Lady of the Tropics

Truly I don't understand the poor reviews of this film.

It's a melodramatic romance in the vein of "Camille" or "Waterloo Bridge." (Both of which also starred Robert Taylor). It is certainly no worse than those, and the overall theme is not that much different.

Hedy Lamarr's role here is very subtly played. She lies and deceives because she doesn't want anyone to be hurt. That is key to understanding her character. Placed in an impossible situation, Manon tries her best to rise above it the only way she knows how. Lamarr captures this struggle magnificently. It's written on her face in so many scenes.

Sometimes I've heard she is "wooden" in this role. Are you kidding? In her scenes with evil Delaroch, she masks her agony with a Mona Lisa smile, trying to reveal nothing. That is acting, folks. Sorry you don't recognize it. Perhaps it is because so many stars of the era regularly chewed the scenery, and in comparison, Lamarr's portrayal is too realistic. It's the only thing I can fathom.

As for Robert Taylor, also a favorite of mine...I think he plays the American playboy perfectly. One of my favorite scenes is where he's trying to buy a "hat" for his heiress girlfriend early in the film. He supplies humor in just the right amounts, and his eventual adoration of Manon is well done, hauntingly.

I have seen this movie probably more than any others of hers, and I never get tired of it.

Was Ben Hecht a damnable racist, or does it merely seem so? The fact that this frankly racist film doesn't shock our sensibilities maybe due to its not being that much outside of the norm. Hollywood has been called leftist, but no miscegenation is allowed, not even after the war. And all participants in this charade pretend to have creative freedom, or to desire it. This film could well have been called "No Miscegenation!" at a time when someone else in Europe was crying "No Miscegenation!" Congratulations Hollywood!

Hedy Lamarr was not generally as fortunate in her scripts or her directors as most of the great leading ladies of her day.Yet this now almost forgotten film may ,in fact, be her most perfect vehicle. "Samson and Delilah" appears the only alternative possibility ;still the gentler less garish approach here serves to better accentuate Miss Lamarr's exquisite beauty and muted, perfectly timed, performance.

The part of the half-caste Manon seems written for her (an excellent Ben Hecht script); the photography deserved its Oscar nomination and makes us ask for what do we need technicolor? Furthermore,Lamarr is ably seconded by then newcomer Gloria Franklin as another gentle victim of the Saigon love game.And can Miss Franklin handle a heartbreaking rhythm. Why did America fail to take this delicate chanteuse to its heart?

The main flaw in this work,which otherwise would deserve a nine or ten rating, is the casting of an already hardening Robert Taylor as the enraptured playboy.It is patent,considering the obvious parallels with "Camille, why Taylor was hired. He even goes through some almost identical motions a second time in the death scene here. And that is exactly the problem.Taylor has left romanticism behind him by the time this film was shot. His best notes here are quiet desperation. Francis Lederer would have been great for the role(remember him with Louise Brooks?),but, under the Hollywood casting system ,there was no chance he could have gotten the part.

Flawed as it is, it is flawless Lamarr.And as every romantic believes ,there must still be audiences of unknowing lovers out there who will want to see it again-and again.

I thought Robert Taylor was very good in Waterloo Bridge. Here, however, he just doesn't produce the chemistry the part should have. He isn't really bad, just in this case rather average.

On the other hand, the rapturously beautiful Hedy Lamarr is so perfectly cast in this role. She handles the language accents so well. This film provides an example that those who say yes she was beautiful but couldn't act, that that just doesn't hold water. Her acting here is really quite perfect for the part. The inner conflict of somehow knowing her fate yet dreaming that things could be different comes out in her subtle facial expressions. And of course she looks perfect in the nice dresses and hats. I could see why Bill was trying everything to stay with her and take her away from there. Oh how it is when an American man falls in love with a foreign beauty. See "Act of Love" starring Kirk Douglas if you can.

The other actors did a fine job in this movie as well. And of course the cinematography won a well-deserved award. How I prefer the black and white movies.

This is really an underrated movie with an underrated actress in the lead. I enjoyed it at least as much as her more famous movies. Sure wish Hedy, parts turned down aside, would have played in more top movies.

If there is one downer about this movie, it is rather sad. But the wonderful Hedy Lamarr singlehandedly makes up for it.

With a script by Ben Hecht, LADY OF THE TROPICS is a film that recalled another Hedy Lamarr film--at least the title does--called "A Lady Without Passport"--a wretched film she made in 1950. Here too, she's a lady without passport and that's what triggers the entire plot. But it must be said that the comparison between the two films ends with the title.

This is strictly old-fashioned melodrama reeking of either "Manon Lescaut" or "Madame Butterfly", with Hedy as the ill-fated heroine who allows herself to be "used" by Joseph SCHILDKRAUT while hiding her indiscretions from her smitten American admirer (ROBERT TAYLOR), who meets her in French Indochina (Saigon) before WWII and immediately falls in love with her. When Schildkraut gets revenge by planting false evidence of his association with Lamarr to open Taylor's eyes to the truth, the consequences turn tragic.

Hedy has never been more beautiful and gives a sensitive performance as Manon (yes, that's her name!), a "lady of the tropics" with a sultry beauty enhanced by her MGM transformation into a stunning star who is always ready for her close-ups. Attired in an equally stunning Adrian wardrobe, she's a glittering testament to the power of Golden Age films to give stars glamor with a capital "G". Taylor, attired in white linen suits and Panama hats must have made female hearts flutter as the romantic hero willing to sacrifice all for his yen for Manon.

It's a better film than I expected. Joseph SCHILDKRAUT makes a perfect villain, the kind you like to hiss, with his Oriental make-up and oily manner oozing menace at every quiet inflection of his voice. The B&W photography of some artfully designed sets is soothing to the eye and so, of course, is the teaming of Lamarr and Taylor--two of the most photogenic stars on the MGM lot.

The script by Ben Hecht helps sustain interest in the storyline, even if it does get a bit too weepy toward the end. Lamarr shows evidence that she could be a very sympathetic heroine if given half a chance.