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Storyline
A sultry night club singer, a man who has also traveled to many exotic ports and a salesman meet aboard ship on the 45-mile trip from Hong Kong to Macao. The singer is quickly hired by an American expatriate who runs the biggest casino in Macao and has a thriving business in converting hot jewels into cash. Her new boss thinks one of her traveling companions is a cop. One is -- but not the one the boss suspects. Written by
Dale O'Connor <daleoc@interaccess.com>
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Taglines:
DANGEROUS PARADISE! (original print ad - all caps)
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Did You Know?
Goofs
Whenever Julie Benson (Jane Russell) sings in the gambling den, The piano and bass guitar accompaniment don't match the sound of the full orchestra backing her up.
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Quotes
Lawrence C. Trumble:
I'll go back one of these days, or my name isn't Lawrence C. Trumble.
Nick Cochran:
What does the "C." stand for?
Lawrence C. Trumble:
Cicero - but keep it under your hat.
Nick Cochran:
What else would I do with it?
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Soundtracks
"You Kill Me"
Music by
Jule Styne
Lyrics by
Leo Robin
Sung by
Jane Russell See more »
Bob Mitchum and Jane Russell make for a rugged romantic duo in this crime film set in the Far East, directed by Josef Von Sternberg. In this rather light, watered down noir Russell, as a streetwise nightclub singer matches Mitchum with world weary put down after put down.
Director Von Sternberg, whose visual style of the 30's was the envy of Hollywood but had fallen on tough times and was nearing the end of his career, occasionally captures the magic that displayed Marlene Dietrich with such allure and mystery in films like Shanghai Express and Morrocco. The problem is that Dietrich and Russell are different animals. Russell has never looked more glamorous but she doesn't move like Dietrich and her singing scenes make her look a bit like Gilda on steroids. Still, there is a chemistry between her and Mitchum that keeps the film entertaining. The supporting cast offers a comically hammy turn by William Bendix and a somewhat strange, semi-comatose performance by Gloria Grahame.
Von Sternberg borrows heavily from his last good film, The Shanghai Gesture in many scenes, but Macao's main strength rests squarely on the broad shoulders of its two stars.