Rope of Sand

What a great cast, what a top director and what a disappointing movie. I blame the script, or rather lack of one, cause nobody involved seems to quite know what it is all about. Something about diamonds? That'll do, let's start filming. Famously Casablanca was already in production without a finished script, and look how well that turned out, right? Just put some of that cast in another exotic location and Fate and sheer acting talent, aided by some stylish camera-work will do the rest. Alas, it didn't. The muddled story limps along from scene to tepid scene, the plot holes are abundant and the Great Romance never convinces for a moment. I kept hoping the story would catch fire at some point, but it never does. Will Paul Henreid turn out to be a Nazi war criminal? Where did Peter Lorre wander off to? Does Claude Rains have any aces up his sleeve? Why would anybody believe the girl killed the doctor? Is she a former member of the French Resistance, set out to kill Vogel? Wouldn't that sorta spice up this bland story? Nah, it turns out everybody is just what they appear to be. With some solid script doctoring this could have become a great adventure movie. Shame.

This film is hard to find, but i finally got hold of a decent copy off ebay.co.uk recorded off a satellite channel. I'm glad i finally got to see it, it was very entertaining with numerous plot twists. The quartet of Lancaster, Rains, Henreid and Lorre make great viewing as they try and scene steal off each other at every turn. Claude Rains is smooth, silky and delightfully devious; Lancaster hulks, sulks and looms superbly. There is no discernible chemistry between Lancaster and the 'new' (well to US audiences) Corinne Calvert; which weakens their characters' motivation somewhat. Lancaster seems more in love with himself though, so tough competition for Corinne there. Calvert does a creditable turn here, ( though her French accent can be a little opaque), but she is outclassed easily by the men- Rains wipes the floor with her but she is stunning and exotic enough. Though her final clinch with Lancaster on the ship as they leave the desert hellhole that they've been inhabiting for the last hour and a half, is incredibly drippy and Lancaster looks as if he'd like shot of her big time. But that's the dialogue for you. Henreid is suitably nasty and sadistic and you can almost smell the sweat and feel the heat- so there is much to recommend in Rope of Sand.

This is a film of considerable charm and interest, a postwar noir updating of the Warner Bros. "Casablanca"-style foreign intrigue routine that substitutes a refreshing toughness for the earlier films' cotton-candy romanticism. As usual, the stalwart leading man plays second fiddle to the character roles. Claude Rains takes his wry-and-witty routine to the level of sublime high camp, Peter Lorre purrs lyrical philosophy in a rumpled linen suit and three-day beard, and Paul Henried does much better as the arrogant, sadistic villain (reminiscent of Ronald Merrick in "Jewel in the Crown") than he ever did as a leading man. There's even subtle criticism of the apartheid system thrown in. What could have been a minor classic and certainly the best of the "Casablanca" clones is severely compromised however by the presence of Corinne Calvet, whose ferret face and rusty-hinge voice make a potentially pleasurable film difficult to watch, let alone enjoy.

Rope Of Sand is one of those films that as Burt Lancaster said he did for the poke. It's a routine action/adventure film that some have said is a Casablanca reunion. Also it was Corinne Calvet's first American feature.

But besides Lancaster and Calvet the cast includes Claude Rains, Peter Lorre, and Paul Henreid. Rains is playing his role as a diamond magnate as if Captain Renaud had retired from the army and went to South Africa to make his fortune in diamonds. Rains is the elegant sophisticated head of a diamond cartel and for amusement he likes to manipulate people. Lorre plays a kinder, gentler version of Ugarte I doubt he would murder two German couriers for letters of transit, but he might pick their pockets.

But Paul Henreid is as about as far away from the courageous anti-Nazi freedom fighter Victor Laszlo as you can get. He's the brutal commandant of the diamond police. Yes the Union of South Africa did have such an outfit with police powers to protect one of the country's most valuable resources for the nation and most assuredly for the mine owners. You'll see this also in Sands Of The Kalahari and Gold, both films set in apartheid South Africa as this was.

Lancaster plays a guide who finds a cache of diamonds and gets a beating at the hands of Henreid and his storm troopers. Rains would like to get his hands on the diamonds also and cut Henreid out as he personally can't stand him, but he's useful on occasion. After Calvet who plays a prostitute tries the old badger game on him unsuccessfully Rains hires her to work on Lancaster to divulge his secret. She also goes to work on Henreid as well.

But as what usually happens Burt's charming ways get to her all leading to an inevitable climax about her and the diamonds.

The title Rope Of Sand refers to the desert surrounding where the diamond mines are. It's a decent enough action adventure film made more enjoyable by a great cast of the best supporting players around.

The cast makes this one worth watching: Burt Lancaster, Paul Henreid, Claude Rains (at his silkiest), Peter Lorre, Sam Jaffe. The character Corinne Calvet plays is a screenwriter's dream since she's likely to spark unexpected changes in each of the male characters, but as an earlier contributor pointed out, Calvet isn't up to the part. It's hard to believe that a man such as Burt Lancaster's character could become so smitten with her.

The South Africa setting adds interest to the proceedings and the plot uncoils in skillful fashion until the last reel or so when the rush toward climax becomes somewhat delayed and diffused.

Burt Lancaster's whipping at the hands of Paul Henreid no longer includes details mentioned in the book "Sadism in the Cinema," which implies that some footage has been cut from prints. Even in abbreviated form, however, the scene conveys the hint that the real emotional bond in the movie is not between Lancaster and Calvet but between Lancaster and Henreid. Henreid's brutally sublimated desire for Lancaster is certainly understandable since Burt never looked better than he does here.