August
Tuesday 18 September 2018 photo 6/7
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Calcutta Download Torrent
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Neale Gordon and Pedro Lake, commercial pilots who fly the hump between Chungking and Calcutta learn, when they reach Calcutta, that their pal, Bill Cunningham, has been murdered. Neales investigation leads him to the Chalgani Club, run by Eric Lasser. Marina Tanov, the club's Russian singer, in love with Neale, tells him that Bill was engaged to an American girl, Virginia Moore. Neale seeks out Virginia, who admits that Bill gave her the $10,000 necklace she is wearing. Knowing that Bill never had that kind of money, Neale checks up. He learns that Bill had actually bought and paid for it. Neale and Virginia are having a drink at the bar when Pedro shows Neale a valuable star-sapphire which he found in the hangar. The pilots then realize they have stumbled onto a smuggling racket. Neale is convinced that Virginia is not involved.
Neale and Pedro fly cargo between Chungking and Calcutta. When their buddy Bill is murdered they investigate. Neale meets Bill's fiancée Virginia and becomes suspicious of a deeper plot while also falling for her charms.
Alan Ladd and William Bendix are cargo pilots in the far East. Shortly after their friend and fellow pilot John Whitney announces a surprise marriage, he's found murdered. Ladd decides to investigate the murder himself. Through nightclub singer June Duprez he tracks down the fiancée, Gail Russell, who seems very evasive. When he finds out her wedding present is a necklace Whitney could not possibly afford, he digs deeper, and slowly uncovers a smuggling ring, that might or might not involve Russell, who he is getting quite close to.
The movie is a mixed bag, in almost every way. The story wants to be a mystery, relying too much on peripheral characters who seem important but aren't, such as Edith King as the owner of a jewelry store.
Gail Russell's ('Moonrise') casting as a femme fatale seems like a potential goldmine, as she is one of the least likely actresses to play one. But she doesn't fully convince me, part of her appeal is her (real life) fragility and it doesn't mesh well with the more conniving aspects of her character. Duprez ('And Then There Were None') fits her role much much better, it's a shame it's such a minor role.
Ladd ('This Gun For Hire') on the other hand is great, altho chances are this part was written with him in mind anyways. He could portray tough and tenacious as well as anybody else. And he has excellent chemistry with Bendix ('The Dark Corner'), who is always solid. There's a funny scene early on in the movie with Ladd and Bendix stranded after mechanical issues. Ladd is bare chested, covered in dirt and sweat (I imagine some ladies in the audience wanted this scene to go on forever), while Bendix is still wearing his shirt and is barely sweating.
The movie's competently made, but director John Farrow ('The Big Clock') and DoP John F. Seitz ('Double Indemnity') have done way better and more remarkable movies. It makes the movie even more frustrating, so much talent in front of the camera as well as behind, and the end result (despite being a box office hit on release) is rather bland. Maybe if a better print surfaces I will enjoy it a bit more, but as it stands, it's only a 6/10
Here we have Alan Ladd investigating the death of a close friend in Calcutta when India was still part of the British Em-Pah. Assisting him are his close pal, fellow pilot William Bendix. The two men fly cargo and passengers over the hump from India to China. That close friend used to be a pilot as well but he discovered some smuggling was going on and was strangled -- in Thugee fashion, with the garrote. The deceased may also have been particeps criminis but it's not clear. The explanation of this twisted tale, when it comes, comes in a torrent and is a little hard to follow.
What's not hard to follow is two of the most beautiful women of the movies of 1940, the exotic June Duprez and the girlish and vulnerable Gail Russell. Neither gets the treatment they deserve. Duprez, in love with Ladd, is "a good guy," except when he's casually boffing her. Russell, miscast as a liar and manipulator, acts and sounds as if she'd recently been snatched out of Santa Monica High School, given a few acting lessons, and thrust before the cameras, which she was.
There is a scene at the end, when Ladd confronts Russell with evidence of her guilt in the smuggling scheme. They've been more or less attracted to one another and have spent at least one night together. It's a blanched echo of the similar but far more intensely moving scene at the climax of "The Maltese Falcon." Alan Ladd is not Humphrey Bogart and Gail Russell is not treacherous. And in "Falcon," the dialog consists mostly of excerpts from Dashiel Hammet's novel, while here the screenwriter, Seton I. Miller, and the director, John Farrow, have turned it leaden. Ladd slaps Russell around to get her to talk. It's unpleasant.
I don't want to make the film sound like a total failure because it's not. A lot depends on individual taste. The Calcutta in which the tale takes place is Hollywood's idea of a foreign city. The "white men" wear uniforms or white suits. A few pith helmets are in evidence. We see one -- count 'em, one -- woman dressed in a sari but there are a plenitude of turbans. The streets are crowded but not full of garbage. The "white people" visit night clubs of a sophistication and decor that would be hard to find in New York City. They wear evening clothes. There are no cockroaches or mosquitoes, though there are one or two mosquito nets. I didn't see any beaded curtains and missed them terribly.
The movie is a bit sluggish. As is usual in these dramas, Ladd visits (or is visited by) one colorful character after another, all of their values ambiguous. One stand-out is the fat lady dressed like Mae West who smokes cigars and evidently runs some kind of whorehouse.
It's Hollywood craftsmanship. Not at its best, but at its most typical for the period. I rather enjoyed it.
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