Thursday, May 04, 2017


This CASABLANCA-wannabe takes place in 1947, just after India gained its independence. The town of Ghandahar has become vulnerable to attack by the forces of the warlord Newah Kahn, and small-time arms dealer Steve Gibbs (Alan Ladd) has arrived with a planeload of arms that he hopes to sell to the Majahrajah of Ghandahar for use in defending his city. But Prime Minister Singh (Charles Boyer), a strict pacifist, refuses to even entertain the idea of arming even the palace guards. At the local hotel, Gibbs chats up a group of British guests who are used to being treated with deference and who are getting a little concerned about their security. He becomes particularly interested in Joan (Deborah Kerr), the blind but quite self-sufficient and strong-willed daughter of Rev. Willoughby (Cecil Kellaway). Gibbs also gets tangled up with Lizette, a young French totsy who wants to leave with Gibbs for Bombay whenever he's ready to go. A local boy named Moti befriends Gibbs and serves as a moral compass when, as Kahn's forces get closer to town, Gibbs agrees to let the British guests fly to safety with him—for a hefty fee. Both Moti and Joan turn away from Gibbs, even as he tries to talk Singh into using the machine guns to defend the palace where the British have congregated. Will anything cause Gibbs to stick his neck out for others without the promise of financial gain? Will the idealistic Singh relent on the use of weapons?

In addition to being a pale CASABLANCA copy, this film also derives from the well-used plotline of people (usually white Americans or British in a foreign country) who are massed together in a small space facing attack from an outside force (usually non-white natives or Communists). As such, this works fairly well. The sets for the hotel and the palace are both evocative and effective, and though the sets are large, a sense of claustrophobia does sink in near the end. But Alan Ladd is no Humphrey Bogart, or, to be fair, Steve Gibbs is no Rick Blaine. Ladd is not as expert as Bogart at presenting subtle flashes of evolving character, and Gibbs is not especially well fleshed-out in the screenplay. Kerr is bland as his love interest—and their romance seems pushed along by genre dictates, not naturally out of character interaction. Boyer, however, is quite good as the somewhat ambiguous Singh—for a time, I couldn't tell if he was truly a man of principle or a scoundrel looking out for himself—and in fact, it is Singh who becomes the pivotal figure in the story. Kellaway is good doing his usual riff on the slightly whimsical but ultimately down-to-earth father figure. Fine work is also done by Corinne Calvert as the French woman of loose morals, John Williams as the chief spokesman for the British guests, and young Marc Cavell as Moti. The first half is a little slow to get going, but the thrilling climax helps make up for that, and for the shortcomings of Ladd and Kerr. [Streaming]

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