L'avventuriero di Macao

Josef von Sternberg began Macao (and copped the directorial credit), but Nicholas Ray finished it. Nonetheless, it abounds with Sternberg's branded flounces and fetishes. As in Shanghai Express and The Shanghai Gesture, he trowels on the Orientalism in thick impasto (Sternberg could have made the best Charlie Chan movie of them all).

A nighttime chase through the Macao docks opens the movie (to be rhymed near its conclusion): A white-suited European is pursued by knife-throwing Chinese thugs; he falls in the water when one blade finds its mark. A badge filched from him pocket shows him to be a police detective.

Into this world of Asian intrigue sails a boat from Hong Kong, just 35 miles up the coast. On it is the motley crew of salesman William Bendix, drifter Robert Mitchum and mysterious woman Jane Russell, who lifts Mitchum's wallet. Sans passport, Mitchum comes to the attention of the Macao police chief (Thomas Gomez), who reports the suspicious stranger to gambling kingpin Brad Dexter. Dexter assumes Mitchum is a cop he knows to be on his way to extradite him back to Hong Kong....

It's a playfully plotted adventure story. Russell gets a gig singing at Dexter's club in eye-popping gowns which actually aren't any more provocative than the black-and-white daytime outfits she traipses around in, wielding a parasol. She fares better than Gloria Grahame, as Dexter's moll, looking washed out and largely wasted (though she puts her distinctive spin on a couple of lines). Mitchum by this time has done this role – the lippy but laconic reluctant hero – so often he could do it in his sleep, which, given his hooded eyes, may be the truth of the matter.

Macao is an utterly shallow film done with energy and style. The plotting remains perfunctory, but the play of shadows throughout remains transfixing – especially in the set-piece near the end, again on the dark waterfront, with ropes and nets casting their creepy spell. And the movie provides Russell with one of her few opportunities to flaunt her real, if narrow, talents: in addition to the statuesque figure that caught Howard Hughes' eye, she had spunk and sass. That's what Sternberg saw, and he fell for it. We do, too.

Nick Cochran, supposedly an American adventurer and petty criminal, arrives, short of cash and on the run from the United States where he is wanted, in Macao (at this period still a Portuguese colony). Arriving on the same boat is an attractive young woman named Julie Benson. Julie is hired by Vincent Halloran, the local gambling boss, as a singer in his casino-cum-nightclub. Halloran is also wanted in America (for offences far more serious than Cochran's), but cannot be extradited as long as he remains in Macao. Although this is a short film, there is still time enough for the plot to become very complex. A number of the characters are not what they seem. Is Cochran, for example, what he purports to be, or is he really a cop trying to lure Halloran beyond Macao's three mile limit into international waters where he can be arrested? Who is Lawrence Trumble, the mysterious salesman who also appears to have a sideline in stolen jewellery?

This is the second film which Robert Mitchum and Jane Russell made together; the previous year they had starred in "His Kind of Woman". The two films have much in common beyond the two leading actors. Both have an exotic setting and both feature gambling and a ruthless gangster. The two leads play similar types in both films, Mitchum a seedy, down-on-his-luck character, likable despite his shady past and occasionally cynical exterior, and Russell a sultry glamour girl. There is, however, an important difference between the two films. "His Kind of Woman" can be seen as a comic send-up of the crime thriller genre, starting off in the dark, menacing film noir style and then metamorphosing into a comedy action-thriller. "Macao" is the genuine article rather than a parody, being for the most part played seriously rather than for laughs, although it the atmosphere is perhaps lighter than in some other films noirs. The difference lies less in the look of the film- "Macao" has some striking black-and-white photography- than in the moral atmosphere. Films such as the Humphrey Bogart classics "The Maltese Falcon" and "The Big Sleep" were notable not only for their dark, gloomy look but also for their tone of moral darkness. The private eye characters played by Bogart struggle to maintain their private integrity in a world of corruption and deceit. In "Macao" there is something closer to a traditional morality, with good triumphing over the evil of the ruthless villains. The result is perhaps something of a hybrid between authentic noir and a more traditional adventure thriller, still highly watchable even today. 6/10

It's a routine but atmospheric potboiler, and worth a watch if not seen before. I've seen it a dozen times, but I'm a sucker for this kind of hard boiled dark nonsense. "Shanghai Express" was much better in all departments from Sternberg in the Golden Age, darker gloomier and more menacing, and is the yardstick I judge his other work from. Co-directed by Nicholas Ray (or was it finished?) "Macao" stands out for me from the real routine Hollywood films of the period, the ones that were meant to make a lot of money and did.

Brad Dexter's finest film role as the whispering crook, Mitchum sparkles (or rather, snoozes his way through) in his best comedic vein, Russell and Grahame are perfectly decorative, however it's a pity Bendix couldn't have stuck around to the end. Mitchum boarded Macao without a passport and was the only one not searched at Customs - and the slender thread the whole story hangs by is also perpetrated by Thomas Gomez there too.

If you, like me liked "The big steal" or "His kind of woman" you're sure to like this.

Hooray, Hollywood had the good sense to pair up Robert Mitchum and Jane Russell in another movie! After the sizzling magic between them in His Kind of Woman, they made Macao, which is incredibly similar and also very entertaining.

Added into this one-which is not a sequel, by the way, even though it's similar-are two sidekicks: William Bendix always adds character to a cast, and Gloria Grahame tries to take Bob away from Jane. Sorry, Gloria, but when Jane and Bob are together, there's just no stopping them. They banter, but there's something sweet underneath it all, showing that although both stars are big and tough, they'll always find time for romance. And, since they were lifelong friends, it helps knowing they had fun filming together!

Instead of Mexico, the leads are transported to China, but there's still intrigue, mystery, action, and fun quips mixed in amongst the romance. It's hard to decide whether His Kind of Woman or Macao is better; give them a whirl and try to decide for yourself!

Macao is a paradise to outlaws since there is no extradition from this country. The former soldier Nick Cochran (Robert Mitchum) that had a problem with the New York police; the cynical and experienced singer Julie Benson (Jane Russell) and the salesman Lawrence C. Trumble (William Bendix) travel by ship and arrive at the port of Macao. Julie pickpockets Nick 's wallet and he loses his money and documents.

On the arrival, the corrupt Police Lieutenant Sebastian (Thomas Gomez) has the information that an undercover detective from New York is on board of the vessel and he believes that he is Nick Cochran. He discloses the information to the crime lord Vincent Halloran (Brad Dexter) that owns a casino and Halloran believes that Nick has the intention of taking him into international waters so that he can be arrested. Halloran hires Julie and tries to bribe Nick to leave Macao, but Nick and Julie feel attracted to each other and Nick has no intention to travel to Hong-Kong. When Trumble offers a deal to Nick with a diamond necklace, Nick shows a diamond from the necklace to Halloran and he concludes that Nick is really an undercover cop and sends his henchman to capture him. Who might be Trumble?

"Macao" is an entertaining adventure with a non-original story. The screenplay is weak, with a rushed conclusion, and the characters are poorly developed. The greatest attractions are the always great Robert Mitchum and the sultry Jane Russell that makes it worthwhile watching. My vote is six.

Title (Brazil): "Macao"