Malaya

Just by chance I was home to catch this terrific movie when it was shown a few days ago on cable TV...what a happy surprise! Both Stewart and Tracy play "good-bad guys" whose inner morality and patriotism rises to the top when the going gets tough. The supporting cast is full of top talent, including super performances from John Hodiak, Sidney Greenstreet, and Lionel Barrymore. Richard Loo and Gilbert Roland both play brilliantly to their "type" and are fine as well, and Roland Winters (usually in pompous comic roles) is very effective as a German rubber plantation owner who should not be trusted! Look for the always-welcome Russel Hicks in the scene on the train, and savor the sound of his elegant voice.

In addition, the script by Frank Fenton is way above average, with very droll and off-hand wit in evidence throughout.

All in all, a first-rate movie which deserves to be much better known!

Even with a better cast, this would not have been much of a film. On the surface it looks like it will be some sort of action film, with spies going into enemy territory to steal, or rather negotiate on the black market for, essential supplies. But there's little intrigue and very little action. Most of the scenes are simply characters sitting in chairs talking to one another. The surprise at the very end of the film is so far-fetched as to undercut the credibility of nearly everything else. The love story involves two people who have no reason to be attracted to one another. There are elements of Casablanca here, set in a country occupied by the enemy, a nightclub owner consorting with an enemy officer, the gambling being fixed by the owner to pay someone he wants to do a favour to, and a cynic acquiring higher ideals; but it's all a very pale imitation of Casablanca. Some comments suggest that there is something "noirish" about the film. Well. it's in black and white, but it does not have the requisite sense of evil and foreboding.

But the biggest failure is in the casting. James Stewart is supposed to play a sour, hard-bitten, cynical operator who finds a little patriotism late in life. But Stewart can't help coming across as a nice guy. He may speak the tough words, but the tone is wrong. His eyes shift in that self-deprecating way of his, he carries himself in that modest way of his, and he just doesn't come off as the character he is supposed to be playing. When his partner is punching someone over and over in the face, Stewart looks repelled by the brutality. Spencer Tracy is probably even worse in his role as a tough jailbird who is let out of Alcatraz to help in the mission. He looks old; his figure is dumpy, his way of moving is slow. He threatens a man, but he doesn't seem very scary. (DeNiro would know how to do that.) He is the romantic interest of a nightclub singer who is crazy over him, yet he's way too old for her and doesn't have anything of the sort of animal magnetism that might make him believable as her lover. In fact, to be honest, there were moments when Tracy looked like he couldn't act. The Japanese have been beating him, trying to get him to talk; Tracy frowns a little but registers no pain, no discomfort, no fear; he shakes it off and then looks comfortable. When he dumps his girlfriend to keep her safe, his face shows nothing.

I forced myself to watch to the end because I have an interest in Malaya. On its own terms, this movie would have lost me long before the mid-way point.

Spencer Tracy and James Stewart preside over a terrific cast in "Malaya," a 1949 film also starring Valentina Cortese, Sydney Greenstreet, John Hodiak, Lionel Barrymore, Roland Winters and Gilbert Roland.

This is a fictional account of a very real situation involving the shortage of rubber during World War II. Japan really dominated the countries that had the rubber, and there was smuggling of rubber to the U.S. The situation involving Tracy and Stewart, however, never happened.

Tracy plays a con named Carnahan, whom the government releases from Alcatraz in order to spearhead this project, and Stewart plays John Royer, a former reporter with a shady enough past that the government (represented by John Hodiak) thinks he's a good bet to go into Malaya and smuggle tons of rubber out of that country and pay with gold. Carnahan knows the country like the back of his hand and has the connections. He and Royer pose as Irish sailors looking for work in order to get around a suspicious Colonel Tomura (Richard Loo) while they are helped by an old friend of Carnahan's, The Dutchman (Sydney Greenstreet). Cortese has the Dietrich role, that of a singer in love with Carnahan.

There are some exciting scenes in this film, and it holds one's attention. One of the best performances comes from Gilbert Roland, who leads the smugglers handpicked by The Dutchmen. He's very convincing.

As for Tracy and Stewart, well, although Tracy started out in tough guy Wallace Beery roles, 1949 was a little late for him to be taking them up again. Actually Hodiak would have been good, or Bogart, or John Wayne, Jimmy Cagney, someone along those lines. I thought Stewart was very good and that the two of them made an effective team. Someone said he came off as a nice guy. I thought he did cynic and hardboiled well. You can be cynical and hardboiled and averse to physical violence.

All in all, pretty good.

Malaya may seem a fantastic tale, but the story actually has quite a bit of truth to it. When World War II broke out the Japanese quickly conquered most of the rubber producing areas of the world. The modern mechanized army does run on rubber and both the USA and Germany developed types of synthetic rubber to be used.

My mother told me during World War II there were all kinds of drives for recyclable material and among the most valuable was rubber. People contributed all kinds of old tires for the war effort.

Lionel Barrymore plays the real life Manchester Boddy who was publisher of the Los Angeles Daily News who was the prime mover in the scheme you see portrayed here in Malaya. Though this story is fictional, the need for rubber in the USA was critical at the time and there was in fact a rubber smuggling operation going on.

Spencer Tracy before he came to MGM played just the kind of two fisted action heroes at Fox which was his original studio. He expressed an interest in doing this kind of film for old time sake and got cast in it. He really isn't poaching on Humphrey Bogart's territory these were the kind of roles he originally did in film while Bogey was playing hoods over at Warner Brothers.

Because the script called for a buddy team of heroes, James Stewart was approached and he even conceded top billing to Tracy. According to the Films of James Stewart, he admired Tracy as an actor so much that he was grateful just for the opportunity to work with him again. In fact Stewart's first film role was in Murder Man, a film that starred Spencer Tracy back in 1935.

With the two of these big stars in the leads, MGM was able to recruit a really outstanding group of players like John Hodiak, Valentina Cortese, Roland Winters, Richard Loo, the aforementioned Lionel Barrymore and my two favorites Gilbert Roland and Sydney Greenstreet.

Roland was shortchanged though. Watching Malaya I could tell his role as Tracy's adventurous friend was left on the cutting room floor. But even a little Gilbert Roland is always a pleasure to watch.

This was Sydney Greenstreet's last film and in it he essentially reprises the part of Ferrari in Casablanca. He's got the best lines in the film and his scenes with his cockatoo are classic. As he says, he's just a saloon keeper with an access to gossip. Which gets put to very good use.

Stewart the idealist, Tracy the cynical realist. Too bad they didn't work together more.

Malaya (1949)

It would be nice to love this movie—with a strong theme of wartime ingenuity and bravery, and with three stellar actors—but by the end I was thinking everyone involved was just going through the motions. That's probably enough in many ways with people this naturally gifted on screen, and the movie is enjoyable, no question. With all the borrowings or references to earlier classics (Sydney Greenstreet even has a big bird as a pet, as in "Casablanca"), it makes for a fun time.

The premise starts with some very compact storytelling—a somewhat disreputable man (James Stewart) is overheard saying he could smuggle rubber out of British Malaya (now Malaysia). It's WWII and the Army likes the idea enough to send him off with an ex-con (Spencer Tracy) who knows the area well. (This is all arranged with the help of Lionel Barrymore in a small role.)

Then the adventure begins as they penetrate with surprising ease the rubber plantations and arrange with the generally friendly locals and ex-pats to get their hidden stockpiles. The Japanese do eventually catch on and there is fun there, but not before a couple of torch songs and some humorous excess as usual from the likable Greenstreet.

Frankly, things never get exciting or even suspenseful, though interesting all along. One huge problem (for me) was a complete lack of details. The two men would say, okay, let's go get this rubber here, and they meet the plantation owner and there is some talk and then suddenly they are going down the river with some little barges. The Japanese have no suspicions, and the local smugglers are all these cheerful Resistance Fighter types who really like to help a lot.

It would be fun to know if a young viewer finds this exotic and fun or laughable. It's somewhere between in all. And what honestly holds it together for anyone who likes the actors is just watching familiar faces in new roles. That is one of the endless interests of the movies.

See it? Sure, if you already like older films or WWII films. It's not bad. The director Richard Thorpe is quite unknown these days, but the cinematographer is a standard bearer of he period, George Folsey, and that makes every scenes look terrific. Yeah, it's not at all bad. But it ain't great, either.