inginrbill

I haven't seen the film since 1948 and the only thing I remember is the "mink coat/synthetic mink coat" dialog between Dorothy and Charles Laughton: The Bishop, eying the coat, asks..."has it suddenly turned cold out"? Carol, wearing the mink, explains that she drove in with her convertible top down but realizes instantly that the suspicious, curmudgeonly old Bishop KNOWS how beautiful New York models GET mink coats, offers that it isn't real mink, but synthetic and given to her for modeling it. Carol departs; The Bishop picks up the telephone and dials a number. "Fred... this is the Bishop..... Is there such a thing as synthetic mink"? (scoffingly--Fred you're going to think I'm daft for even asking a question to which I already know the answer) We don't hear the reply but Laughton's reflective face, voice and manner make the movie for me. Sure it is a knock-off on the popularity of "Going my way" but when has Hollywood ever failed to cash in on a good thing and Laughton, here, is as memorable as Orson Welles working in other peoples' less than stellar films. I will suggest to TCM that they run the film so I can see it again.

I had not seen this film since its theater release some twenty-eight years ago. To my knowledge it has not been shown on TV in the L. A. area until the TCM presentation this month. I had forgotten every single detail of the film except for Marlon Brando's great line "Ah, Arthur, you are missing the point--We are the Arabs." The line says it all and is especially telling in light of current events and players. By some trick of the mind, I ascribed the line to a scene between Brando and Scott instead of Brando and Spradlin. Even in a walk-on I always relish seeing and hearing Wolfgang Preiss. Regardless of disagreements between writer and director, the film proceeded in a style I prefer, leaving me trying to hold on to the plot with my finger tips and trying to keep all the character involvement relevant. I will never understand the gaps in the story line--Scott surreptitiously slipping the secret formula to a total stranger? in some shop? , followed by some tenuously-connected dialog at some safety deposit boxes? Scott proved to be a better detective than I at discerning Keller's covert motives, given the facts presented on film. Perhaps all was made clear in the script. Berlin is a great place for intrigue on film, as we saw in "Company Business", and the plots, and cinematography nicely murky. Even with the story holes and without Travants and the Prater, I recommend viewing this film enough to begin to comprehend it.