At the Tangier airport, a group of people await the arrival of a mysterious plane from behind the Iron Curtain. The reception committee includes Susan, an American; Gil Walker, a ...
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The main story combines bits of Giovanni Boccaccio's own life (maybe and maybe not) with three of his most fabulous stories of love. It has Boccaccio following Fiametta to a country villa ... See full summary »
Susan is about to be married, but the wedding may get called off after her fiancee summons three former beaus. Each reveals a different portrait of Susan: one describes her as a naive ... See full summary »
William A. Seiter
At the Tangier airport, a group of people await the arrival of a mysterious plane from behind the Iron Curtain. The reception committee includes Susan, an American; Gil Walker, a free-booting pilot; Danzer, a black market operator; and Danzer's girlfriend, Nicki. The plane crashes and burns. No survivors are found, nor are any corpses. Soon the search begins for a missing courier worth $3 million. Written by
Ray Hamel <firstname.lastname@example.org>
By report, the second of only two 3-D films shot in 3-strip Technicolor (and thus requiring six strips of film); the first was Money From Home (1953). See more »
When Gil, Susan, and Nikki are asleep in the grove, a small plane searching for them wakens them. The branches Gil had previously placed on the car to camouflage it disappear then reappear when the camera changes from the plane to the car. See more »
Play-like "presence" endows this movie with likability and intimacy
A number of movies made around this time have a certain feel to them that arises from the use of backlot sets or sound stages substituting for exterior locations, mixed with some actual location shooting. "Samson and Delilah" (1948), "Dangerous Mission" (1954), "Hell's Island" (1955), and "Flight to Tangier" (1953) share this quality. It seems to make the viewer feel present watching a play, and this in turn seems to make the film likable, at least for me, and intimate. The more technically adept use of sound stages in many other movies removes this feeling and we don't notice the sound or the sets. The technicolor in this film is also lovely and sets it apart from modern colors.
The cast is a very good one, but neither the writing nor the direction of Charles Marquis Warren bring out their potential. Marcel Dalio seems uncomfortable at times working with Robert Douglas, but that's partly due to the differences in their characters. Dalio is laid back while Douglas is much more ruthless and anxious. Corinne Calvet tries hard to add some depth to her part, which muddles the femme fatale aspect. Joan Fontaine is completely at ease. Jack Palance has untapped energy in this one. Jeff Morrow is the straight arrow and frustrated cop.
The IMDb rating of 5.4 accurately signals that the story has a problem of coming together in an intense and emotionally involving way. I rate it higher because it layers in several watchable set pieces throughout. It's really an adventure movie or an adventure-crime story. There is a crash of an airplane on auto-pilot; a chase through a vineyard warehouse; a roadblock sequence in a make-believe Tangier intersection; an airfield sequence with a bunch of neat older airplanes that I am unable to identify. The 50s cars also look neat. Between the color, the cast, a modicum of suspense, the crime aspect and the nostalgia aspect, I like this movie.
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