Cita en Hong Kong

Gable and Hayward are great to watch and Hong Kong is the uncredited star of this flick. Admittedly, Gable was not in his prime but he had the charm and sex appeal to keep viewers, especially females, interested. There is one scene between Gable and Hayward showing the harbor entrance of a typhoon that is sexier than any current movie showing actual sex. My only complaint with Susan Hayward was her hair. Her stylist really goofed on this one. Her hair was parted in such a way that she looked like she had a "comb-over" from the back. Her clothes were perfect for her neat, compact figure. She really was an adorable woman and I'm glad that she had a happy second marriage. Richard Loo was marvelous as the anti-communist, expatriate general. His comments are as relevant today as they were in 1955. Michael Rennie was as usual the superb Brit that we all loved to watch and listen to in the '50s. But the music has always been the real hook for me. I watch this movie again and again to enjoy the wonderful music. I think David Raksin of "Laura" fame wrote the score.

A woman , Susan Hayward , enlists a shipping magnate , Clark Gable , to help her to find his lost husband , Gene Barry , in Red China . Meanwhile , Clark becomes involved with a motley collection of unsavoury underworld figures. As there are rumors that the hubby might be held by the Communist Chinese military as a spy and Gable set out in hunting the missing man in Hong Kong , Macao and Canton .

An entertaining but slowly paced adventure has Gable as a shady smuggler entrepreneur who attempts to save the husband photographer of a distinguished Mistress, Hayward. Late Clark vehicle with the ordinary formula beginning to fall and feel the postwar strain ; besides, there is not enough action to keep adventure fans happy . It hardly ever delivers fast movement , though there is an exciting final getaway . Still a decent but mediocre fun, at times , from two top drawer stars, Gable and Hayward. As Susan had been among the myriad starlets vying for the Scarlett OHara role nearly two decades early .Here Hayward has a character less dynamic than those she was used to at the time , like the Oscarized : I want to live¡ . Support cast is pretty well , there's plenty of notorious secondaries as Michael Rennie , Gene Barry , Jack Kruschen , Russell Collins , Tom Tully , Leo Gordon, Richard Loo , Mel Welles , a very small role by James Hong , Alexander D'Arcy , and it is surprise to find the glamour of a silent cinema great star : Anne Stern as a middle-age woman who marries Russell Collins.

The picture contains colorful cinematography in Cinemascope, Color De Luxe, by Leo Tover, probing his camera really makes the teeming streets and water-ways of Hong Kong and Macao spring to life . And sensitive and romantic musical score by Hugo Friedhofer, including oriental sounds. The film was regular but professionally directed by Edward Dmytryck . He was a fine craftsman who directed a lot of films, some of them are considered classic movies .Howewer, Edward's later pictures tended to be on the sluggish side , such as Soldier of Fortune .Edward was a member of the communist party and he was denounced before HUAC . He was one of the so-called " Hollywood Ten" , though , subsequently he turned an informer and was panned by the establishment . Dmytryck made films of all kinds of genres such as Western: Shalako,Alvarez Kelly, Raintree country, Broken lance, Warlock ; Wartime : Anzio, The Caine Mutiny, Hitler's children, Young Lions, Back to Bataan ; Drama : The carpetbaggers, Mirage, The human factor, The left hand of God , The mountain, Till the end of time, Crossfire , Her first romance , Tender comrade , End of affair , Cornered , among others.

This typically glossy Fox production from the 1950s, hinging on equal parts star power and exotic locations, was another title I had missed out on several times along the years; after its recent SE DVD release, I made it a point to catch up with the film next time around.

Anyway, for an adventure film, it's rather talky and, even if just 96 minutes long, it devotes too much attention to irrelevant subplots involving secondary characters (including gruff bar owner Tom Tully and a comeback role for former Swedish star Anna Sten) to the ultimate detriment of major ones: in fact, Susan Hayward – who gets to interact with most of the cast – is given more screen-time than Clark Gable (which is even more surprising when one remembers that this was Gable's first non-MGM film in 20 years!) and, in spite of their billing, both Michael Rennie and Gene Barry don't have a lot to do until the climax (though, in the latter's case, it's understandable as he's a prisoner in the hands of Communist China).

With respect to the narrative itself (Ernest K. Gann adapted his own novel for the screen), the film seems to fall between several stools – action, romance, politics – but, with its eye firmly on the box-office, this superficial and sometimes contrived approach ends up satisfying no one. That said, it's a generally entertaining ride – and Dmytryk handles the proceedings in an efficient, if highly impersonal, manner.

In the end, I'd say that SOLDIER OF FORTUNE is the least of the 3 Fox titles released as part of the rather expensive "The Clark Gable Collection" – the others being William Wellman's THE CALL OF THE WILD (1935) and Raoul Walsh's THE TALL MEN (1955; disappointingly, this is the only one not to feature an accompanying Audio Commentary).

This is one of those early Twentieth Century Fox CinemaScope potboilers where the studio sent (most of) the cast and crew to actual locations and took full DeLuxe Color advantage of places that most of the potential audience would never visit in real life. So, the bustling and already festooned-with-highrises city of Hong Kong is the principal setting for the jumping-off point of the plot. It's pretty obvious that Gable is actually there in Hong Kong for a few of the shots but Susan Hayward, embroiled in a custody battle after her divorce from Lex Barker, didn't dare leave the U.S., or her chances of caring for her children by that marriage might have been scotched. Therefore long shots and a few medium ones of her were cleverly arranged with a double and she performs all of her closeups, et cetera, safely ensconced on the Fox soundstages in West Los Angeles and against some rather good back projections.

Gable and Hayward are a pretty good team and Michael Rennie lends his usual elegant support. Gene Barry has a rather thankless role as Susan's eventually rejected husband, and the supporting cast, including the Asians appearing as various Chinese, are all convincing under Edward Dmytryk's workmanlike direction.

For me the real stars, however, are Leo Tover's excellent use of the CinemaScope lenses and, once again, Hugo Friedhofer's atmospheric score. In my opinion, no other Hollywood master of the full orchestral enhancement was able to cue the audience and call up some real emotion with so few bars of music. This film is a sterling example of his art. Just check out the closing few moments of the film. He could send you out of the theater convinced you'd seen something even better than what you had actually viewed!

The 50s was Hollywood's probably worst-ever decade, the highlights of that period very ironically being mostly low-budget, so-bad-they're-good sci-fi and monster movies. Even though SOF isn't by any means a brilliant exception to the rule, it does offer something that a number of 50s big-studio movies did have: beautiful women (in this case one woman) and great Technicolor visuals. Susan Hayward has never looked better: she is quite simply stunning. The coastal night scenes are visually impeccable. The story isn't too cheesy for that period and refreshingly presents communists as the bad guys. (The movie was made post-McCarthy-clean-up so there was a pleasant hiatus that lasted several years regarding left-wing propaganda films that glorified communists or at least tried to soften the brutality of such regimes.) Clark Gable, if a little old, in the lead role can't hurt either.

Compare 40s/50s beauties like Liz Taylor, Olivia de Havilland, and Susan Hayward to modern-day wrecks like Julia Roberts, Jennifer Aniston and Cameron Diaz. Sad...