With his homeland under Nazi occupation, Dutch freedom fighter Vincent Van Der Lyn (Paul Henreid) is forced to escape to Lisbon in neutral Portugal. He is surprised by French woman Irene Von Mohr (Hedy Lamarr) who seems to be hiding from the police. She turns out to be the wife of German diplomat Hugo Von Mohr. Vincent finds his way to local resistant leader Ricardo Quintanilla with the help of Polish fighter clock expert Jan Bernazsky (Peter Lorre).
This wartime espionage movie wants to be Casablanca. Henreid is a little too hard and too callous especially towards Lamarr. He's being a cad but a step too far from the combative romance that is needed. They are both trying too hard and not quite connecting. I want badly to love their relationship but there is something artificially constructed about them. Everybody is trying but nobody is succeeding. The noir shootouts have lots of fog. The casino gambling scene could be interesting if I can understand what they're trying to communicate with their bets. It's a fun idea but the execution can be better. If one can compare the dialogue with Casablanca, the difference in writing jumps right out of the screen. This is a broad melodramatic copy of its better.
This wartime espionage movie wants to be Casablanca. Henreid is a little too hard and too callous especially towards Lamarr. He's being a cad but a step too far from the combative romance that is needed. They are both trying too hard and not quite connecting. I want badly to love their relationship but there is something artificially constructed about them. Everybody is trying but nobody is succeeding. The noir shootouts have lots of fog. The casino gambling scene could be interesting if I can understand what they're trying to communicate with their bets. It's a fun idea but the execution can be better. If one can compare the dialogue with Casablanca, the difference in writing jumps right out of the screen. This is a broad melodramatic copy of its better.