Anxious to see some naval action in the Pacific during WWII, Lt. Bill Gordon makes the mistake of telling his new girlfriend, ditzy Elaine Carter, that he was an expert in deciphering codes... See full summary »
Anxious to see some naval action in the Pacific during WWII, Lt. Bill Gordon makes the mistake of telling his new girlfriend, ditzy Elaine Carter, that he was an expert in deciphering codes. Trying to keep him in the states for herself, she convinces her uncle to add him to a unit charged with deciphering the enemy's coded messages. With the murder of his superior, Gibson attempts, with the "help" of Elaine, to root out the spy ring that's been intercepting valuable troop movement information. Written by
Doug Sederberg <firstname.lastname@example.org>
Espionage tale borders on the absurd when it comes to comedy...
What really weakens what could have been a good narrative is the attempt to insert light hearted comic elements into the plot of PACIFIC RENDEZVOUS. Instead of playing it as straight drama, what could have emerged as a timely romantic drama about breaking the Japanese code during WWII becomes a trivial piece of fluff with an absurd spotlight on the silly character played by Jean Rogers.
She's the girlfriend of our hero (Lee Bowman) and does him no favors when it comes to helping the war effort crack the code. For sheer stupidity (and to make her character seem "cute" at all times), she slips dozens of sleeping pills in his coffee so he can get some rest from a heavy schedule of solving the code and ignoring her.
And throughout the movie she pouts, bounces around and shows jealousy of any other female who pursues Bowman, as for example female spy Mona Maris. Her acting is dreadful enough to bring the story down to the level of irritating fluff where it remains until the final reel.
An interesting cast headed by Lee Bowman, Russell Hicks, Mona Maris, Carl Esmond, Hans Conreid, Curt Bois and several other good players is defeated by a silly script which reduces the whole thing to a B-budget MGM programmer which played the lower half of double features in the '40s.
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