L'Homme de Lisbonne

Probably one of Republic's last good films, LISBON is a feast for the eyes and a good thriller to boot. Produced in Portugal, I assume on a Republic budget subsidised by the Portugese government or tourist office, Ray Milland produces, directs and acts in a lush and lavish romantic drama. The music theme Lisbon Antigua was a massive radio and disc hit in its day and it would be inetersting to know who much in boxoffice it contributed. The indoor studio scenes are very snazzy and well decorated, but some outdoor seabound back projection is wobbly. Still, the location shoot is used to excellent effect and I would say was very much influenced by To Catch A Thief, as is the whole reason for the film existing. Republic didn't make anything much of note around this (maybe only COME NEXT SPRING)and it is probably as modern and A grade as they were able to create by 1956. They folded in 1959, their market overtaken by Allied Artists, AIP and TV. It would be so beautiful to see on a cinema screen as it is in republic's NATURAMA process, their very own brand of CINEMASCOPE. Well worth finding and enjoying.

I consider Ray Milland was a much more influential director and actor than the afficiandos estimate. A good sound actor who could carry the lead particularly well and as this film and "A Man Alone" indicate he had the ability to create watchable,logical movies that had good camera work and never over egged the pudding.The Camera work in Lisbon is particularly good as are the sets which convey the aura of the time. The story line is clever without being to complex and an air of authenticity pervades the production which was done in an age where the backlot was normally everything.Splendid acting from Claude Rains as usual with Milland and the rest matching it perfectly. A good rainy day movie even now and worth my score of 8.

This obscure adventure romance from Republic may be thin on story but is, at least, distinguished by its lovely Technicolor photography shot on location in the title city and the pedigree of its Hollywood veteran cast, Ray Milland (who also directed), Maureen O'Hara and Claude Rains. The film is further blessed with a light, engaging Nelson Riddle song, "Lisbon Antigua," which plays throughout the proceedings. The Riddle song was a radio hit at the time, and is still pretty easily recognized.

The story involves Milland as a smooth operating smuggler (his operations are always kept vague) hired by suave well bred scoundrel Rains to pick up a "package" from an American just arrived in the city (O'Hara) which will involve her kidnapped wealthy husband. The story is neither here nor there, really. The combination of visual pleasures, Riddle's musical score and a capable cast of veterans may be enough for some viewers to want to spend an hour and a half of their time with this fairly inconsequential enterprise.

Rains is always fun to watch with his velvet voice, as a suave sophisticate who is also moral corruption incarnate. He seems to be almost playing his part in his sleep this go round but a Claude Rains asleep is still a great deal more entertaining than many other actors awake.

At one point in the film Rains delicately makes reference to O'Hara of how lovely she looks and how even more lovely she would look should something unforeseen "happen" to her millionaire husband, with he, Rains, receiving a small portion of her inherited good fortune. O'Hara is shocked and outraged by the suggestion, calling him a monster. Rains, realizing his faux pas, quickly regroups, saying that "in my own clumsy fashion" he was merely attempting to pay her a small compliment for not yielding to an idea to which a less scrupulous woman might succumb.

As Rains hints at the implications of a murder he could arrange, a small smile constantly dances across his lips. His expression could almost be that of a wine connoisseur discussing a rare vintage very much to his liking. It's a small, almost throwaway moment in the film, but it's a pleasure to watch the effortless aplomb that Rains brings to the scene.

I have seen more films than practically anyone. One thing I really appreciate is a picture that surprises me...one that avoids the usual formulas and cliches. Well, although "Lisbon" seems like a by-the-numbers movie, its final portion manages to offer quite a few surprises...and I really appreciate that.

The film, not surprisingly, is set in Lisbon, Portugal. It centers initially around two very different criminal smugglers....Aristides Mavros (Claude Rains), a man who has no scruples whatsoever, and Captain Robert Evans (Ray Milland), a rogue with few scruples...though how much you'll have to discover through the course of the movie.

Into this den of not niceness arrives a lady who is there to ransom back her rich elderly husband. Sylvia (Maureen O'Hara) is an odd one...and who she is and what her intentions are not clear until later in the movie...which I appreciate. Of course, the Captain is smitten with her....and another lady is smitten with him. How does all this work out? See the film!

An odd movie....not O'Hara's nor Milland's best. But still, it offers enough surprises that I felt pleased overall. Oh, and it was also directed by Milland as well.

I've been to Lisbon and it looked nothing like this Lisbon of this movie filmed in the mid-50's. The Lisbon in this film is gorgeous. Today, it's rather gritty and contrary to this movie where everyone speaks English, no one does. The illiteracy rate is like 40%.

The film is a romance/drama/film noir.

Claude Rains is really odd. He was born in England but has a really non-English way of speaking. He also looks rather old. Ray Miland who also directed this film is also looking rather old. Every time I see him I think of he and Rosie Greer in the 2-Headed Man. He plays a really horny smuggler.

Anyway, on to the movie. It's capably directed. Well acted and reasonably well done. Some of it stretches believability. And segments are really hokey. The subplots are not needed at all --especially the one with the hot sexed up secretary. And some of the writing could have been improved.

But it sure does look nice in Technicolor.