Affair in Trinidad (1952) User Reviews

Rita's Comeback Picture

[bkoganbing · 6/10 · 17 April 2007]

When one talks about Rita Hayworth and Glenn Ford as a screen team, one is primarily talking about Gilda. There first film, The Lady in Question had them as featured players, second was the classic Gilda, third was The Loves of Carmen with a horribly miscast Glenn Ford. It was after that one, that Rita Hayworth married Aly Khan and was off the screen for four years.

When she came back, Harry Cohn decided not to be too adventurous. Her last big success was Gilda with Glenn Ford, she got Glenn Ford. She was a singer stranded in the southern hemisphere in Gilda, she was again a singer stranded in Affair in Trinidad. Stepping into the George MacReady's shoes as villainous mastermind is suave and continental Alexander Scourby.

Rita's husband is murdered and the Trinidad police inspector Torin Thatcher knows full well Alexander Scourby is behind it. Scourby is your international man of mystery in the Sydney Greenstreet, Orson Welles tradition. Thatcher wants Rita to spy on Scourby and she agrees to find out exactly what he's up to.

In comes Glenn Ford into the picture as her late husband's brother. He wants some answers and nearly succeeds in wrecking the whole project. Good thing Rita's a quick thinking girl, a better thing is that Ford's a man of action, helps them both out in a pinch.

Come to think of it, though Alexander Scourby is a fine player, Orson Welles would have owned this part and even better if he had directed Affair in Trinidad. This is just the kind of story that someone like him could have made into a classic. What a film to remember with Rita with her most well known co-star and another ex-husband as well.

Harry Cohn probably would have shot anyone who brought him that idea, still it's interesting to speculate.

Though Affair in Trinidad got panned by critics it cleaned up at the box office with all of Rita's loyal fans wanting to see her again. It's still a treat for fans of the screen's greatest sex symbol.

Gilda meets Notorious

[blanche-2 · 6/10 · 30 May 2008]

Rita Hayworth and Glenn Ford re-team for "Affair in Trinidad," a 1952 film also starring Alexander Scourby, Juanita Moore and Valerie Bettis. Hayworth plays Chris Emery, a nightclub performer whose husband Neil dies by apparent suicide that turns out to be murder. His brother Steve (Ford) shows up on the day of the inquest, having received a letter from Neil on the day he died. He assumes the worst about his widowed sister-in-law and her relationship with a wealthy man, Max Fabian (Scourby).

Either I dosed off or the actual mystery was never fully explained. It was explained sort of, but I was never clear what Rita, her husband, or the people in Max's house had to do with it. The story, as the subject line indicates, is a gemisch of "Gilda" and "Notorious" and not as good as either one. Interestingly, the plot predates the Cuban missile crisis by 10 years. Totally amazing. For that alone, it's worth seeing.

Except for Ava Gardner, probably no actress defined the word "hot" like Rita Hayworth. For a woman who was painfully shy and didn't even want to be in show business, she sure could turn it on. And turn it on she does in two musical numbers, "I've Been Kissed Before" and "Trinidad Lady." She wears some gorgeous gowns, too. Glenn Ford and Rita make a wonderful team, certainly one of Hollywood's sexiest film love matches. Juanita Moore is excellent as the all-knowing maid, Dominique, and Alexander Scourby is an elegant villain.

"Affair in Trinidad" is well directed by Vincent Sherman with a nice, dark atmosphere, and one really believes it's Trinidad. Watching Rita Hayworth is never a waste of time; this isn't the greatest movie ever made, but Rita creates a few sparks.

Rekindled and ignited

[gordon_1984 · 8/10 · 6 January 2007]

To address some issues: there is a familiarity with 'Gilda' which is just that and cannot possibly take anything away from what a triumph this film actually is.

Firstly, I love how it is such a classic, straight-to-the-point Hayworth vehicle. Business: Harry Cohn had to 'give away' Born Yesterday, which was intended for his number 1 star, to Judy Haliday; now she was "back!" just like the posters said; she had star power and wasn't given From Here To Eternity as her comeback simply because she had too much box-office to be in an ensemble picture; and what better way than to give fans a sure-fire treat - Hayworth and Glenn Ford in another simmering film noir? Except, this is no 'Gilda' - this is 'Affair In Trinidad'. Hayworth reinvents herself, her talent bristling with abandon in her opening number The Trinidad Lady. The swirling intro to this film is over in seconds and there she is - still the star and definitely not off the pedestal. We can see the transformation is what films can get away with just that little bit more - when Hayworth 'slides' to show off her amazing legs it's like a revelation, a force that cannot be held back. This is Rita dancing with her trademark unearthly grace, yet now she has experience that she can convey like never before.

This is certainly true with her acting too. She had always been able to give spirited performances that she isn't always - superficially at least - given much credit for. But here she handles her scenes with great texture, assurance and (key to most starlets of the era's guaranteed appeal) vulnerability. My favourite scene is when she is 'stealing time' to peek through documents for the police - she gets a rare kind of drama not normally given to her before. It's just en interesting, daft moment that is perhaps just typical 1950's melodrama, but glamorous and crucial at the same time.

We also see the impressive actress Valerie Bettis, who is very much a character that was emerging in this period - a very vamp-like, sardonic lady with a smouldering alcohol-sustained sexuality, in the vein of Gloria Swanson, Bette Davis, etc. She eats the scenery, which is an acquired taste, but well worth it. The actress in question is Valerie Bettis who it would appear was a successful TV actress in the same decade. Her character Veronica Huebling certainly tried to use her sex appeal to entrap and exploit men, the way she believes Chris Emery (Hayworth) is able to, which possibly explains her heavy drinking.

Juanita Moore conveys a powerful presence also, managing some interesting lines. Some of which are dated, or perhaps just twee, but to be enjoyed nonetheless.

When Hayworth famously tosses her hair again, we don't need to hear any 'Gilda' comparisons. She had moved on, she had made straight-forward vehicles all through her ascent to super-stardom and fans will definitely appreciate the familiar elements resonating their own special glory, but shaken together as it is, we get something new that is definitely worth investigation.

Trinidad Lady

[petershelleyau · 10 October 2002]

On the orders of Columbia studio head Harry Cohn, Rita Hayworth was transformed from a latin B player to an A picture love goddess, her high spirits passing as all-American in titles like Cover Girl and Gilda. However the curse of the beautiful is that they become possessions by collectors, just as Rita told screenwriter of Gilda, Virginia Van Upp - "Men fell in love with Gilda but woke up with me". Her greatest collector was Prince Aly Khan, and the idea of capturing a movie star predated Grace Kelly and Prince Rainier in the 1950's. However the Hayworth/Khan marriage failed and Rita returned to Hollywood. Perhaps in a depression, unhappy with the vehicle provided for her comeback role, or simply older, Hayworth's sparkle had dimmed.

That's not to say that she doesn't look beautiful in the film. Whilst not lit as gorgeously as she was by Rudolph Mate in Gilda, she has a moment here standing in repose in shadow, smoking. But even with her character being a recent widow, her voice is dead and she carries herself like a somnambulist. She is best when she is dancing as she does twice here. In the first, Trinidad Lady, is the Carmen Rita - barefoot and tossing her dress. The framing distances us - director Vincent Sherman may be more interested in the crowd around the stage, but she looks happy performing. The second, I've Been Kissed Before, has obvious parallels to her Put The Blame on Mame from Gilda. She wears a shimmery black dress as fetishistic as the famous black satin sheath, the number is schematically arranged to present her as a tramp to later be rewarded with a face slap, even the choreography recalls that of Mame. However her announced intention to dance, even if contextualised, is a dramatic change of characterisation. She gives us the Gilda we want, and not the woman we have accepted up to this time - the one we have woken up with.

The Gilda connection is made in the film by the casting of Glenn Ford as her romantic partner, thankfully treating her a little kinder this time around, Steven Geray in an amusing supporting role as her employer, Alexander Scourby as a pseudo-George Macready but without the menace, the locale being Trinidad as Gilda was set in Buenos Aires and a plot about German-ish hoods investing in shady activities that pose a threat to security. Ford tells us he was a pilot in the war and since he isn't old enough to mean WW1, we know that Upp and her co-writers have written their screenplay in a rush, explaining Hayworth's own reluctance to participate.

Scourby is give the witty lines like "Some people are mellowed by drink. Have another" and "At the risk of dislocating your personality, try to be calm". He has a funny exchange with Ford about Hayworth - "I think you look lovelier in this color than any other. Don't you agree?" "There's a few shades I haven't seen her in yet". Valerie Bettis who created Rita's dances also appears as the wife of one of the Germans and her drunken energy is very welcome. She has a great laugh and even gets to parody Hayworth's dancing at one point, and Juanita Moore is good as Rita's maid. Sherman provides an exterior of an airport with seemingly limitless open skies, and gives Scourby's interior an imposing staircase.

This film is not a bomb, plot holes notwithstanding. Sherman moves things along and at least Hayworth isn't the embarrassment she was in the Hall of Mirrors sequence in The Lady from Shanghai. Perhaps Aly Khan took the best of her and Harry Cohn was left to salvage her career with the little she had left to give.

Chica chica boom! Chica boom!

[Spuzzlightyear · 7/10 · 6 December 2005]

When one approaches a 1940's title like 'Affair In Trinidad', you'll be hard pressed to figure that it's some sort of musical with Fred Astaire and Ginger Rogers, or some madcap Marx Brothers comedy, not a hard edged murder mystery, yet that's what this badly titled movie is. Not that there's nothing wrong with the movie, I liked it. It's just the title is sort of curious. Rita Hayworth is a.. uh.. entertainer in very sleazy club (check out the people "returning" downstairs (cough) and keeps the people entertained by singing and dancing very suggestively to a song called "Trinidad Lady". Actually, she's SMOKING (as in hot!) in this scene, her dress and dancing are amazing. But soon, the police arrive on the scene, her husband has committed suicide, and they want to find out the reasons leading to his death. Glenn Ford, playing as steely jawed as Glenn Ford can, who plays his brother, wants to know too! From there, it's a whirlwind of deception, romance and thrills (well, not really), that is not really suspenseful, because we find out early on who did it, we just have to find out why (and that reason is a silly post-war hokum). Oh well, Hayworth IS pretty to look at, and Glenn Ford is great as usual, so the combination of the two is sorta fun to watch.

Rushed Conclusion Ruins This Film-Noir

[claudio_carvalho · 7/10 · 16 February 2014]

In Port of Spain, Trinidad, the mediocre painter Neal Emery is found dead apparently after committing suicide. Inspector Smythe (Torin Thatcher) seeks out Neal's wife, the dancer Chris Emery (Rita Hayworth) that is the lead attraction of the Caribe night-club to tell her about the death of her husband. Soon Smythe finds that Neal actually was murdered and his prime suspect is Neal's friend, the wealthy Max Fabian (Alexander Scourby) and has eyes on Chris. Smythe asks Chris to spy Fabian to find an evidence to arrest him.

Meanwhile Neal's brother Steve Emery (Glenn Ford) unexpectedly arrives in Trinidad to visit his brother and learns that his brother had committed suicide, but he does not believe on the official statement. He stays at Chris house and decides to investigate the murder of his brother. Soon Chris and Steve fall in love with each other, but Chris cannot tell to him the reason why she continues to meet Fabian.

"Affair in Trinidad" is a film-noir with a not well developed story where Rita Hayworth steals the movie and makes it worthy. Glenn Ford's character is too nervous and shows no chemistry with Rita Hayworth. Actually there is nothing to explain why the offensive Steve and Chris falling in love with each other. The cinematography is magnificent and the plot is reasonable, but the rushed conclusion ruins this film-noir. My vote is seven.

Title (Brazil): "Uma Viúva em Trinidad" ("A Widow in Trinidad")

Glamorous, but flawed Hollywood Topliner

[Flak_Magnet · 7/10 · 10 September 2009]

Glenn Ford and Rita Hayworth pretty much epitomized classic Hollywood glamour, and "Affair in Trinidad" shows the chiseled pair reunited after the success of "Gilda." By most measures, "Trinidad" is a solid, big budget topliner, but the film's hurried ending and blunted racial archetyping dock it some points. Nonetheless, the performances are good ones, and the picture's murder mystery, at least until the stumbling climax, is consistently interesting and believable. Rita Hayworth is older here, but still stunning, and Glenn Ford is solid in the lead, providing plenty of romantic sensibility, as well as good ol' tough guy moments. The story involves Ford traveling to Trinidad after receiving a letter from his brother, only to find him dead and presumably murdered. What follows is a story of international intrigue, with Ford working to unravel the reasons for his brother's murder, as well as the identity of his killer(s). Meanwhile, his brother's widow (Hayworth) may hold the key to exposing the killer(s), but her cooperation with the British counsel prevents her from telling Ford important secrets. Predictably, there is a love story subplot, with Ford and a nefarious businessman vying for Hayworth's hand, and some of the exchanges are terrific. Again, however, the climax is hurried and disquieting, ending the picture on an unbalanced and underwhelming note, but not so much as to spoil the experience. There are a lot of good moments in this one, and fans of 40's Hollywood should be pleased. ---|--- Was this review helpful?

Rita Hayworth's Comeback Film

[strong-122-478885 · 6/10 · 16 May 2018]

And, the question is - Who killed "nice guy" Neal Emery, and why?... Well - As the story goes in "Affair In Trinidad" - The answer to Neal's untimely murder is a seriously complicated matter (as you'll soon find out).

IMO - This 1952 "Rita Hayworth" come-back film was certainly better than I had thought it would be. But, it was certainly not "Film Noir" as it has been erroneously categorized.

Back in 1952 the movie-going public literally flocked in droves to see this b&w crime/drama (which was shot entirely on sets in the USA at Columbia Studios).

You see - Glamour girl, Rita Hayworth had been away from starring in pictures for 4 years. During that time of absence she had been married to Prince Aly Khan.

To say that their royal, fairy-tale marriage was a messy affair would truly be an understatement - As it ended in accusations (by Hayworth) of cruelty and abuse. (Oh-me! Oh-my!)

"Affair In Trinidad" was produced on a $1 million budget. It made back 7 times that amount in its first year of release.

Glenn Ford and Rita hayworth go down the "NOTORIOUS" path

[raskimono · 8/10 · 21 June 2005]

This highly entertaining movie was the return of Rita Hayworth to the screen after a brief flirtation with married life and screen retirement. For her comeback, to establish back with the graces of the movie buying public, she is teamed with Glenn Ford who starred with her in her biggest and most popular hit Gilda. This was no guarantee for box office magic because an even bigger budgeted movie "Carmen" starring the aforementioned tanked in 1948. But that was a unoperatic take on the famous opera story Carmen with a woefully miscast Glenn Ford in a Tyrone Power like role. Avoid that movie. But going back here to the mystery and intrigue of Gilda, this movie was a box office hit unlike the earlier comment mistakenly claimed and was one of the 23 biggest hits of its year. ( I don't know the exact rank). And Glenn Ford was wooed away from Columbia by MGM with a bigger paycheck and Hayworth stayed on at Columbia through the late fifties. The plot a mismash of Notorious and the earlier Gilda as Hayworth plays the temptress who is really an innocent who all men cannot resist. Her husband is murdered and his brother shows up to find things more fishy than they really are. One thing about Hayworth, she could hoof for sure and sell sex through dance and the two musical numbers are a delight. Forlorn shadows, dark passages, whispers in the dark follow as Vincent Sherman, a true craftsman, if not an auteur (I do not believe an auteur is superior to a craftsman. An auteur just has a regular theme in the movies he/she directs.) brings sharp direction and well-earned suspense to this fine movie. Catch it whenever it airs or better, just rent it.

Enjoyable 50's noir-flavoured thriller/romance

[LouE15 · 6/10 · 21 June 2007]

Chris (Rita Hayworth, in a return to the silver screen after years away), a beautiful dancer in a seedy Trinidad club, is forced to play the spy in a game between men, "Notorious"–style, after her husband is murdered. In a new and awkward twist, her brother in law Steve (the wonderful Glenn Ford) turns up, with questions that her compromised position makes it hard to answer. A plot is uncovered, shady dealings, a love triangle, and a noirish feel to the thing. Moustache-twirling is decently covered by Alexander Scourby.

This isn't the finest ever moment for anyone involved, but it's quite poignant and interesting to look at. The reuniting of Hayworth with her "Gilda" co-star Ford hasn't quite the spark and bite of their earlier venture, and her face records the slight battering she's taken from life in the interim. This is all to the good for her character – but it isn't quite synchronised; not everything she says is convincing, and sometimes her face is too much of a mask. But her dancing is as vibrant and engaging as ever, and the chemistry between her and Ford is there, thank goodness. Otherwise it would be a shame for Ford's talent and effort to be thrown away on a film that didn't deserve it.

Glenn Ford's Steve epitomises the strong man in trouble, his handsome face by turns boyish, petulant, lovestruck, brooding, aggressive. I love the way he walks into a room, shoulders first, defiantly always a man, determined to tread the straight path. When he confronts Chris at Max's birthday party, weighted under by dark jealousy, suspicion, baffled love and grief, his carefully constructed masculinity seems to me almost to tremble on the brink of collapse.

"Affair in Trinidad" has strong visual moments standing out from a slightly silly plot: the wonderfully murky, expressionist shot of Chris smoking in the thick dark of her doorway, her face just dimly lit by the cigarette she pulls on; the way Steve looks at Max and Chris at the point of their first meeting together; Steve slapping the cringing bar owner across the face with a wad of dollars; Chris in her big scene, downing a glass of champagne, then flouncing over to start up the orchestra and dance, in a desperate bid to give both Max and Steve the message they need to hear. The film is finally less than the sum of its parts – but enjoyable all the same.

You walked out of that inquest like you were on your way to a cocktail party.

[hitchcockthelegend · 5/10 · 25 November 2018]

Affair in Trinidad is one of those pretend film noir movies that the public seem to love more than the critics, both back then on release and also now. I was personally hoping that as a big fan of Glenn Ford, and being an admirer of Rita Hayworth, I too would be thumbing my nose at the critics. Sadly not.

Directed by Vincent Sherman and with a screenplay by Berne Gilder and James Gunn, the story is set in Trinidad and pitches Hayworth as a recently widowed nightclub dancer and Ford as the deceased man's brother. The death is suspicious and as the law closes in (in the form of Torrin Thatcher) secrets will out and a bigger picture kind of emerges.

Ok! Lets not compare to Gilda and Notorious, for obvious reasons, and just accept Affair in Trinidad as its own entity. What transpires is a tired tropical exercise in romance and spy like intrigue. In fact it's a bit of a hack job coasting in on the two leading stars reputations, Ford as a genre presence and Hayworth as some sort of ogle feature. The plot is ridiculous where nothing much makes sense. Character's motivations are sketchy at best, and once the screenplay plays its hand for reveal purpose, you wonder just where are the villains from and what exactly are they up to?! Is that explained or did I have a power nap?...

It doesn't help that head weasel Max Fabian (Alexander Scourby) is so not threatening, and boring to boot, that it renders the intended dramatic oomph at pics finale as being akin to a damp squib. Hayworth goes through the motions in the acting scenes, only holding court with her two dance numbers (voice dubbed by Jo Ann Greer), and while Ford can brood with the best of them, his character is so poorly written it doesn't let the actor shine.

As for this remotely being film noir? Not a chance, neither visually, thematically or in characterisations does it work on that film making style. Consider me bloody annoyed. 5/10

Terrific film

[perfectbond · 9/10 · 8 March 2003]

I am flabbergasted by the low imdb average for this film! From the opening credits onward I was riveted by this film. Like Steve Emery (Glenn Ford) I was fixated on finding out what happened to the late Mr. Emery. This film has intrigue, suspense, and no short amount of sultriness thanks to the gorgeous Rita Hayworth (Chris). Hayworth also performs two stunning dance numbers. Mention should also be made of the terrific performances turned in by the actors who play the motley crew led by Max Fabian (Alexander Scourby). The only drawback to the movie is the absurdness of Fabian's plot. He was helping the Nazis secure launching bases for possibly attacking U.S. cities. This is pure propaganda. The Nazis had no such plan. They couldn't even take Paris. Perhaps this plot point was developed to scare Americans into supporting the Allied campaign against the Nazis. Still Affair in Trinidad is a terrific suspense thriller, 9/10.

former glory

[SnoopyStyle · 6/10 · 28 December 2015]

In the British colony of Trinidad, American Neil Emery is found dead in an apparent suicide. His nightclub performer wife Chris (Rita Hayworth) is informed by Anderson from the American consulate and policeman Inspector Smythe. Neil's brother Steve (Glenn Ford) arrives expecting to see Neil. The police discovers Neil was actually murdered and suspects Neil's rich powerful friend Max Fabian. They recruit Chris to investigate the mysterious Fabian but she can't tell Steve.

Rita Hayworth returns to Hollywood after about four years married to a prince. This is trying to return to the glory of Gilda reuniting with Glenn Ford and recycling the plot of Notorious. She is a bit older and not quite the same powerful bombshell in her heyday. Everything feels like a mere shadow of former glory. With a lot more imagination, that could have been used to the movie's advantage. This one is pass its prime before it started. This may not be a classic but it is reminiscent of past greatness.

Slight Affair

[jpdoherty · 5/10 · 13 May 2009]

The re-teaming of "Gilda" stars Rita Hayworth and Glenn Ford in the 1952 production "Affair In Trinidad" had Columbia Pictures executives having high hopes of achieving something nearing the same success as their enduring 1946 classic. But James Gunn and Oscar Saul's screenplay failed to reach the mark and the picture turned out to be nothing more than just another average Noir!

Nevertheless it did have some things going for it and not least a sizzling performance from the beautiful Rita Hayworth as a nightclub entertainer. The stunning Hayworth just gnaws at the scenery throughout and setting male hearts a racing with her inimitable renditions of a couple of songs which, in her hands, simply sparkle! Vincent Sherman does a reasonable job in the director's chair and the glorious black & white cinematography by Joseph Walker is as sharp as a button. The excellent DVD transfer is particularly enriched with well defined imagery!

Glenn Ford is his usual laconic, sullen and truculent self as Steve Emery who arrives in Trinidad only to learn that his brother has committed suicide. Refusing to believe the suicide claim he sets out to prove otherwise. Determined to get to the bottom of what exactly happened to his sibling and with the help of his brother's widow (Hayworth) he exposes the truth resulting in an action filled finale.

The picture is well held together by a good supporting cast such as Valerie Bettis (who also created Hayworth's couple of dance routines), Torin Thatcher as the police chief but especially Alexander Scourby as the smooth and charming baddie with the colorful name of Max Fabian. His role looking every bit like a dry run for his smooth and charming racketeer Mike Lagana in Glenn Ford's cop classic "The Big Heat" the following year.

Not too bad a movie really and I can think of worse ways to spend 94 minutes. But there are no extras - not even a trailer - which to put it mildly is nothing short of reprehensible!

Rita Hayworth And Glenn Ford Can Not Repeat The Success Of "Gilda"

[soranno · 20 October 2002]

During the time that this 1952 film was being filmed, its star, Rita Hayworth was thinking of terminating her contract with Columbia Pictures. Why didn't she? It would've prevented her from making films like this. This film plays like an obvious attempt to repeat the big box office success of "Gilda", a 1946 Columbia Picture starring Hayworth as she is reteamed with her "Gilda" costar Glenn Ford. The farfetched plot has nightclub singer Hayworth and her brother-in-law (Ford) joining forces to track down her husband's murderer. In the box office results, the film was a disappointment and it eventually inspired longtime Columbia Pictures contract players Hayworth and Ford to pursue film careers as freelances.

Romantic and interesting thriller that reunites the two great stars of Gilda : Rita Hayworth and Glenn Ford

[ma-cortes · 6/10 · 30 March 2022]

Fun in the tropics as nightclub singer Rita Hayworth enlists the help of brother-in-law Glenn Ford to find her husband's murderer . The trail leads to nasty robbers , an international plot and a complex espionage intrigue . Don't tell me I'm just one more!. You weren't the first..and you won't be the last !

Echoes of Gilda by Charles Vidor and Notorious by Alfred Hitchcock , but , alas, only echoes, in this Rita Hayworth, Glenn Ford vehicle along the lines of their past hits some years before . Leading man Glenn Ford is back, as is Afro-American character player Juanita Moore but the handling no longer has the confidence to carry such a twisted script . Although the real starring results to be the gorgeous Rita Hayworth , providing an authentic recital prepared by her studio Columbia Pictures after her four years away when she married and divorced Prince Aly Khan. Rita sings a couple of numbers with Jo Ann Greer's voice : "Trinidad" and "I've been kissed before" , but the fires burned so bright in Gilda are noticeably shorter here. They are well accompanied by a nice support cast , such as : Alexander Scourby , Torin Thatcher , Valerie Bettis , chubby Steven Geray, Mort Mills, among others .

It displays an evocative cinematography in black and white by Joseph Walker who along with John Alton, Nicolas Musuruka, John Seitz, Burnett Guffey are the main cameramen of Film Noir. Adding an atmospheric and thrilling musical score by George Duning. The motion picture was professionally produced and directed by Vincent Sherman, though it has some flaws and gaps . The picture is not a masterpiece , but being made with fair play and professionality enough by Sherman . Vincent directed all kind of genres , drama , suspense , Western , biography , such as : Cervantes , Lone Star , The Young philadelphians , Ice Palace , All through the night , Underground, Affaire in Trinidad and several others. Rating : 6.5/10. The pic will appeal to Rita Hayworth and Glenn Ford fans.

RITA HAYWORTH'S COMEBACK...A RECYCLING...SCRIPT SONGS AND STARS REHASHING SOME BETTERS

[LeonLouisRicci · 7/10 · 2 September 2021]

Returning to Hollywood Movies after a Four Year Marriage to a Prince, Rita Hayworth Enticed Her Legion of Fans to Line-Up and Glimpse "Gilda".

Not Equivalent or even Close to the Films it Emulated and Lazily Relies on a Proven Plot and Characters.

It is Not a Heated Affair. It is a Curiosity.

It Made Seven Times its Budget as a Huge Hit.

Mediocrity Can Sell-Well when Placed at the Bare Feet of a Star with Magnetic Appeal and a Rock-Solid Screen Presence...Glenn Ford.

While the Script is Moth-Eaten even the Co-Stars are Well Chosen and Deliver Professional Performances that Help the Story that is Familiar Seem Fresh.

It's a Cold-War in 1952 and Rita can Warm it Up by Being Rita.

Forever Regarded as a Bastardization of "Lighting in a Bottle". It is.

It is Also...Not Film-Noir.

Just a Watchable Black and White Espionage-Drama-Romance that Lingers in the Insatiable Appetite of Movie Lovers Wanting Forever to Force Feed a Starving Condition for Everything to be Delicious and Fulfilling.

The Human-Condition makes it Apparent that Mediocrity is the Measure of the Day in All Art. That Doesn't Mean that a Movie of this Sort is Futile.

It's Entertaining and Productive for the Production Team.

And for Audiences that Measure in the Millions.

All-time duo in a decent geo-political mystery

[ArtVandelayImporterExporter · 6/10 · 21 November 2023]

Rita Hayworth's hotness didn't surprise me. But her acting chops certainly did.

Backstage after a smokin' opening number she's grilled by a police inspector and a stooge from the U. S. consulate. Her husband has died from Clintonside. Watch her eyes and her body language as she emerges from her change room. That is first-rate acting right there.

Day of the inquest, the dead man's brother - Glenn Ford - steps off a plane. Ford accuses Hillary, er, Rita Hayworth of being complicit in his brother's/her husband's death. There is anger. But the maid - a Magical N3gro movie trope if there ever was one - intervenes and before long they're having dinner together.

Ford plays a convincing tough guy who is intent on unravelling the mystery of his brother's death. Hayworth matches him scene for scene.

Judged on its own and not in comparison to whatever other movies feel are comparable, it's a decent mystery and the Ford/Hayworth pairing is natural and incomparable.

Alexander Scourby pretty much steals the movie as the bad guy (this is not a spoiler; it's obvious) and Valerie Bettis as a boozy excuse for exposition is a lot of fun. That maid got on my nerves, though.

Rita makes a hot spy

[gridoon2024 · 7/10 · 14 November 2009]

This Rita Hayworth - Glenn Ford pairing may not be the classic that "Gilda" became, or quite as exotic as the title implies, but it's a pretty neat little mystery on its own. Though the supporting cast - the suavely villainous Alexander Scourby, the quirky Valerie Bettis, the comic-relief Steven Geray, etc. - is interesting enough, it's largely up to the two main stars to carry the movie. Rita Hayworth gives a low-key performance for the most part, but she also explodes in two wonderful song-and-dance numbers (one thing I noticed here is that her body was quite athletic by that era's standards). Ford's rugged masculinity is somehow a perfect counterpart to Hayworth's sensuality - they make a good pair. The film gets quite tense in the second half, when Rita goes on what is essentially a spy mission, but the ending is pretty rushed - and Rita's dangerous work does not really get rewarded since the police find the evidence they were looking for to get the bad guy from another source! But for fans of the two leads, "Affair In Trinidad" is still a must-see. *** out of 4.

quit comparing...........both are good

[rickdumesnil-55203 · 9/10 · 30 December 2015]

Will people learn to stop comparing.....these movies were made 6 years apart and set out its goal of entertaining us to the hilt. Rita Hayworth alone is enough to watch it all the way....and the black and white cinematography is excellent. Yes the storyline is thin but it still is intriguing and well done. What a good job also done by the supporting actors...even Juanit Moores role turned out to be very important. You think i left out Glenn Ford....no way...some say it is wooden acting....no way. Ford could act without making physical gestures....just look at the expressions on his face. He is simply awesome. OH and by the way the ending is fine for me and i am really happy to own this very entertaining DVD

Faux-exotic melodrama with spy trimmings; trashy, low-brow fun...

[moonspinner55 · 6/10 · 23 July 2009]

James Gunn and Oscar Saul concocted this rather simple screenplay from Berne Giler and Virginia Van Upp's original story concerning American nightclub singer in the Tropics whose husband turns up dead; the police, believing it was murder made to look like a suicide, ask the sultry widow to spy on their number one suspect, an urbane millionaire with eyes for the hips-grinding dame. Rita Hayworth, more animated than usual, acquits herself well in this florid potboiler, knocking out two song numbers in a mellow key while falling for brother-in-law Glenn Ford (to whom she's been instructed not to divulge her secrets!). Misunderstandings, steamy clinches, an impertinent native maid, and a misplaced evening scarf all lead up to an exciting climax--although director Vincent Sherman cheats us a bit by skimping on the violent details. The narrative would pretty much collapse if only the two main characters were simply honest with each other--belaboring what Roger Ebert used to call "the idiot plot"--but, nevertheless, it's a fun, glossy affair. **1/2 from ****

The star still have it... Chemistry that is. Too bad about the script!

[mark.waltz · 5/10 · 26 June 2019]

Basically, this is Gilda II, putting Rita Hayworth and Glenn Ford in a similar situation, and even if they are playing different characters, do you know that there is a great deal of suspicion, mistrust and passion between them. That does make for an interesting film noir, but this doesn't have the pacing or class or tight script. What it lacks in that, it makes up in it's interesting performances, with characters also sorted and shady and for one, an eternal state of intoxication.

Down in Trinidad, Rita Hayworth's husband has been murdered, and when his brother, Glenn Ford, shows up, instant suspicion is cast on her with side eyes to the other sort of characters surrounding her. These individuals include the grasping power magnate Alexander Scourby, the wimpy George Voskovec, his grasping alcoholic wife Valerie Bettis and the sinister looking Steven Geray. the passion between Haworth and Ford goes from instant just trust to a heated kiss to a sudden slap across the face from Ford because of insinuations made against her.

Although the writers get the characterizations right, the details of the story are often convoluted and messy, disappointing considering the positive aspects of this film noir. the direction of Vincent Sherman is fine, and the art Direction and photography are fantastic as well. Hayworth gets to sing a couple of songs but they do not match the heat of "Put the Blame on Mame" from "Gilda". Wild Haworth certainly gets the looks and whistles for her beauty and seductiveness, it is Valerie Bettis who gets the best lines, and she delivers each one with delicious venom. Scourby is excellent as well. It's only a slight disappointment that will keep you glued but is missing that one ingredient to make it a real gem.

I Was Born To Be Kissed

[Noirdame79 · 9/10 · 23 April 2006]

After her divorce from Prince Aly Khan, Rita Hayworth returned to America and Columbia immediately put her into this film, reuniting her with her favorite costar, Glenn Ford. Associate producer of "Gilda" , Virginia Van Upp, was also on board, as was Stephen Geray who had portrayed Uncle Pio in the earlier film.

It is a noir along the lines of the aforementioned movie, with Rita portraying Trinidad café dancer Chris Emery, whose husband, Neal, is the owner of the joint. The authorities show up one evening after her dance routine to inform her that her spouse has apparently committed suicide. Although shocked, she later cooperates with police when they conclude that he actually was murdered and they ask her to help with the investigation. They suspect the wealthy playboy Max Fabian (Alexander Scourby), of the crime, and since he is infatuated with Chris, she can get close to him. Neal's older brother, Steve (Ford) arrives, unaware of his brother's death, but once he learns of it, he is determined to find out the truth. He is suspicious of Chris, but he is also attracted to her - something he tries to conceal. As Chris cannot reveal what she is up to, Steve begins to suspect that she knows more about Neal's death than she will admit. He is infuriated further by Fabian, who makes it no secret that he desires her. This leads to a showdown at the villain's mansion, with a strew of menacing, secondary characters to supply a sub-plot of spies and world control a la Gilda.

Although not quite on par with the earlier Hayworth/Ford teaming, this is an entertaining picture that should please the viewer in the way of suspense, intrigue, and of course, the electricity generated between the two stars. And the songs (Rita's vocals were dubbed by Jo Ann Greer), "Trinidad Lady", and "I've Been Kissed Before", steamy dance routines (created by Valerie Bettis, who appears as the wife of one of the spies), and the gowns by Jean Louis are definitely a highlight.

Update - the film was released on region 1 DVD in 2008. Good to have it, although I thought it could have gotten more extras - but this is Columbia, so one shouldn't expect that to happen too often.

Definitely a must for Rita and Glenn fans.

"Gilda: The Affair in Trinidad" is like most cash-in movies...just a lot of chicky chick boom chick boom

[Terrell-4 · 6/10 · 30 December 2008]

Affair in Trinidad might have been a reasonably solid movie of murder and intrigue if Columbia Pictures hadn't strained so mightily to remind us of, and cash in on, Gilda. But six years have passed since that hothouse orchid bloomed. Rita Hayworth, returning to movies after four years, a survivor of two demeaning marriages, first to the ego-driven and easily bored Orson Welles and the second to the spoiled, world-class philanderer Aly Khan, looks great but no longer has that fresh, spirited quality she brought to her movies in the Forties. Glenn Ford is finally beginning to look older than a teen-ager, but all he's called on to do is to project the same melodramatic resentment he carried along with him in Gilda. For the villain, Alexander Scourby was a good actor, but there's none of the noxious, smooth danger that George Macready gave off in waves...and none of the homoerotic subtext that spiced up Gilda. All we have is Inspector Smythe's flat-footed description of Max Fabian: "He's a man who deals in international intrigue, secret information, treason...a man who's grown rich by exploiting trouble and unrest wherever they exist..." Yawn.

Chris Emery (Rita Hayworth) is a headlining entertainer in Trinidad's Carib Club. She sings, dances, and knocks 'em dead when she undulates across the dance floor. Her husband, an unsuccessful painter, dies. Suicide? It looks that way, but Inspector Smythe (Torin Thatcher) is convinced it's murder. Smythe believes that Max Fabian was behind it. He arms twists Chris to get close to Fabian, who likes her a lot. Her job: Get the goods on him. This will include slimy men with German accents and devices that seem to be nuclear. During the last ten minutes we'll forget Gilda and remember Notorious. But then her husband's brother shows up from the States. Steve Emery (Glenn Ford) quickly resents how Chris is being so friendly to Max. He has no idea she's working for the police and that she has been instructed to say nothing. This three-way arrangement results in Steve showing how tough and angry he can be, in Fabian showing how cool and dangerous he can be, and in Chris showing how conflicted she can be, especially when Chris and Steve realize their love for each other. Fear not; the movie does eventually end. When Affair in Trinidad was released it was considerably more successful than Gilda had been.

Affair in Trinidad hasn't aged well. The script is no better than workmanlike. The acting, especially in the smaller parts, is basic. Even the two musical numbers Hayworth gives us, "Trinidad Lady" and "I've Been Kissed Before," seem like stuffed animals from another era. Instead of the self-aware and amusing heat of Hayworth doing "Put the Blame on Mame," here Hayworth is gorgeous and merely professional. Most of the problem is that the choreography for her is vulgar instead of being sexy.

Picture a small group of bongo-thumping Trinidadians in native dress sitting on stage amongst banana fronds. They sing, eyes rolling with delight...

"A chicky chick boom chick boom / A chicky chick boom chick boom / Announces you're in the room / With the Trinidad Lady

"A chicky chick boom chick boom / A chicky chick boom chick boom / Your ticker goes boom, boom, boom / For the Trinidad Lady..."

Even Hayworth swaying in on bare feet can't do much with material like this. Same with the movie.

Enjoyable Island Getaway

[ashew · 5/10 · 26 May 2006]

Certainly not as good as "Gilda", and nowhere even close to being as good as "Notorious", but I still find it a very enjoyable movie. I enjoyed the directing, the song/dance numbers, and was not bothered by the storyline that others on this site found weak. I like Glenn Ford, too, but I found his performance a little too much on the melodramatic side, and less on the believable side, but he was still enjoyable overall.

A couple of things reminded me of other films: 1) The moment when Rita opens the door to the guest house to find all the bad guys standing just outside waiting for her somehow reminded me of when Bob Cummings and Priscilla Lane enter the train car of circus freaks in "Saboteur"...both scenes were a little eerie...and both were very nice cinematic moments. The other comparison that was a bit distracting for me was 2) how much Alexander Scourby in "Affair" reminds me of Morris Carnovsky, Bogart's nemesis in "Dead Reckoning"...they have a very similar look, and their characters are also very much alike.

A previous reviewer knocked Rita Hayworth's performance as being lifeless...Yes, it could be that it was Rita's lack of enthusiasm, but I wouldn't know her frame of mind, so I don't know if that comment is fair for people to make...to me, I took it as her choice for the character...it made perfect sense for her to be dazed and detached...think about all that her character has suffered in a loveless marriage, an unfulfilling job, the grief she feels for her failed marriage, her husband's death, her own emotional death, then what she is forced into doing in terms of the lies, deceit, and intrigue for the police. Add to that her confusion over her feelings for her brother-in-law and is it any wonder that the character's head was swimming? I think Ms. Hayworth did a fine job with the role...and was she ever gorgeous, too!!

"Affair In Trinidad" will never be accused of being a masterpiece, but it is absolutely worth viewing if you're in the mood for some enjoyable, Noirish entertainment.