In 1950s Portugal, American expatriate Captain Robert John Evans does a bit of smuggling using his fast boat. He mostly smuggles consumer goods and contraband such as cigarettes and booze. Lisbon's police inspector, Joao Casimiro Fonseca, is aware of this and often times tries to catch Evans red-handed but to no avail. At the same time, American Sylvia Merrill, wife of industrialist Lloyd Merrill, arrives in Lisbon to arrange the secret release from a Communist prison from behind the Iron Curtain of her husband. She first complains to the State Department about her husband's imprisonment but U.S. officials seem unable to make any progress to obtain his release. Sylvia Merrill contacts big shot criminal, jewel thief and smuggler Aristides Mavros, a Greek living in Lisbon, to negotiate a bribe for Communist officials and have her hubby released from their prisons. Mavros is a man with many useful connections but he's also a scoundrel not to be trusted by anyone. He figures to woo the ...
CITY OF INTRIGUE, MURDER AND EXCITEMENT! (original poster-all caps)
Did You Know?
Nelson Riddle's instrumental recording of "Lisbon Antigua" (an ancient Portuguese melody) was already on the Hit Charts before this film was made. Republic publicity sent out a story that "Director/Producer Ray Milland took a recording of the music with him and had a Portuguese orchestra adapt it for a sequence in the picture". 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.
Music by Augusto Santos
and José Galhardo
Lyrics by 'Raul Portela' (uncredited)
Sung by Anita Guerreiro
(uncredited) See more