Almas de fuego

Paul Henreid was stalwart and in earnest, but, let's face it. He's not Humphrey Bogart, despite his efforts to be a tough leading man and willingness to face danger unafraid. The rest of the cast is excellent, with several familiar faces in Sidney Greenstreet and Peter Lorre, and Hedy Lamarr is gorgeous. In fact, the story is a good one, as has been reiterated by other contributors. There is some tension and suspense at the end of the film, as they try to uncover the traitor in their midst. But Bogey's not there, with his signature snarling inflections and scowling face. Still, it's entertaining on it's own terms and holds the interest throughout.

7/10 - Website no longer prints my star rating.

OK, if you want Casablanca then watch Casablanca!. I could never completely understand the fuss people make over that film. Yes, I know it has many very good qualities, but some shaky ones as well (alright, perhaps it's time I looked at it again). As for this particular movies attempt to capitalise on the success of the earlier film (Hollywood has always followed the proved formula method - and even more so now) so it might also be said, if this film had come along before Casablanca, it may just have received all the accolades. I'm assuming 'Conspirators' would have been given the bigger budget (it has a more expensive look about it) and as it seems Casablanca was not anticipated to be the hit it turned out, so Warner's would then have hoped to follow up with another winner.

Arthur Edeson's standout Cinematography is mesmerizing. The knockout classic lighting coupled with the great Direction of Jean Negulesco (others have called him insensitive and pedestrian - how unobservant they show themselves to be! best look again is all I can say to them) The strong Max Seiner music score is quite unique to many of his other works ~ with the masterful Orchestrations of veteran arranger Leonid Raab giving the score a potent sound that's perfect for this story. If anything, the post production alterations would have contributed to the movies hard to follow moments and contrivances, but this was typical with many films from this otherwise spot on studio. That said, let's face it, Hedy and Paul do make the most of their exhausted and very scared characters...theirs were strained times to be living through.

Look at it on it's own entertainment merits, the script may have some unevenness and some characters a little familiar, but overall this is not nearly as bad as some might have us believe. Some will, some won't.......KenR

This is not a sequel to "Casablanca" but quite a different story with totally different circumstances. The main thing here is perhaps the music, since the Portuguese "Fado" culture plays an important part here. The "Fado" songs of Portugal are always overbearingly melancholy, and they are usually about love and death - one of them is a kind of figurehead to this intrinsic plot of extremely complicated machinations, since so many nations are involved in it - there are, besides the Portuguese, mainly policemen, also Germans, Poles, French, a flying Dutchman, and the main target is England, where some number are trying to get away to, one getting murdered for it. Hedy Lamarr is as shiningly beautiful as ever and steals the whole film, while Paul Henreid acts the more although in her shadow, which he is honest enough to confess himself. Peter Lorre has too small a part like Sidney Greenstreet, who always fills the screen but here not enough although well enough after his very late arrival. Max Steiner fills the background with splendid music as usual, so there is actually nothing mssiing in this muddled up espionage thriller with too many actors crowding on each other, leaving piteously small space for a romance like that in "Casablanca". Hedy Lamarr is no Ingrid Bergman, but instead she is Hedy Lamarr. This hotch-potch of late war entertainment in a duck soup of intrigue never really gets serious, but exciting enough in total suspense most of the way, although the script has some flaws, but the dialogue, cinematography and direction are magnificent. Paul Henreid's prison companion deserves some special attention and credit of sympathy, having been there for 18 years with his broom and staying there.

In order to counter the unbelievably negative previous review I shall first disagree with ALL of the "I spy" review.

Jean Negulesco (Humoresque) directs an all-star cast in "The Conspirators", a truly remarkable film, and a MUST SEE!! This film resembles "Casablanca" in that it has much of its feel--the cast, setting (WWII Portugal), romantic music, this film has it all! Strangely enough, this film bears some similarity to Hedy Lamarr's life in Germany before her escape. She worked extensively against the Nazi's. The fact that she was to be cast in Casablanca instead of Ingrid Bergman goes to show that the chemistry between Paul Henreid was definitely strong. Unfortunately, Lamarr was not able to take the role so it was given to Bergman.

Lamarr's enigma-like qualities is trademark of her style and adds to the film's appeal.

Henreid is in his own element here and the man he was hinted at being in Casablanca comes to life.

Sentimentality evidently fails to appeal to everyone. However, I will conclude with stating how much the messages this film carries appeal to me--the love story filled with strife, as well as fighting against all odds whatever the cost.

All the ingredients that made CASABLANCA such a mega-hit are present in THE CONSPIRATORS, but not one of the ingredients is able to put the film over the top as a story of intrigue, espionage and romance.

What's surprising is that the film fails to sustain interest despite a great supporting cast that includes PETER LORRE, SYDNEY GREENSTREET and VICTOR FRANCEN. Also surprising is the fact that it's directed by Jean Negulesco, who did such a brilliant job on the direction of JOHNNY BELINDA. The script is a talky, muddled bit of contrivances and clichés, with Henried as a Dutch freedom fighter in Lisbon clashing with the Nazis and falling under the spell of a beautiful woman who guards her secrets.

HEDY LAMARR is lovely, of course, but her characterization is so paper-thin that all we can really see is her exotic glamor, without much passion or feeling below the make-up. Nor is PAUL HENRIED seen at his best, more remote than usual in what should have been a much stronger role but is dulled by a witless script and a co-star with whom he has very little chemistry.

The convoluted plot doesn't give the supporting actors much to do and it's somewhat of a relief when the story comes to downbeat ending.