Saigon

This last and least successful teaming of Alan Ladd and Veronica Lake is still highly watchable for the sizzling chemistry between them and the Byzantine, if predictable, plot twists and dagger wielding bad guys behind the curtains. Alan Ladd's character has decided to kick around the Far East waiting for his terminally ill army buddy to die, rather than return home to normalcy after WWII. The various plot-lines involving smugglers and murderers is of less interest than the screen presence of the two headliners.

Like Singapore, Calcutta and Macao, Saigon sets off to an Asian port of intrigue. Demobbed in Shanghai after action in the Pacific Theater, three flyboys postpone their return to the States because one of them, Douglas Dick, has only a month or two to live. The catch is that he doesn't know it; his pals Alan Ladd and Wally Cassell guard the secret, having decided, under cover of operating lucrative commercial flights, to pack `a whole lifetime' of excitement and pleasure into his brief span left.

Their first assignment, however, proves their last. Shady war profiteer Morris Carnovsky pays them a suspiciously large sum to take him to Saigon, the `Paris of the Orient.' But, detained by police and gunshots, he doesn't show for the punctual flight; instead, they carry his `secretary,' Veronica Lake, carting along a briefcase crammed with half a million. The crate they're flying has to crash-land, and they make the rest of the journey by boat to Saigon, giving a romantic triangle time to form: Both Dick (avidly) and Ladd (reluctantly) fall for Lake. But a police inspector (Luther Adler) just happens to be aboard as well....

Yet another romantic adventure in subtropical heat, Saigon owes much to John F. Seitz' solid camerawork (which deserves special mention for avoiding ceiling fans). It's pretty by-the-book, but not nearly so embarrassing as Ladd's Calcutta of the previous year.

The movie marks the last screen pairing of Ladd and Lake, an emblematic couple in the noir cycle noteworthy for their chilly emotional temperature. Whatever cryogenic chemistry they generated in This Gun For Hire and The Glass Key and The Blue Dahlia had by this time, alas, gone inert; few sparks get struck this close to absolute zero. Only the perfunctory conventions of the genre insist that their future together will be either a long or a happy one. Even that pretense is belied by the movie's final shot – in a cemetery.

SAIGON was the last teaming of ALAN LADD and VERONICA LAKE, and sorry to say, it's also their least satisfying effort.

It's the buddy theme again, with Ladd and WALLY CASSELL trying to protect their buddy, DOUGLAS DICK, from the truth that he doesn't have long to live--and then getting involved in an adventurous tale of smugglers, loot and murder. VERONICA LAKE turns up to join the trio for a cloak and dagger sort of tale that pits the three buddies against the villainous LUTHER ADLER.

Neither Ladd nor Lake is seen to best advantage here and the script, as well as their seeming indifference to the storyline, is the real problem. Paramount apparently made this one in a hurry to cash in on whatever remained of the star chemistry Ladd and Lake once had, but they got poor returns for their efforts and didn't invest enough time to create a good enough script.

For Ladd and Lake fans, it's strictly below average as entertainment.

Alan Ladd and Veronica Lake co-starred for Paramount in three classic films, This Gun For Hire, The Glass Key, and The Blue Dahlia. Their fourth and final film was Saigon and it doesn't rate in the category of the other three.

Saigon has Ladd as a recently discharged Army Air Corps pilot who has not headed back to the USA, but hung around the Orient watching out for a buddy Douglas Dick who has had multiple surgeries due to head wounds. Dick has a platinum cranium courtesy of the war and the Army Medical Corps, but he's dying, he has maybe a month or two left.

Ladd and another of his crew Wally Cassell are hanging around to make Dick's life or what's left of it, happy. For that reason they accept a flying job to Saigon, no questions asked from Morris Carnovsky who is carrying a lot of cash from shady wartime dealings and Veronica Lake. They're getting $10,000.00 for the flight.

Lake and the cash get away all right, but Carnovsky is detained by the police who are firing at Ladd's plane as it is taking off. With them thinking Carnovsky is dead, the four are at liberty. Dick falls hard for the sexy Lake and Ladd wants to keep her around to make him happy in his last days. What a pal.

All these elements come together in a bloody climax that I will not reveal. The idea of a story about a dying soldier was handled far better the following year by Warner Brothers in The Hasty Heart.

This was also the second Alan Ladd film with a far east city title, the other being Calcutta from the year before. Although this film is better than Calcutta, it's still cut from the same routine action/adventure mold that Calcutta was taken from. And like Calcutta you would never know the problems that were happening in French IndoChina as the Viet Minh were starting their guerrilla war for independence against the French Colonial occupying power. Said power here is represented by Luther Adler who as always is giving a great performance.

Veronica Lake left Paramount the following year and Alan Ladd would follow a few years after that. Too bad their screen partnership ended on a mediocre note.

I found this movie entertaining, but I think it is a mistake to compare it to "Calcutta," since they are very different in many ways. The only similarity is that they both take place in the orient. "Calcutta" is essentially-- aside from the adventure trappings -- a "whodunnit" with a surprise twist at the end, similar to both "Dead Reckoning" and "The Maltese Falcon". "Saigon," which I enjoyed for what it is, is a much less involving movie because, for one thing, there is really not that much suspense. However, the Ladd/Lake combo is always interesting to watch and the supporting actors -- in particular, Morris Carnovsky and Luis van Rooten -- I found fascinating. Whereas Paramount gave "Calcutta" a much more expensive mounting (which paid off because it actually took in more at the box office than even "The Blue Dahlia), I felt they really reduced the budget on this movie -- the hotel sets at the end being the only really expensive looking ones. recommended for Ladd/Lake fans.