Pasión tropical

Even in comparison to today, when films shoot on location, Warner Brothers' tropical set looks like the tropics. It's not distracting; I'm thinking of the obvious painted backdrop in the last scene of "Treasure Island." In 1940's "Torrid Zone," Pat O'Brien is Steve Case, who manages the Banana Company in the Caribbean. His life has been no game since his co-worker, Nick Butler (Cagney) left to take a job in Chicago and continually sends him mocking telegrams - collect.

He needs Nick to take over one of the plantations, so he makes a deal with him - just work for two weeks. Nick agrees; the money will be useful.

There are also troubles with the rebel Rosario (George Tobias), who is on a hunger strike. The prison is afraid that he'll die before they can shoot him. Steve says, then just shoot him now. But Rosario escapes.

Then there is Lee Donley, an earthy, sexy nightclub singer whom Steve wants on a ship bound for the U.S. She doesn't want to go and tells Steve "The stork who brought you must have been a vulture." Lee meets Nick, and sparks fly. Nick meanwhile has a flirtation with the wife Gloria (Helen Vinson) of a former manager Bob Anderson (Jerome Cowan). Lee ends up staying at their house and walks in on a kiss between Nick and the wife. There's a lit cigarette on the floor. Lee picks it up. "I believe Chicago fire started in a very similar manner," she says. "The Chicago fire was started by a cow," an aggravated Gloria says. Lee remarks, "History repeats itself." You just can't beat dialogue like that, and that's one of the things that makes "Torrid Zone" so much fun. Cagney, O'Brien, and Sheridan are all known commodities, with Sheridan at the top of her game, sparring with both Cagney and O'Brien, looking great, and doing her own singing. When she has to be serious and heartbroken, she is.

Even Rosario's impending death is handled with some humor.

Very good and recommended, a real treat from Warners.

A couple of buddies chasing a buck, and usually a woman, in what we now call the Third World was a staple plot-line of movies from the 1930s on. Such movies were thought to offer a sure-fire recipe for entertainment: a travelogue to sultry and dangerous corners of the globe; romance sauced up with sass; exotic peril; and good ol' man-to-man rivalry.

Torrid Zone, directed by the pedestrian William Keighley, follows the recipe but lacks something in the execution – that elusive something that elevates the routine into the memorable. Down in Central America, Pat O'Brien plays the irascible operative of a banana-exporting concern (read: the infamous United Fruit Company). Besides shipping ripe but not rotten product to New Orleans, he serves as unofficial proconsul in this far-flung province of the American empire, where his word is, literally, law. (This subversive strand of the script, however, never gets explored.)

In addition to sluggish delivery from Plantation #7, O'Brien faces other problems. First, a local `revolutionista' condemned to death has escaped to rejoin rebel forces. Second, an American card-shark and shantoozie (Ann Sheridan) is stirring up trouble (O'Brien flubs his attempt to ship her home like a crate of perishable fruit). Third, his old nemesis James Cagney, former overseer of #7, is back in the country. Cagney takes a shine to Sheridan, who has befriended the revolutionary, who wants back the lands confiscated by O'Brien, who....

Barbed and topical dialogue, most of it mouthed throatily by Sheridan, proves to be Torrid Zone's chief attraction. But the needling rivalry between O'Brien and Cagney wears a little thin (as it does in the contemporaneous Road pictures between Hope and Crosby). And Keighley doggedly follows the script from one damn thing to another, so the movie ends up a fast-paced clutter.

O'Brien, a good actor who never really grew into a star (though he would shine in Crack-Up and Riffraff a few years later), suffers mostly from an unpleasant part. Cagney, in a Latin-lover mustache and the tropical answer to a 10-gallon hat, comes off as a bit of a bantam rooster. But Sheridan (whom Warner's publicists had dubbed the `Oomph' girl) remains a delight, embodying the pluck, warmth and smarts of that generation of game women who survived the Depression and would help to win the coming War.

Life at a banana plantation must have its compensations, judging from the way things turn out in this fast-moving, wise-cracking comedy directed stylishly by William Keighley. PAT O'BRIEN is the hard-nosed manager of a plantation who needs his former overseer's help in keeping some criminal elements from causing too much trouble. So JAMES CAGNEY comes back to help him--but trouble brews when he and O'Brien quarrel over red-headed ANN SHERIDAN, who just about walks off with the film's best lines.

It's strictly a Warner comedy-melodrama with stock players turning up in some good supporting roles, particularly GEORGE TOBIAS, ANDY DEVINE, JEROME COWAN and, in a small role, GEORGE (Superman) REEVES.

The real surprise of the film is ANN SHERIDAN, handling herself in every situation as a gal to be reckoned with. It's fun all the way.

Good movie - love the way Ann Sheridan goes head to head toe to toe with Cagney in some very snappy dialogue.

This was the final film for James Cagney and Pat O'Brien who in my opinion invented the buddy film. O'Brien would be leaving Warner Brothers the following year and the two of them would not get together in another film until Ragtime in 1981 in which they both had small parts.

It's a typical fast paced comedy for both of them, they were incapable of doing anything else together. O'Brien slowed down when he was in a clerical collar and Cagney when he was doing a nostalgic film, but together the lines go at light speed.

Except when Ann Sheridan is concerned. Director Bill Keighley always slowed the pace for Sheridan because he didn't want anyone to miss some of her tart sayings. She has some of the best lines ever in her career. Typical being when she tells O'Brien that the stork that brought him must have been a vulture. Or when she's constantly one upping Helen Vinson who made a career of playing the other woman.

O'Brien is the hardnosed manager of a tropical fruit company and he's in big trouble because a local Sandinista type bandit leader, George Tobias, is wrecking his operations. Another distraction is Ann Sheridan whose redheaded beauty he figures is too much of a distraction to the men where redheads are scarce. Notice how O'Brien tells the local authorities what to do. More truth than humor in that situation.

He's desperate enough to hire back his number one troubleshooter James Cagney who gets the job done, but always gets himself in a jackpot where women are concerned. He's taken a fancy to Sheridan and she him.

A couple of other reviewers have pointed out the obvious similarities between this and The Front Page. The first film version of that classic play is the one where Pat O'Brien made his screen debut as the ace reporter. However he did it on Broadway in the role of the editor which he's playing here.

Perhaps this might be better described as another version of His Girl Friday. I can't say remake because both films came out at the same time. Sheridan comes off the same way as Rosalind Russell does in His Girl Friday, but Keighley also wants to accent her sensuality as well as her sharp tongue. He succeeds admirably because no woman in their previous films quite put off both Cagney and O'Brien the way Sheridan does.

The woman sure had oomph.