Istambul

When the pilot James Brennan (Errol Flynn) returns to Istanbul, the local Inspector Nural (John Bentley) questions him in the airport about the objective of his voyage and also about some missing diamonds. James checks in the hotel and asks for his former room 424; however he goes to the bar to drink vodka, where he recalls his love affair with Stephanie Bauer (Cornell Borchers) five years ago. James and Stephanie are in love for each other; when James travels to Cairo with his plane transporting some cargo for a client, he visits his friend Aziz Rakim (Vladimir Sokoloff) to buy a wedding gift for Stephanie since he intends to propose her. Aziz sells an expensive bracelet for US$ 50.00 only, and when James returns to Istanbul, he finds two hundred thousand dollars in diamonds hidden inside the bracelet. But the gang of Mr. Darius (Martin Benson) chases the smuggled diamonds with James, who denies the existence of the stones. The criminals attack Stephanie in her apartment and when her building is on fire, she disappears and her body is never identified. On the present days, while in the hotel trying to retrieve the diamonds hidden in the ventilator of his former room, James sees Stephanie and she claims to be Karen Fielding and well-married with Douglas Fielding (Torin Thatcher). James tries to help Stephanie to recall who she is while Darius's gangsters chase him seeking the diamonds.

"Istanbul" is a moralist and dated love story, but also entertaining. The music score is fantastic, probably the best in this movie, with the awesome Nat King Cole singing "When I fall in Love". The story has many similarities that slightly recall the masterpiece "Casablanca", like for example, the lead character missing a lost love that reappears some time later with another man; a wonderful song (in Casablanca, the stunning "As Time Goes By" by Dooley Wilson); the tickets are replaced by smuggled diamonds; there is an inspector chasing the lead character. Therefore, the story is visibly inspired but without the charming of "Casablanca" and with a conclusion too corny for my taste. My vote is six.

Title (Brazil): "Istambul" ("Istanbul")

By no means a masterpiece, and far from Errol Flynn's best, Istanbul still has much going for it. The locations and beautiful technicolour cinematography, bring us back to a time long since past. Errol Flynn does show moments of his past glory, and is OK as Jim Brennan, a pilot who's past comes back to haunt him. The picture is actually a remake of 1947's "Singapore", and the story seems awfully contrived and cliche' by today's standards. Also many of the supporting cast seem to be simply "going through the motions" in this picture. Many people have also compared it to one of the all time greats, CASABLANCA. While watching the film, I could see many of the similarities, but hey, Casablanca has inspired countless imitators, so take that for what it's worth. In closing, if you are a fan of Flynn, or old fashioned love stories, you might want to give this film a look. Otherwise, I'd recommend Casablanca, or The Maltese Falcon, as a good introduction to some of Hollywood's classics....

I think I may have seen one early B&W Errol Flynn film many years ago but not even sure, so I thought I'd check Istanbul out. The film looks nice enough and there are a couple of interesting location shots. Of course, in a film going to a distant land, there is the requisite boorish American couple. Nat King Cole appears and his character sings and interacts with the leads, which is a pleasant touch for sure. The overall story is fine but the script lets us down. The lead is expelled from Turkey for five years for suspected diamond theft/smuggling and when he returns five years later the authorities think he still has the diamonds on him, which of course he does, but why? Most of the performances are just fine. But the worst offense with Istanbul is the very end, literally, the last 60 seconds are so corny and poorly done. Despite the several missteps, it's still mildly pleasant viewing if you're curious to perhaps check it out.

After reading some moderately positive reviews here I approached watching Istanbul with some optimism. I remembered fondly Errol Flynn's late-career turn as "Mike Campbell" in the film version of Hemingway's "The Sun Also Rises". Although too old for the part, he put in a fantastic performance and was the only actor in that film who truly "got" his character from that great novel. Sadly here he is listless throughout whether fighting or romancing or anything. Cornell Borchers plays the love interest done up as Ingrid Bergman but with little of the charisma. As an aside Peggy Knudsen ("Mona Mars" from "The Big Sleep") plays the distaff side of a crass American tourist couple. The roles are played in the manner of Ralph and Alice from "The Honeymooners" and it jars greatly to a modern taste showing yet again that the past is a foreign country. The plot involving lost love and diamond smuggling is ho-hum and the overall entertainment value is passable only.

This must seem like a very superficial second hand plagiarism of "Casablanca" to many, but there is actually much more to it than that, if you bother to look deeper into the story, another fascinating study in a case of amnesia with a lot of question marks, many of which you have to figure out for yourself.

Errol Flynn comes back to Istanbul after five years and remembers the turbulence of his last visit, in which he was involved in some diamond smuggling. He had a great and promising love affair, when everything was brutally interrupted by unforeseen circumstances, and he couldn't come back for five years. On his return he meets again his great love, but she is another person, and he has some trouble in understanding the situation, especially since she is now happily married, or at least so it seems. There is very much in this intrigue of seeming appearances while much more isn't easily told.

The superficial impression and unavoidable associations to "Casablanca" are especially exacerbated by Stephanie's almost irritating likeness with Ingrid Bergman, but there is no Humphrey Bogart here. Instead you have an unusually sober Errol Flynn with almost a stone face, covering up stormy feelings with some difficulty, which must trouble him all the way. But the finale is a wonder of almost metaphysical turnings of a totally unexpected nature, and that's where you have to complete the picture by your own thinking; because Errol Flynn's sober face is never more stony than when he has given up all.