Incannerax What a waste of my time!!!

Claysaba Excellent, Without a doubt!!

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Stephan Hammond It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

mamalv What a wonderful movie. It captures the blooming relationship between a stuffy military man on the run and a free spirited gypsy totally. Milland is on a mission with a young man to get a formula for a deadly gas from a man in Germany. Along the way they split up, and plan to meet again at a road crossing. In the mean time Milland is running and hiding from the Nazi's when he comes across Dietrich. She makes him up as a gypsy to hide his identity, and they go on their way to his destination. Even though Dietrich is dirty and messy, he becomes closer to her as he sees that she is a unique and wonderful woman. There are many lighthearted moments where Milland tells her to sit on her hands as she is constantly trying to seduce him. The pairing of these two stars is nothing short of magnificent. Milland is absolutely gorgeous and it is not a wonder that Dietrich is having a hard time keeping her hands off him. The war ends and he returns to her to be with her forever.

rhoda-9 Those reviewers who have complained that this movie lacks plausibility or has problems of construction are missing the point. This is a wonderfully camp romance, with plenty of Play, gypsies! Dance, gypsies! music, that both sends up exotic love stories and celebrates them. Buttoned-up Ray Milland makes an amusing foil for a Dietrich with black hair, tattered scarves, and tons of jewelry. The character's eagerness to feed Milland and look after him more closely resembles the good German hausfrau Dietrich was off the set than her mannered vamp roles. Censorship being in force, it's made clear that they share a caravan on platonic terms only, with Milland fighting off Dietrich's advances with a determination remarkable for a heterosexual bachelor who might be killed any day. His only excuse is that she smells, so perhaps a stuffy, fastidious Englishman might indeed be put off.In the small role of Milland's young companion on his secret mission, Bruce Lester adds a note of camp of a different kind. We are told at the beginning that he hero-worships Milland, and indeed he rather fawns on him. When, after they are separated, he meets Milland, now transformed into a brown-skinned gypsy with a shirt open to the waist, his glowing appreciation of the disguise even further suggests that not only Dietrich is romantically infatuated with Milland.Despite the wonderfully improbable characters and sequence of events, the growing love of Milland for Dietrich and his acceptance of the non-rational aspects of life is rather touching. And when, on their last night alone before he escapes, he says that each of them now contain half of the other, the two have become one, and then darkness falls, I think we can assume that the censor decided to give them a break! One goof--at the beginning, Milland, who is supposed to be English, refers to a lieutenant, using the American pronunciation. (The English say "leftenant.") Since Milland was British, he must have been saying it that way because the American movie-makers feared that American audiences would be distracted and confused by the British style.

writers_reign When you're asking yourself pertinent questions as a film unspools before you it's usually a sign that something is sadly amiss. The first question I asked myself here is WHY, Quentin Reynolds. Okay, the film is going to be a flashback ergo Ray Milland needs someone to tell his story to but given that he is telling it to a fellow passenger on a flight to Paris it could have been any fictional creation. Given the date of the movie, 1947, it may well be that Reynolds was familiar as a war correspondent but the fact that Milland is telling Reynolds and not Gregory Schmearcase adds nothing to the story. Next question; as stated, Milland tells his story on a flight to Paris, again, WHY. The story he is relating took place in Germany and that is where his gypsy lover, Dietrich, is waiting for him. So why not a flight to Berlin, Frankfort, Stuttgart or whatever. Leading on from this, one minute he is on the plane - en route, remember, to Paris - in the next shot he is deep in the German countryside rendezvousing with Dietrich and her caravan. How did he get there? At the beginning of the film, set in September, 1939 - war is declared even as we watch - Milland is a British agent, travelling with a colleague and intent on obtaining a formula from a German chemist. Milland and colleague are arrested, escape and don German uniforms. Having sunk the car in which they escaped, they separate after arranging a rendezvous near a signpost. Milland meets Dietrich, a gypsy, and travels in her caravan. When they reach the rendezvous Milland's colleague turns up in full Bavarian gear and riding a bicycle. How did he acquire these things. It's little things like that, plus the total lack of chemistry between Milland and Dietrich, the fact that director Mitchell Liesen is totally out of his element, being more at home with sophisticated comedy and elaborate sets that tended to mar any enjoyment the movie may have had

richard-1787 Hollywood has made a lot of strange movies over the years, but none stranger than this. WHY this movie got made I will never know, nor how Paramount could have thought it would sell any tickets in 1947. It is the strangest mix of genres I have seen in a long time, a movie that truly does not know whether it is trying to be a serious war drama or a Viennese operetta comedy.It tells the story of a British spy trying to get a poison gas formula out of Germany in the days just before WW II began. Ray Milland, a fine actor, is stuck playing the part like an escapee from Monty Python, all very exaggerated English prep-school dialogue. In Germany he meets a gypsy, Marlene Dietrich, who helps him to travel under cover as, of course, another gypsy. She plays her part like the typical Viennese operetta gypsy caricature, as do the other "gypsies" in the movie. But there are also Nazis, who are not funny at all. And then Milland finds he is starting to think like a gypsy, and that is not treated as a joke. Sometimes the music is for a light comedy, sometimes for a drama. Every time the Nazis show up, the film score plays Wagner, which is funny by itself.This movie could have been a comedy, or it could have taken the plight of the gypsies seriously and done a serious job of showing how the Nazis treated them. Both are hinted at in this movie, but neither pursued. What we are left with is a truly strange mish-mash of genres that must have embarrassed everyone (except the director) involved.Bizarre.