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Affair in Trinidad (1952)

Nightclub singer and her brother-in-law try to find her husband's killer.



(screen play), (screen play) | 2 more credits »

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Nominated for 1 Oscar. See more awards »



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Complete credited cast:
Chris Emery
Steve Emery
Max Fabian
Veronica Huebling
Inspector Smythe
Howard Wendell ...
Karel Stepanek ...
Doctor Franz Huebling
Walter Kohler ...
Peter Bronec
Gregg Martell ...
Olaf, Fabian's Chauffeur
Martin, Wittol's Henchman


When Steve Emery arrives in Trinidad at the urgent request of his brother, he is stunned to find that his brother has not only been murdered, but that his brother's wife Chris is succumbing to the seduction attempts of the man who quite possibly is the murderer. His feelings are further exacerbated when he discovers that he, too, is becoming strongly attracted to Chris, who is a steamy cabaret singer. She, in turn, is playing off one against the other while betraying the secrets of both men to the police, for whom she is secretly working. Written by Alfred Jingle and Albert Sanchez Moreno

Plot Summary | Add Synopsis


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Parents Guide:





Release Date:

29 July 1952 (USA)  »

Also Known As:

Girl from Amen Valley  »

Filming Locations:

Box Office


$1,200,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?


Feature-film debut of Alexander Scourby. See more »


When Bronec gets run over at the airport his bags end up on the verge but in the next cut they are on the road. See more »


Trinidad Band: [singing] A chick-a-chick boom, a chick-a-chick boom / Announces your in the room with the Trinidad Lady. / A chick-a-chick boom, a chick-a-chick boom / Your ticker goes boom-boom-boom for the Trinidad Lady.
Chris Emery: [singing] It's only that I do what I love and love what I do / Can't help the mad desire that's deep inside of you. / You realize the fault isn't mine, you are to blame / You want what you can't have, and you're just the same.
See more »


Referenced in The Bastard (1968) See more »


Trinidad Lady
Written by Lester Lee and Bob Russell
Performed by Rita Hayworth (dubbed by Jo Ann Greer)
See more »

Frequently Asked Questions

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User Reviews

Rekindled and ignited
6 January 2007 | by (United Kingdom) – See all my reviews

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.

10 of 13 people found this review helpful.  Was this review helpful to you?

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