Tormenta Sobre Lisboa

This isn't the only Casablanca knock-off ever made. Republic Pictures was known for its cowboy movies (Autry, Rogers, et al) but once and awhile ventured into better pictures, especially those of John Wayne. I'm not saying this was a good movie, just that it came from a source with little experiernce of making a good movie.

I've seen several movies with Vera Ralston in the cast. I think a mention should be made of her dancing in this one. After Sonja Henie introduced dancing into women's figure skaing, every other skater took dancing lessons. Ralston was perhaps one of them.

I don't think a double was used for Ralston's dancing. If you watch it carefully (I did 3 times), watch her turns. She turns like a skater, not a dancer. Dancers don't usually pull their forearms in to turn or tuck their forearms to the chest, as Ralston did in this dance.

I'm not one of those people who has memorized CASABLANCA or who watch it once a year. It was a good b-movie, but there are thousands of other films I need to see, so I've moved on, and I'm not in the least bothered that STORM OVER LISBON is basically Republic Pictures' low-budget echo of CASABLANCA, with Richard Arlen and Vera Ralston echoing Bogart and Bergman (after all, I can hear Republic president,and husband of Vera Ralston, Herbert Yates saying, "Bergman is a mysterious European with a seductive accent, so is Vera! This is a great vehicle for her."). The plot here is somewhat different, but there's no question that this film would not even exist without CASABLANCA. There's a lot of tension created in STORM OVER LISBON, and it's well-acted by Arlen, Robert Livingston, Erich Von Stroheim, Otto Kruger, Eduardo Ciannelli, and Republic regulars Kenne Duncan and Roy Barcroft reprising their heavy roles, but this time instead of working for an evil town boss in a western, they are working for shady club owner Von Stroheim. There's a well-staged dance sequence featuring Ms. Ralston, and after hearing for decades how bad she is, I was surprised at how bad she WASN'T. This was only her second dramatic film (I'm not counting her first two films, vehicles for her ice-skating prowess), and the script wisely does not give her many lines even though she is IN a lot of the film. The lack of dialogue helps to create a mysterious, seductive quality about Ms. Ralston, so whatever she DOES say we listen to and we apply a layer of mystery to. I don't know if her English is phonetic or not, but after having seen films starring Madonna, Tara Reid, Roseanne, and Milla Jovovich, I have no complaints about Vera Ralston. Richard Arlen is always a comforting presence in a film--his gruff, virile persona is one we want to empathize with, and he has a natural quality that makes him believable. A story of spies and intrigue and back-stabbing and desperation in the Lisbon of World War II, STORM OVER LISBON is a successful b-espionage film that is a great way to kill 70 minutes on a rainy day.

The atmosphere is exotic and nice, there is nothing wrong about the cinematography, the music is all the way to great advantage, so what is wrong about this film? Everything else. There is no plausible plot, the dialog is miserable, the acting is stale and sterile, there are a few gunshots now and then interrupting the general boredom, the action is absurd, a few cold-blooded murders doesn't make it any better, and I have seldom seen Erich Von Stroheim in a poorer role. As the owner of a casino he manages some sort of spy central working for the Japanese, disposing of whoever he doesn't have any use of any more. The one thing that makes this film worth watching is Vera Ralston as she dances, her first performance to the wonderful music of Borodin actually lifts the film to some level of interest, she is beautiful to watch and makes a fine performance, but she is the only one. All the others are just standard types of crooks and machos. The three street musicians also help to give the film some attraction, but on the whole it is a sorry display of just the cheapest kind of elegance. I had expected better of Erich Von Stroheim.

... in this spy versus spy Casablanca ripoff produced by Republic Pictures as yet another showcase for the beauty and non acting talents of Vera Hruba Ralston. Here she's an undercover agent, masking as a dancer, who is hired at Deresco's, a night club casino run by Erich Von Stroheim, a secret agent for hire by the highest international bidder.

Richard Arlen's in town, a Yank carrying a secret message (what it is we'll never know) but, nevertheless, all but the final outcome of the war lies in its importance. Now how to get that secret out of Arlen, the question is posed. Sound familiar? Arlen brings the excitement of a clam to his role. Ralston's excuse is that she used to be a skater, which perhaps explains her frozen performance.

Cliche plot and dull lead performances aside, Storm Over Lisbon has some impressive art deco sets, particularly an elaborate casino that is quite splashy to the eye. The film is also distinguished by the beautiful black and white photography of John Alton. There might not be anything particularly noirish about this drama but Alton still gives the film visual sheen. The film also benefits from an above average supporting cast. Aside from Von Stroheim, imperiously overlooking all, there is also Eduardo Ciannelli as an eager underling, always ready to knock someone off if things get a little slow, and Otto Kruger as a scared agent trying to figure out some way to stay alive. An uncredited Ruth Roman can also be briefly seen as a checkroom girl. She has one line of dialogue.

Vera Hruba Ralston gets off the plane in Lisbon and goes immediately to Erich von Stroheim's nightclub. There he informs her she's working for him as a dancer, and don't date the customers. After her first number pilot Bob Livingston shows up and on von Stroheim's orders, goes drinking with him. Eventually they wind up delivering food to Richard Arlen, who's living ina. Deserted something-or-other. He's got something the Japanese government wants, and von is a spy-for-hire, ready to do whatever he gets paid for.

There's also Otto Kruger, Eduardo Cianelli,Mona Barrie, and a second over-the-top dance number in this spy movie. Everyone is pretty good, except for Miss Ralston. I should amend that: everyone seems good compared to Miss Ralston, whose every line is spoken clearly but rendered meaningless by the way she says it. She does this throughout the picture and takes it with her. For this they had to hire George Sherman to direct and John Alton to be director of photography.