L'Énigmatique Monsieur D.

"Foreign Intrigue," a 1956 film starring Robert Mitchum, starts out promisingly enough and peters out. Despite filming in color in France, Sweden, and Monaco, even the film's beauty can't overcome its slow pace and dull script.

Mitchum plays Dave Bishop, who works for an international man of mystery, Victor Danemore. Danemore dies of a heart attack suddenly, and Bishop wonders why every single person he encounters wants to know if Danemore said anything before he died.

Even after working for him, Bishop doesn't know much about him, but he endeavors to find out. He learns that Danemore went to Vienna once a year and goes there.

Danemore's home there is in a slum, his housekeeper is blind, and can only supply him with one name, Olaf Lindquist from Sweden. Bishop finds Lindquist's home, but the man himself is dead.

Bishop and Lindquist's beautiful daughter Brita (Ingrid Thulin) fall for one another; meanwhile, it's obvious her mother is keeping a secret.

Soon Bishop finds himself being followed by one man, Spring (Frederic O'Brady) who won't tell him who he works for, bad-mouthed by Danemore's widow (Genevieve Page) to Brita and her mother, and approached by a group of men who want the names of the men Danemore met yearly in Vienna.

First of all, despite compliments on the music, it was totally overbearing, not to mention loud and intrusive. If you liked it, fine, it was just too over the top for me.

Secondly, this film took way too long to make its point. In the beginning, it was intriguing, but then it began to drag.

Thirdly, we think we're going to find something out and guess what, after all this, we don't.

Robert Mitchum is laid-back and sexy as usual - in this instance, I can't tell if his persona helped the movie or hurt it. He was always a very deliberate actor and perfect for noir - I realize some people call this a noir, and perhaps it was, but the payoff just wasn't there.

It's hard for me to imagine Mitchum hurting a film - I think in this case, I'll have to blame the script and the fact that some time could have been edited out.

Promising start - disappointing finish - pretty to look at.

The musical score almost makes it unwatchable. The same transition music throughout the film consists of a tom-tom and Gilligan knocking on a coconut with two wooden dowels. It's enough to cause a coma. That being said, the rest of the film's attributes out-weigh the migraine-inducing music.

Mitchum is classic, using his debonair best to woo admirers of his old-school, Hitchcockian style. (Wonder why Hitchcock never really used him?)

The cinematography uses the 1956 color like an oil painting, still incorporating the contrast and shadows of a black and white noir classic.

It's worth a watch.

When a reclusive , sinister millionaire called Victor Danemore dies suddenly of a heart attack on the Riviera, his press agent , Dave Bishop (Robert Mitchum) discovers his deceased body , but not even his enigmatic young wife (Genevieve Page) knows anything about her husband's background or how he earned his richness . As Bishop starts investigating and races from Stockholm to Vienna to the Riviera. As in Stockholm, a blonde (Ingrid Thulin) offered him an invitation: "Is it secrets you want to buy... Or Me!" . In Vienna, a master spy offers him an ultimatum: "I've been paid to kill you, can you better the price?" On the Riviera, a back-ally ambush drenched the cobblestones in blood! . Only one bullet ahead of half the secret agents of Europe . Robert Mitchum is the hunted . . . Europe is the hunting ground !. The most startling spy-hunt ever filmed! .Yesterday he held the world in the palm of his hand... Now it was about to explode in his face!.. And still he wouldn't let go of the deadliest secret a man ever carried!. A world in which a bullet fired in a Vienna slum is heard in London's Foreign Office... where a blonde's warm promise in Stockholm turns to cold on the Riviera... where you can hold the world right in the palm of your hard one minute - and have it explode right in your face the next!

Intriguing and surprising flick with decent performances , atmospheric cinematography and exciting score . A nice thriller with a show-world of traitors-for-hire , several surprises , suspense shattering the screen , twists and turns . A simple and plain premise becomes more and more confuse and twisted when starring carries out deep investigations and becomes romantically involved with two suspect women resulting in treachery . Being well-paced by writer/producer/filmmaker Sheldon Reynolds who in the 60s decade he produced and directed several films . Fine interpretation from trio of protagonists , as Robert Mitchum as the stubborn secretary who begins to investigate his employer's shady past and finds a large number of tracks leading an unexpected revelation . And introducing the attractive Genevieve Page and Igorgeous ngrid Thulin , along with the ordinarily effective secondaries, though they're really unknown.

It packs an adequate cinematography in Panavision by cameraman Bertil Palmgrenas shot on location in Riviera , Vienna , Stockholm , as well as atmospheric and thrilling musical score by Paul Durand. The motion picture was professionally written/produced/directed by Sheldon Reynolds, though it has some flaws , gaps and unfinished conclusion . He produced and directed some episodes about ¨Foreign Intrigue¨ series (1951-1955) that seems to be a precedent to this 1956 film . And about ¨Sherlock Holmes¨series , as he acquired a license to produce and direct adaptations of the Arthur Conan Doyle stories, and successfully formed a consortium which acquired the rights at auction. Reynolds also filmed a Western titled ¨A place called Glory¨ and some thrillers as ¨Assignment kill¨ , ¨Carnival's killer¨ and ¨Foreign intrigue¨.

Robert Mitchum, employee of a mysterious rich guy with a mysterious source of income, gets involved in FOREIGN INTRIGUE when he seeks out the source of his newly dead employer's seven figure lifestyle on the Riviera. Will the natural scenery of the Riviera, Sweeden and Vienna overwhelm the scenery provided by Bob's bodacious costars?

This is an entertaining enough movie -- and would have been a lot better without the atrocious musical score -- but it is slumming for Mitchum, who probably took the role for the free visits to European hotspots. The main interest IS Mitchum, who acts the role in an interesting fashion. By acting, in each scene, that he just can't quite believe the mother lode of BS that he has just been handed by some suspect, spy type, cute girl, or plot development, he sort of steps aside from the move, and whispers to us that he knows this is all nonsense, but bear with him, the movie won't be too bad. And, because he does that, it really isn't.

Now, frankly, this is a dead-end as an acting approach, and the cul-de-sac at the end is Roger Moore at the close of his James Bond period. But it works for this movie and this actor, where a straighter approach probably just would have failed. We should be grateful, though, that a sequel, suggested by the ending, was not produced.

Foreign Intrigue is as bland and generic as its title. Its scantily credentialed director/writer/producer, Sheldon Reynolds, did an early-1950s TV series with the same name, so this movie looks like a bid for big-screen immortality. Alas, it's one of those polyglot productions that suggests financing flowed from several European countries, with strings attached to several cast members; there's no other way to account for their presence.

A wealthy man of mystery drops dead in his villa on the Riviera. His American press agent (Robert Mitchum) finds him but suspicions grow when he's asked four times in succession if his employer `said anything' before he died. So Mitchum sets out to discover who the man was and how he accumulated his fortune. He starts with the merry widow (Genevieve Page) and travels on to Vienna and Stockholm, where he falls for the daughter (Ingrid Thulin) of a deceased industrialist whom may have been a blackmail target. Mitchum finds that he, too, is being followed....

Foreign Intrigue brings to mind Orson Welles' Mr. Arkadin of the previous year, memories of which emphatically ought not to be freshened. There's little true suspense, though the score, by Paul Durand and Charlie Norman, insists that yes, there is. Reynolds tosses in a little Alfred Hitchock here, a little Carol Reed there, but to little avail. About three-quarters of the way through, the picture reaches a lugubrious crescendo by revealing a vast global conspiracy harking back to the Third Reich. The only sensible reaction to all this is Mitchum's, who knew a good paycheck when he saw one and saunters through the movie with his eyes half-shut, as only he could do. Even so, he remains the only reason to sit through this foreign travelogue devoid of intrigue.