPhillip, a fugitive with a £20 bounty on his head. Frankie, tired of hiding for six months, is on his way home to visit his mother and sister Mary under cover of the foggy night. The slow witted Gypo decides to turn informer for the £20 reward, enough for passage to America for the both of them. The Black and Tans find Frankie at his house, and Frankie is killed in the ensuing gunfight. The British contemptuously give Gypo his blood money and let him go. Gypo subsequently buys a bottle of whiskey and tells Katie that he obtained money by beating up an American sailor. He goes to Frankie's wake, and acts suspiciously when coins fall out of his pocket. The men there tell him that they do not suspect Gypo of informing, but he then meets with several of his former IRA comrades, who wonder who informed on Frankie. Gypo claims it was a man named Mulligan. Though Gypo is drunk and talking nonsense, the others begin to suspect him but do not have enough evidence as yet. Gypo leaves and gives out £1 notes to a blind man and some bar patrons, but people wonder why he had such a sudden influx of cash. Meanwhile, Mary tells the IRA that the only person Frankie talked to that day was Gypo, and the men decide to hold an inquest into the death. Gypo goes to an upper class party to look for Katie, but gets drunk and buys rounds of drinks. Gypo is then taken away by his former IRA comrades when they figure out it was he. He is taken to a kangaroo court, where Mulligan is questioned and is accused once again by Gypo. However, the comrades do not believe Gypo, and give him a detailed accounting of where he spent his entire £20 reward. Gypo then confesses to ratting out Frankie. Gypo is locked up, but before he can be killed he escapes through a hole in the ceiling. He runs to Katie's apartment, where he tells her that he informed on Frankie. Katie goes to see the commissioner who presided over the trial, Dan Gallagher, to beg him to leave Gypo alone. The rigid Gallagher says he cannot do anything, and Gypo might turn in the entire organization to the police if he is allowed to live. However, other IRA members, having overheard Katie, go to her apartment and shoot Gypo, much to Katie's horror as she hears the shots. Gypo wanders into a church where Frankie's mother is praying and begs forgiveness as he confesses to her. She does forgive him, telling him that he did not know what he was doing, and the absolved Gypo dies content on the floor of the church after calling out to Frankie with joy.

The film did not mention the IRA by name and, like Carol Reed's Odd Man Out (1947), only "casually touched on the underlying conflict." Writing in The IRA in Film and Television: A History, author Mark Connelly observes that both films share a common "jaundiced view of Irish nationalism and its adherents." The IRA was portrayed as little more than a criminal gang "whose principal activities were robbery, murder and vigilante reprisals." Gypo Nolan was largely unmotivated by ideology, instead wishing to rejoin the "Organization" to regain "security, status, and a sense of belonging." Instead, the films used the backdrop of The Troubles for morality tales designed to appeal to the broadest possible audience. Politics and the cause of Irish nationalism was avoided to "circumvent controversy and pass the censors" in both the U. S. and Great Britain. With an eye toward distribution of the film in Britain, Joseph Breen of the Motion Picture Producers and Distributors of America, submitted the script of The Informer to the British Board of Film Censors, which requested numerous changes to omit references to the Anglo Irish conflict. Odd Man Out and The Informer are also similar in being "dramatic portrayals of lapsed Catholics rediscovering their lost faith," and "end with their dying protagonists assuming Christ like poses."

Circa 1950, The Informer graced many lists of the top films ever made, and many critics at the time considered it the greatest American sound film. The movie's reputation as one of the all time greats has declined considerably since then.

The Informer was adapted as a radio play on the July 10, 1944, and October 17, 1950, episodes of The Screen Guild Theater, the March 28, 1948, episode of the Ford Theatre. On the Academy Award Theater's May 25, 1946, episode, McLaglen reprised his role.