Un giro de la suerte

This movie seems to be hampered by preserving Ginger Rogers' good girl image. This leads to a lot of highly unlikely scenarios, none of which ring true.

A rather smart plot ,gambling on the mistaken identities; the characters are cardboard, except for Herbert Lom's , the loser flesh on the bone with a lot of self-pity : Lom ' s performance gives the story a little substance , his playing often resembling Peter Lorre's .As for Johnny , to put it mildly ,her generosity verges on naiveté.

French Jacques Bergerac only made two movies in his native country where he remained virtually unknown ; and abroad,he could never become the French lover, as Charles Boyer and Louis Jourdan did : a pretty face and a slight accent are not enough.

This is worth watching for the fine, understated performances by Stanley Baker and Herbert Lom, each of whom exudes menace: a coiled snake and a desperate weakling respectively. The story strains credibility to achieve its effects and keep the plot moving, notwithstanding its reliance on the familiar trappings of melodrama - e.g., greed, betrayal, characters who are not what they seem to be. For a "kept woman," Ginger Rogers displays remarkable innocence. And is it actually possible to open the combination lock on a wall safe by merely turning the dial slowly and listening for clicks? The picture is minor-league Hitchcock (without Hitchcock), and it shows.

In fact, there are so many coincidences and misunderstandings in this movie it looks as though the makers of 1986's "Ruthless People" looked to this film for inspiration in writing that comedy.

Ginger Rogers plays Johnny Victor, an ex-showgirl who has become the mistress of Louis Galt (Stanley Baker). Everything she thinks she knows about him is wrong. She thinks he's been long legally separated from his wife and waiting on the divorce to become final - in fact he is estranged from his wife but very married. She thinks him to be head of a family business - he is, but it's his wife's family business, and any divorce would be the end of his executive life and the end of the front for his real business - counterfeiting illegal coins.

Now that's the straight-forward part of the film. The rest of it is one long string of coincidences and misunderstandings. First off, Johnny is friends with Emil (Herbert Lom) who is a con artist. She gives him money because she thinks the money is going to his sick wife. Emil is also working for Louis (several flights down in the chain) selling the counterfeit coins. Neither Louis nor Johnny know that the other one knows Emil. Emil owes Louis a bunch of money he can't pay back because he gambled it away, so he thinks he can get the money back by robbing Johnny's safe when she's away from home. He does so, and escapes detection by Johnny, but he takes something that was a personal gift from Louis. When Louis sees the bracelet up for hock and realizes Emil hocked it he thinks Johnny has a lover and it is Emil. Well, Johnny does have a new love, one she met after she found out Louis was permanently married, but he is an artist in the village, not Emil.

The end result is all of these people are arguing with each other yet none of them are on the same page. Emil is the only one who has most of the facts, and he's perfect as the cowardly little weasel. Somehow this not too bright piece of inhuman slime manages to steal even more loot, commit what seems to be the perfect murder, and frame unknowing suspects. One piece of advice here from years of watching Perry Mason - if you are ever in such a catbird seat, just walk away from the scene of the crime and act like you were never there - that's what people who want to appear innocent do. Do not follow the people you framed to see how it all turns out.

This is a European noir so there are certain techniques in style and acting that make it different from its American counterparts, but it is still an edge of the seat viewing experience. Only Ginger Rogers and maybe Herbert Lom will likely be familiar to American viewers. If those of you who recognize Lom know him only as Inspector Dreyfuss from the Pink Panther movies you'll find Lom's portrayal of the slowly emotionally unraveling Emil a revelation. Highly recommended.

Ginger Rogers stars in this portmanteau of romance and thriller, which is called "Beautiful Stranger" on the title. Eddie Byrne is his usual disreputable self - "I stole it, I'm innocent".

Rogers is the girlfriend of an apparently reputable millionaire living on a continental island when she meets a young potter at a bijou beatnik house on the coast.

Bizarrely, her Rolls Royce keeps changing colour from white to silver, even during car chases. I'm not sure if this is a filming fault, because of film processing, or a mistake made in digitisation.

Eddie creeps around a house and the potter looks outside but doesn't see his Citroen (the same one as used by the police) parked clearly in front of the house. The same white telephone is used throughout the house and office.