The House on 92nd Street was made with the full cooperation of the Federal Bureau of Investigation (FBI), whose director, J. Edgar Hoover, appears during the introductory montage.

The Germans then send him back to the United States to set up a radio station on Long Island to relay secret information on shipping arrivals, departures, destinations, and cargo.

The 92nd Street residence is actually a multi-storied building with a dress shop, serving as a front for German agents, on the first floor.

He surreptitiously secures the butt and sends it to the FBI, where agents trace the clue to Luise Vadja, and from her to her supposed friend, Charles Ogden Roper, a scientist working on Process 97.

He breaks while under interrogation and confesses to have hidden the last part of Process 97 in a copy of Spencer's First Principles at a bookstore from where a person believed to be "Mr. Christopher" had been filmed by agents.

In the meantime, Gebhardt finally receives a reply from Germany, confirming her suspicions of not only Dietrich's limited authority but of his true loyalties.

Gebhardt orders her underlings to hold them off while she disguises as a man—the elusive "Mr. Christopher"—and tries to sneak out with the final vital papers on Process 97 that she has just retrieved from the bookstore.

The House on 92nd Street is the first film produced by Louis De Rochemont, credited as a pioneer of the semi-documentary style police thriller.

On January 2, 1942, 33 Nazi spies, including the ring leader Fritz Joubert Duquesne (also known as "The man who killed Kitchener"), were sentenced to more than 300 years in prison.

Thomas M. Pryor, film critic for The New York Times wrote, "The House on Ninety-second Street barely skims the surface of our counterespionage operations, but it reveals sufficient of the FBI's modus operandi to be intriguing on that score alone.