Lábios que Mentem

Tony Curtis stars in "Forbidden" from 1953, also starring Joanne Dru and Lyle Bettger, directed by Rudy Mate.

Tony is Eddie Darrow, who has been hired by a mobster to find Christine Lawrence (Dru). Christine is one of those people who knows a little too much about Barney's business, since she is the widow of one of his associates. Barney wants her found and brought home.

In Macao, Eddie soon meets Justin Keet (Lyle Bettger), a powerful casino owner engaged to Christine. Christine was once Eddie's girlfriend, so he finds the situation awkward to say the least. Eddie has to get her away from Justin and as far away from both Justin -- and Barney -- as possible.

Pretty good, with nice performances by Curtis, Dru, Bettger, and Victor Sen Yung. Amazing fight scene toward the end.

I used to work for Tony - love seeing his films.

Watching this movie, of course we think of those many adventure drama films where exotic atmosphere is mixed up with femmes fatales, tough villains, romance and so on...GILDA, MACAO, CALCUTTA, TANGIERS, ISTAMBUL. THE BIG STEAL...So this time, nothing is surprising, nothing, it is only a Rudolp Maté's film and showing Tony Curtis, still in his early career and in his one of first interesting roles, besides the costume swashbucklers which he used us so much since several years, also for the Universal Studio. Here, he as a real character and not a stupid one. Good worth film noir for gem diggers. Rather hard to purchase.

Saw 'Forbidden' as part of my Tony Curtis completest quest after being recommended many of his films here in the recommended for you section. It was not something that was intended initially but actually it has proven to be a generally worthwhile experience, even with a couple of missteps.

While there were and are better actors about and he didn't always look comfortable in his early films, Curtis was always immensely likeable and had a charming charisma with many good and more performances under his belt. The cover was also appetising and the story, while unoriginal, seemed really interesting. 'Forbidden' turned out to be a very good film, a good representation of Curtis in one of his better early roles and films.

'Forbidden's' somewhat unoriginal premise is obvious in some predictable plotting in spots.

Also, the Macau setting is more studio back-lot than authentic. Victor Sen Yung is a little wooden.

However, 'Forbidden' is stylishly and atmospherically shot and does look very pleasing. The music is also a good fit and works well as an energetic and ominous score on its own, the beautiful "You Belong to Me" (have found myself randomly singing that a lot around my flat recently on an irrelevant side note) is great to listen to, Virginia Rees sings it well.

The direction is more than competent while 'Forbidden' is snappily scripted and with some surprising twists, suspense and intrigue outweighing thankfully the derivative nature. The pace is always efficient, nothing's dull here. Curtis is a very amiable and charismatic presence, and he is well supported by Joanne Dru at her loveliest (their chemistry is charmingly amorous too) and a menacing yet subdued (not a bad thing) Lyle Bettger.

In summary, fun and well done film. 8/10 Bethany Cox

Tony Curtis goes to Macao. He's after ex-lover Joanne Dru, now a gangster's widow with some information damaging to the current head of the Philadelphia rackets in a safety deposit box. Curtis is being paid by the racketeers to bring her back to the US. When Curtis saves Lyle Bettger from a gun man, Bettger hires him to help out at his gambling place... and then finds out that Miss Dru is the fiancee of Lyle Bettger.

It's a pretty good role for Curtis, but pretty standard stuff for the other two leads. On the other hand, there's a nice role for Victor Sen Yung as the gambling hall's piano player; he seems unusually well connected as the depths of Bettger's actual business is detailed. William Daniel's camerawork is largely standard until the big finish -- although that may be because he established the standard 'MGM gloss' look in the 1920s. Even so, he had a lot to contend with. Director Rudolph Maté had been nominated for five cinematography Oscars himself.

Even leftovers can be tasty. Rudolph Maté's Forbidden is a stir-fry composed of elements from several movies of the previous decade; Casablanca and To Have and Have Not are in the mix, but the dominant flavors are Macao and Gilda (on which Maté served as director of photography). And while there's nothing fresh about it, it staves off hunger for a feast of film noir – at least for a little while.

Tony Curtis comes to Macao, port of intrigue, on a mission: To locate Joanne Dru, widow of a slain Philadelphia gangster, and bring her back to America (she knows too much). Interests in the City of Brotherly Love chose Curtis because he and Dru were once a hot item; nonetheless, they had him followed by another operative (Marvin Miller, probably best remembered as the unseen John Beresford Tipton's secretary on TV's The Millionaire).

On his way into the Lisbon Club, which Dru's known to frequent, Curtis fends off a murderous attack on its owner (Lyle Bettger), who professes indebtedness and takes him back home to meet his fiancée – Dru. Jagged flashes of lightning alert us that the romance has rekindled. The rest of the movie relates Curtis' attempts to wrest Dru away from Bettger (who plays the George Macready role from Gilda).

There's many an expected slip ‘twixt cup and lip, however. Every clandestine conversation draws unseen eavesdroppers, bringing to mind Charlie Chan's sagacious warning: `Two ears for every mouth.' Thoughts of Chan also appear in the person of Victor Sen Yung, his #2 son in many movies, who plays the Dooley Wilson/Hoagy Carmichael role (from Casablanca and To Have and Have Not, respectively) as a piano player at the Lisbon Club who knows his away around the unknown Macao and puts himself at Curtis' disposal. But just when the imperilled couple think they're home-free, Bettger resurfaces with his shark's-maw smile....

Forbidden looks good, as one would expect from Maté, but it keeps a good pace as well (Maté's D.O.A. had to keep up with Edmond O'Brien's speed-walking, but his The Dark Past and Union Station had their longueurs). It breaks no new ground in the noir cycle, but, as a second-feature, it's decent enough.