Opium

This was a combination documentary/fictional melodrama "based on actual incidents from the files of the Narcotics Division of the United States Treasury Department" for the "purpose of setting forth the functions and procedures of the Division" headed by Commissioner Harry J. Anslinger, who appears as himself in the opening, middle and end of the film. One of the "thou-shalt-nots" that was part of the Production Code list that had to be adhered to before a film could be issued an approval number---in this case PCA No. 12390---was an edict against showing any kind of illegal drug trafficking. The producers fought for and acquired a revision in the Code for this film.

In some ways, it is very much ahead of its time. In the first few minutes, you'll know you are watching a very well done movie. The scene where the slaves go overboard and it motivates Dick Powell to track down the murderer is enough to get you interested. Every time, Powell gets nearer something happens to sidetrack him. The predications about drugs and South America are extraordinary, given that over 50 years has elapsed. The way of smuggling the drugs is very clever. I recommend this movie because of its suspense and its ability to draw you into it.

Dick Powell's a detective again in To The Ends Of The Earth though his name here isn't Richard Diamond or Philip Marlowe. Instead he's what we would now call a DEA agent though that agency didn't exist back in those days. He works for the Treasury's Narcotics Enforcement Unit and a mystery involving a really large stash of opium takes him around the world and literally To The Ends Of The Earth in solving it.

The film is narrated by Powell and this Columbia film is very similar in style to those 20th Century Fox documentary classics The House On 92nd Street and The Street With No Name from Henry Hathaway. The director is Robert Stevenson who is far more familiar to viewers for his later exclusive work for Walt Disney studios in such things as Old Yeller and Mary Poppins. You can hardly believe the same guy directed those items as well as To The Ends Of The Earth.

Powell almost circumnavigates the globe, starting out in San Francisco and then going to Shanghai, Cairo, Beirut, Havana, and finally New York in pursuit of an international narcotics smuggling gang. The story takes place in the pre-World War II years while Japan occupied Manchuria. The most ridiculous part of the film is the notion that the Japanese are behind the opium trade as part of their war policy though the gang is certainly international enough.

What makes the film relevant for today is the plea for international cooperation to put an end to the drug trade. In fact this film was one of the to even talk about drug addiction, a problem not mentionable under The Code. Opium dependence knows no borders, respects no nationalities.

The film will also have a surprise ending that you might not expect coming. The only hint is a bit showing a portrait of who turns out to be the chief villain. The artist's interpretation of said villain screams out who's behind it all.

Powell gets good support from Signe Hasso, Ludwig Donath, Vladimir Sokoloff and Maylia in telling roles. To The Ends Of The Earth is one of the best films Dick Powell made in his post musical period, don't miss it if you can.

Fast-paced, tautly told tale of international opium smuggling in the pre-WWII period. Despite the docu-drama format (from the files of the US Treasury Dep't, etc.), police procedure manages not to get in the way. And a crackling good story it is, with a sneaky twist ending. Anti-Drug agent Barrows (Powell) has got to unravel an elaborate drug operation that takes him around the globe. On the way, he encounters all sorts of suspicious characters and risky situations. The studio (Columbia) does a good job mimicking exotic locales to create an appropriate atmosphere for the dedicated Barrows.

So, who's the man behind the illegal operation? Well, for one thing, we know he's an agent of imperial Japan (circa,1935) since their army seeks to pacify a conquered Manchuria with loads of the deadening drug—(note: I wish the prologue stated whether this wicked scheme is actual historical fact or not). Anyhow, the premise provides employment opportunity for a host of Hollywood's shady characters, including Hoyt, Hasso, and two favorite Nazis, Triesault and Donath. So there's intrigue a-plenty.

However, I'm not sure I buy the last leg of the smuggling operation since it seems so risky, depending as it does on exact timing in a big ocean. Nonetheless, the various ruses are cleverly conceived, although at times the various in's and out's may be a little hard to follow. And you may need a scorecard to keep up with the shifting cast of characters. But that early scene of jettisoning illegal cargo is one-of-a-kind and about as cold-blooded as any film of that era.

(In passing-- a recurring theme is international cooperation in behalf of mankind, while the final shot is an optimistic one of the United Nations building. A year later, and I suspect the menace would have shifted to the Soviets with a much darker outlook.) Still and all, this is one of the best docu-dramas from a time when Hollywood appeared to be doing gratis pr work for the feds.

Well, 2 hrs ago I put this on because Dick Powell is the man. I was tired and just wanted something dark and quiet to maybe nap to. I have to say, this is no movie to nap to. This is just as fast-paced and exciting as it gets. But, you better pause it if you go to get a drink. The story moves along non-stop. Great performances in a really cool flashback style with Powell narrating. And of course, Mr. Powell gets knocked out a couple times with cool retro "getting knocked-out" visual effects.