Joanna Dane, a former O.S.S. operator (forerunner of the CIA), is sent to Tangier by the American authorities to find out who is behind a powerful ring of smugglers that does a booming ... See full summary »
In 1931, Elizabeth Rambeau comes from England to live in California with her aunt and uncle of a winemaking dynasty, who are still wealthy despite 12 years of Prohibition. Object: marriage ... See full summary »
An honest expert on locks, Colley Dawson turns safe-cracker after he meets Benny Carfield, unscrupulous dealer in antiques; Dawson steals the goods and Carfield disposes of them, and the ... See full summary »
When the daughter of Simon Crawford, a successful barrister, is killed in what seems to be a hit and run accident, and the police are unable to find the culprit, Crawford swears that he ... See full summary »
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 »
When dining with "Sylvia Merrill" in Alfama, she inquires about the song "Old Lisbon" (yes, "Ancient Lisbon") being played in the restaurant. "Captain Robert John Evans " tells her "It's sort of a Home, Sweet Home, for Brazilians". Only a fiendish evil crook could display such ignorance about the beautiful music composed in 1937 by Raúl Portela with lyrics by José Galhardo and Amadeu do Vale. A Portuguese classic that Amália dos Santos made famous. Nelson Riddle took it to America and made it the soundtrack for "Lisbon". See more »
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.
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I consider Ray Milland was a much more influential director and actor than the afficiandos estimate. A good sound actor who could carry the lead particularly well and as this film and "A Man Alone" indicate he had the ability to create watchable,logical movies that had good camera work and never over egged the pudding.The Camera work in Lisbon is particularly good as are the sets which convey the aura of the time. The story line is clever without being to complex and an air of authenticity pervades the production which was done in an age where the backlot was normally everything.Splendid acting from Claude Rains as usual with Milland and the rest matching it perfectly. A good rainy day movie even now and worth my score of 8.
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