Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Aubrey Hackett While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Lela The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Robert J. Maxwell This is pretty good. Dick Powell is a high-level agent of the Bureau of Narcotics who tracks down opium from Shanghai to to Egypt to Cuba to New York. It's a tangled but believable tale in which he uncovers an intricate network of opium from its extraction from poppies through it refinement, shipping, and delivery in New York. It doesn't look as exotic as it sounds because except for some shots aboard a liner at sea, we only see locations through the lens of the second unit.Dick Powell is in his hard-boiled mode here. He gets conked on the head twice. He gets conked on the head in every hard-boiled movie he's ever made. In "Murder, My Sweet," when he is conked on the head, his narration gives us Raymond Chandler's prose: "a dark pool opened up at my feet and I fell in," and we see a dark pool opening at his feet. Then we see him fall in. Here, during his two conks, there are only dissolves. They lack poetry.It makes a hero out of Harry Anslinger, head of the narcotics bureau, and almost turns him into President-for-Life of the FBI, J. Edgar Hoover. Well, there has to be a hero at the top, but the fact is that Anslinger was, as one critic called him, "a notorious bonehead" who put marijuana in the same class as heroin. It was all hard narcotics to Anslinger, part of a widespread plot to sap our will to fight.It's a fascinating tale, really, given the Hollywood treatment. It opens with the murder of a hundred or so Chinese slaves being deep sixed on a heavy chain, like the slaves of yore, so it gets your attention and keeps it all the way through. Of course, this being Hollywood, we have to live with Vladimir Sokolov as a Chinese guy, trying to speak English with a Chinese accent while disguising his native Russian phones.

dougdoepke Fast-paced, tautly told tale of international opium smuggling in the pre-WWII period. Despite the docu-drama format (from the files of the US Treasury Dep't, etc.), police procedure manages not to get in the way. And a crackling good story it is, with a sneaky twist ending. Anti-Drug agent Barrows (Powell) has got to unravel an elaborate drug operation that takes him around the globe. On the way, he encounters all sorts of suspicious characters and risky situations. The studio (Columbia) does a good job mimicking exotic locales to create an appropriate atmosphere for the dedicated Barrows.So, who's the man behind the illegal operation? Well, for one thing, we know he's an agent of imperial Japan (circa,1935) since their army seeks to pacify a conquered Manchuria with loads of the deadening drug—(note: I wish the prologue stated whether this wicked scheme is actual historical fact or not). Anyhow, the premise provides employment opportunity for a host of Hollywood's shady characters, including Hoyt, Hasso, and two favorite Nazis, Triesault and Donath. So there's intrigue a-plenty.However, I'm not sure I buy the last leg of the smuggling operation since it seems so risky, depending as it does on exact timing in a big ocean. Nonetheless, the various ruses are cleverly conceived, although at times the various in's and out's may be a little hard to follow. And you may need a scorecard to keep up with the shifting cast of characters. But that early scene of jettisoning illegal cargo is one-of-a-kind and about as cold-blooded as any film of that era.(In passing-- a recurring theme is international cooperation in behalf of mankind, while the final shot is an optimistic one of the United Nations building. A year later, and I suspect the menace would have shifted to the Soviets with a much darker outlook.) Still and all, this is one of the best docu-dramas from a time when Hollywood appeared to be doing gratis pr work for the feds.

Leslie Howard Adams This was a combination documentary/fictional melodrama "based on actual incidents from the files of the Narcotics Division of the United States Treasury Department" for the "purpose of setting forth the functions and procedures of the Division" headed by Commissioner Harry J. Anslinger, who appears as himself in the opening, middle and end of the film. One of the "thou-shalt-nots" that was part of the Production Code list that had to be adhered to before a film could be issued an approval number---in this case PCA No. 12390---was an edict against showing any kind of illegal drug trafficking. The producers fought for and acquired a revision in the Code for this film.

tlg501 In some ways, it is very much ahead of its time. In the first few minutes, you'll know you are watching a very well done movie. The scene where the slaves go overboard and it motivates Dick Powell to track down the murderer is enough to get you interested. Every time, Powell gets nearer something happens to sidetrack him. The predications about drugs and South America are extraordinary, given that over 50 years has elapsed. The way of smuggling the drugs is very clever. I recommend this movie because of its suspense and its ability to draw you into it.