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Lisbon (1956)

5.8
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Ratings: 5.8/10 from 176 users  
Reviews: 7 user

High stakes battle of wits and morals between gentlemen crooks, set in beautiful Portugal.

Director:

(as R. Milland)

Writers:

(screenplay), (story)
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Title: Lisbon (1956)

Lisbon (1956) on IMDb 5.8/10

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Cast

Complete credited cast:
...
Capt. Robert John Evans
...
Sylvia Merrill
...
Aristides Mavros
Yvonne Furneaux ...
Maria Maddalena Masanet
...
Seraphim
Percy Marmont ...
Lloyd Merrill
Jay Novello ...
Insp. Joao Casimiro Fonseca
Edward Chapman ...
Edgar Selwyn
Harold Jamieson ...
Philip Norworth
Humberto Madeira ...
Tio Rabio
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Storyline

High stakes battle of wits and morals between gentlemen crooks, set in beautiful Portugal.

Plot Summary | Add Synopsis


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

| |

Release Date:

17 August 1956 (USA)  »

Also Known As:

Lisboa  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Color:

(Trucolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Probably to get some extra funding for the film, Milland squeezed in "Lisbon" some publicity. A very conspicuous Lockheed Constellation airliner of the old TAP'(Transportes Aéreos Portugueses, nowadays Air Portugal) as well as the usual Mateus wine bottle, which does not look quite rosé in this movie. If you go to a fancy restaurant you order more sophisticated Portuguese Wines. The views of Lisbon's probably adjusted to the modern image that dictator Oliveira's wanted to show the world. The splendors of the capital city of Portugal is probably better shown in other films. See more »

Goofs

Capt. Evans tells Mrs. Merrill that the Seteais Palace is Pena Palace, two distinct palaces in the region of Sintra. The Seteais Palace became an hotel since the early 21st century, and it overlooks the Pena Palace. See more »

Quotes

Maria Maddalena Masanet: [reading aloud an excerpt from Lord Byron's "Don Juan", Canto I, Stanza 83, to Aristides Mavros] But who, alas! can love, and then be wise? / Not that remorse did not oppose temptation; / A little still she strove, and much repented / And whispering 'I will ne'er consent' - consented.
See more »

Soundtracks

Lisboa Antiga
(uncredited)
Music by Augusto Santos and José Galhardo (uncredited)
Lyrics by 'Raul Portela' (uncredited)
Sung by Anita Guerreiro (uncredited)
See more »

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User Reviews

 
Beautifully filmed romantic crime thriller.
30 January 2002 | by (Melbourne, Australia) – See all my reviews

Elegant is the only word to describe this wonderful example of 1950s film-making at its best. Art direction is usually one of those obscure technical credits nobody ever bothers about, but in this case the entire movie is a feast for the eyes thanks to clever art direction using subtle shades of blue and brown to reflect the beautiful natural locations in Portugal. Almost every frame is a painting in its own right and the movie is worth watching just for its sumptuous looks alone.

Against this delightful visual backdrop, a complex double/triple-cross crime story is allowed to unfold at a leisurely pace as the viewer is gradually let in on the intricacies of the plot. Characters and motives also develop with the story and by its conclusion little is what it first seemed. Claude Rains, Maureen O'Hara and Ray Milland (who was also director and associate producer) are each excellent in their roles. Claude Rains in particular as a raffishly handsome crime boss with impeccable breeding is both lovable and chilling. Ray Milland has all the women falling at his feet, and not without reason. Maureen O'Hara is alternately tough and romantic as we see her character gradually revealed.

Movie buffs might even see some tongue in cheek allusions to the plot of Casablanca, particularly in the final scene, as this cleverly crafted story unfolds. There's certainly something to please everyone. I'm a person who rarely enjoys movies made in the 1950s because of the stifling social values of the era, but for me Lisbon has been a revelation of the artistic heights which could be achieved in that era when the movie makers stopped trying to preach political and social values and just did what they were good at.


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