Flor del trópico

Hedy Lamarr, (Manon DeVargnes Carey) was so beautiful in this film and her acting was outstanding along with Robert Taylor, (William Carey). Bill Carey played the role as a playboy with plenty of money and sails to Saigon and meets Manon in a bar and the two of them fall in love with each other once they look into each other eyes. Bill does not know very much about Manon or the fact that she has a lover named Pierre Delaroch, (Joseph Schildkraut) who lives a very shady life and is up to all kinds of tricks. Pierre becomes jealous once he finds out about Manon falling in love with Bill Carey and makes contact with his friends in the government of Saigon in order not to grant her any visas to the United States or Paris, France. Manon is a lady who tells many lies and is really a very sly and tricky lady when it comes to men or anyone. There is plenty of romance in this film and extremely dramatic situations which face these two lovers. If Hedy Lamarr did not star in this film, I am sure Betty Davis would have done a great job, but never as beautiful. Enjoy.

With a script by Ben Hecht, LADY OF THE TROPICS is a film that recalled another Hedy Lamarr film--at least the title does--called "A Lady Without Passport"--a wretched film she made in 1950. Here too, she's a lady without passport and that's what triggers the entire plot. But it must be said that the comparison between the two films ends with the title.

This is strictly old-fashioned melodrama reeking of either "Manon Lescaut" or "Madame Butterfly", with Hedy as the ill-fated heroine who allows herself to be "used" by Joseph SCHILDKRAUT while hiding her indiscretions from her smitten American admirer (ROBERT TAYLOR), who meets her in French Indochina (Saigon) before WWII and immediately falls in love with her. When Schildkraut gets revenge by planting false evidence of his association with Lamarr to open Taylor's eyes to the truth, the consequences turn tragic.

Hedy has never been more beautiful and gives a sensitive performance as Manon (yes, that's her name!), a "lady of the tropics" with a sultry beauty enhanced by her MGM transformation into a stunning star who is always ready for her close-ups. Attired in an equally stunning Adrian wardrobe, she's a glittering testament to the power of Golden Age films to give stars glamor with a capital "G". Taylor, attired in white linen suits and Panama hats must have made female hearts flutter as the romantic hero willing to sacrifice all for his yen for Manon.

It's a better film than I expected. Joseph SCHILDKRAUT makes a perfect villain, the kind you like to hiss, with his Oriental make-up and oily manner oozing menace at every quiet inflection of his voice. The B&W photography of some artfully designed sets is soothing to the eye and so, of course, is the teaming of Lamarr and Taylor--two of the most photogenic stars on the MGM lot.

The script by Ben Hecht helps sustain interest in the storyline, even if it does get a bit too weepy toward the end. Lamarr shows evidence that she could be a very sympathetic heroine if given half a chance.

I remember when I was living in Vietnam, I was told that Eurasian women were the most beautiful in the World. The French-Vietnamese women that I saw were indeed exquisite. Hedy Lamarr was perfectly caste as one of these women, and her performance in this film was so romantic that one would want to see it over and over.

This fine film featured Oscar-nominated cinematography, a script by the great Ben Hecht (Wuthering Heights, Notorious, The Scoundrel, Underworld), and Robert Taylor as the leading man.

The story is as old as time and you cannot fail to be moved by the tragedy.

Truly I don't understand the poor reviews of this film.

It's a melodramatic romance in the vein of "Camille" or "Waterloo Bridge." (Both of which also starred Robert Taylor). It is certainly no worse than those, and the overall theme is not that much different.

Hedy Lamarr's role here is very subtly played. She lies and deceives because she doesn't want anyone to be hurt. That is key to understanding her character. Placed in an impossible situation, Manon tries her best to rise above it the only way she knows how. Lamarr captures this struggle magnificently. It's written on her face in so many scenes.

Sometimes I've heard she is "wooden" in this role. Are you kidding? In her scenes with evil Delaroch, she masks her agony with a Mona Lisa smile, trying to reveal nothing. That is acting, folks. Sorry you don't recognize it. Perhaps it is because so many stars of the era regularly chewed the scenery, and in comparison, Lamarr's portrayal is too realistic. It's the only thing I can fathom.

As for Robert Taylor, also a favorite of mine...I think he plays the American playboy perfectly. One of my favorite scenes is where he's trying to buy a "hat" for his heiress girlfriend early in the film. He supplies humor in just the right amounts, and his eventual adoration of Manon is well done, hauntingly.

I have seen this movie probably more than any others of hers, and I never get tired of it.

Was Ben Hecht a damnable racist, or does it merely seem so? The fact that this frankly racist film doesn't shock our sensibilities maybe due to its not being that much outside of the norm. Hollywood has been called leftist, but no miscegenation is allowed, not even after the war. And all participants in this charade pretend to have creative freedom, or to desire it. This film could well have been called "No Miscegenation!" at a time when someone else in Europe was crying "No Miscegenation!" Congratulations Hollywood!