Tondelayo

I was reading another members review on this movie and just was wondering what this member expected when he came across it. It was a simple jungle movie ( without the animals ). In fact the only animal that i found in this movie was that feline femme fatale Hedy Lamarr. The woman was dropped dead gorgeous, and true the lines weren't what you would expect as in a Shakespeare play, but it was campy. I defied any actress of that day, yes, that goes for Davis and Hepburn would of made it any better with those lines. Personally, they didn't have what Hedy had, the physical attributes that was required. I suggest that if your looking for great acting then go to Broadway. As i watched this movie, I couldn't help but see a parallel to that movie Jaws. Remember, you don't get to see the shark until the movie is almost over. In this one, they were setting up Hedy as Tondelayo, for she didn't appear until a half hour or so into it and boy, when she appeared, I actually felt the heat of that Jungle. Watch it and enjoy it for what it is, nothing more, nothing less, but you'll not forget Tondelayo.

Hollywood used to turn out some great bad movies, and "White Cargo" is one of the greatest and baddest. People who complain that it's unrealistic are missing the boat. Except for the jungle heat, the isolation of the white guys, and location shots of what looks like a rubber plantation, this movie doesn't even pretend to be real. It's pulp fiction of the old school. You watch it to forget your troubles, and if you're like me (a guy), Hedy Lamar will make 'em vanish like bubbles. Because it combines shameless sensationalism and with solid melodramatic performances (especially from Lamar, Pidgeon, and Wizard-of-Oz Frank Morgan), even my wife liked it.

OK, Hollywood and America were a lot more racist in 1942 than now. We get it. But this movie isn't about race, imperialism, natural resources, or any of those other trendy topics, it's about the sensual power of Tondelayo.

Goofy makeup and all, it would have been tough to find any actress of any ethnicity who could top Hedy Lamar in the leading role. Tondie, an incarnation of Eve like you wouldn't believe, unites all misogynist female stereotypes into one purring package: she's mysterious, wild, stupid, primitive, insincere, manipulative, beautiful, evil, greedy, relentless, sadomasochistic, homicidal, and did I mention sexy? That all adds up to "irresitible" in the logic of this movie. The fact that she's the only woman within a hundred miles is certainly part of her charm.

And yes, as she drives Richard Carlson batty, Hedy Lamar really communicates all those things with her movements, her delivery, and, toughest to do, her glances. Her eyes alone reveal her mind switching from evil to stupid to greedy in rapid succession.

"White Cargo" is a demented fantasy sequel to Conrad's great story "Heart of Darkness," or an academic poindexter could argue that it is. But ignore that. Blatant junk movies today are pretentious, gory, and tedious. But not "White Cargo." It isn't as complicated or ingenious as "Gilda," but it comes close enough on the Meter of Marvelous Trash. Great fun if you love the ridiculous!

Why wasn't this mentioned in the "Bad Movies We Love" book? Hedy looks great and acts badly, and generally seems to be having the time of her life as a Native Girl interested only in cheap sex and even cheaper jewelry. She seems ecstatic whenever she has a whip in her hand, and delivers her lines with gorgeous pouts and stimulating winks. But beware! She doesn't appear for the first thirty minutes, which we spend listening to White Males bark at each other about how miserable they are. A little bit too much like being at work!

She is easy to look at, isn't she. All tan skin, she's got that sarong (probably stolen from Dorothy Lamour), all that gorgeous black hair, but talent is lacking. Hedy Lamarr eschews acting completely in this delightful tale of sex in the jungle. It isn't about anything else--not man versus nature, not oppression of minorities--just plain sex.

Harry, as played by the statue-like Walter Pidgeon, has been in the jungle so long he's starting to act a bit kooky. He gets infuriated when people discuss the heat, certain words send him into a King Kong-like fit. I get the feeling we're supposed to think this is because there are several men there, but no women. Is this what happens? Gracious me--I better rearrange my priorities. Anyway, one of his helpers goes off his rocker and has to be replaced. The replacement, Langford, refuses to listen to Harry, who really does know what he's talking about, only to turn into a lazy lay-about.

At this point, a new character is introduced. She's a half-breed (not like Cher, but a half-breed nevertheless) named Tondelayo. The line "I am Tondelayo" did become something of a catch phrase--I can recall seeing Lucille Ball taunting some comedian, possibly Jerry Lewis, with it. Tondelayo is a gorgeous woman, but she likes a good time. Heck, she likes lots of good times in a row. Langford is smitten, and he can't understand why Harry insists that Tondelayo be avoided. Langford assumes Harry's jealous, which only makes him more thrilled. In order to keep Tondelayo near him, Langford marries her. She goes around telling everyone she's "Mrs. Langfut"--Hedy's accent prevents her from saying "Langford," apparently. Right around here is a scene that tops Tondelayo's entrance. She's going through all the trinkets that Langford has to give her to keep her interested, when she comes across a mirror. She looks at herself in it (naturally), and then remarks solemnly, "Him make big face this side, him make little face THIS side." Oh, I just died laughing. Tondelayo's odd speech patterns are the highlight of this movie--she sounds completely idiotic.

This being a 40s film, everyone has to get what's coming to them, in various showy ways. All in all, this is a delightful film with no statement to make, no mountains to move. It's just there to enjoy.

hedy Lamar has no peer when it comes to beauty. her role in this movie showed a beautiful face and a gorgeous figure. she holds her own with a great performance. this movie is chalk full of great actors that seem to be fulfilling a studio contract commitment. nevertheless, Walter pigeon, Henry o'O'Neil, frank Morgan, Richard Carlson,and a personal favorite of mine Reginald Owen. show they are old pro's. the chronological recollection by pigeons character seems fitting and a staple of pigeon throughout his career. hedy Lamar was a very good actress and I thought her role here was outstanding. her role in 'conspiritors' was her most outstanding role with another bevy of great actors. she was a icon when it came to beauty, Bergman, Loren, Margret, even Hayworth, teirney, Monroe. were not in her class. she was a good actress as well. probably not why she had so much success.