Sirocco (Dir: Curtis Bernhardt, 1951).
A romantic melodrama/crime thriller in the mold of Casablanca (Michael Curtis, 1942).
In 1925 Damascus, ex-patriot American Harry Smith (Humphrey Bogart) is mixed up in gunrunning for the Syrian rebels who oppose the French occupation. Wishing to flee the country he strikes up negotiations with Colonel Feroud (Lee J Cobb) to ensure safe passage. Things get complicated Smith embarks upon a relationship with the colonel's ambivalent mistress Violetta (Marta Toren). The odd twist in the tale enlivens the otherwise routine thrills.
A romantic melodrama/crime thriller in the mold of Casablanca (Michael Curtis, 1942).
In 1925 Damascus, ex-patriot American Harry Smith (Humphrey Bogart) is mixed up in gunrunning for the Syrian rebels who oppose the French occupation. Wishing to flee the country he strikes up negotiations with Colonel Feroud (Lee J Cobb) to ensure safe passage. Things get complicated Smith embarks upon a relationship with the colonel's ambivalent mistress Violetta (Marta Toren). The odd twist in the tale enlivens the otherwise routine thrills.
Humphrey Bogart was experiencing a career lull when he signed to Columbia Pictures in the early 1950s. This, the second movie of the contract, was a conscious attempt by the studio to emulate the success of Casablanca (Michael Curtiz, 1942), the Warner Brothers hit in which Bogart starred. While it contains many of same ingredients as the earlier movie, the end result is more of a light snack than the chef d’oeuvre Casablanca.
Both Humphrey Bogart and Lee J Cobb are eminently watchable. Acting wise, neither is out of their comfort zone, but both offer strong performances. Marta Toren doesn't fair as well, although this is not entirely her fault. The role, as written, has some ambiguous and not entirely believable character motives, making it difficult for the audience to sympathise with her. However, it is difficult not to wonder what the more charismatic Ingrid Bergman would have brought to the part.
Despite its credentials, Sirocco is little more than a 'B' picture, elevated to 'A' status by the presence of Bogart and Cobb. The plot is engaging, if formulaic, and the picture benefits from a nice moody film noir-ish atmosphere. But neither journeyman director Curtis Bernhardt or writers A I Bezzerides and Hans Jocoby seem to regard the making of the movie as anything but another day at the office. While it is an undoubtedly professional piece of filmmaking it just feels a little soulless; straight off of the late Hollywood production line and into neighborhood theatres.
Despite its credentials, Sirocco is little more than a 'B' picture, elevated to 'A' status by the presence of Bogart and Cobb. The plot is engaging, if formulaic, and the picture benefits from a nice moody film noir-ish atmosphere. But neither journeyman director Curtis Bernhardt or writers A I Bezzerides and Hans Jocoby seem to regard the making of the movie as anything but another day at the office. While it is an undoubtedly professional piece of filmmaking it just feels a little soulless; straight off of the late Hollywood production line and into neighborhood theatres.
Sirocco is a good movie, but it is by no means the classic that the talent involved would suggest. It is a by-the-book Casablanca clone, made eminently more enjoyable by a legendary cast.
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