CheerupSilver Very Cool!!!

Pluskylang Great Film overall

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

donwc1996 Not a bad film about the post war black-marketing racket.Raft looks good-maybe a little overweight-but 2 women find him interesting. June Havoc is dressed to the nines in all her scenes, she looks as if she's going to a nightclub, but we only see her in her office.

writers_reign There was clearly a film waiting to be made about the negative effect of drug dealing on the Black Market in the immediate post-war ere. This movie may have got there first but it squandered the chance to shine and left the way clear for Graham Greene to come up with The Third Man. This one hardly even tries. Take the opening sequence; ex world war II pilot George Raft takes off with a cargo of drugs (presumably penicillin) even as the Asian militia attempt to shoot him down. By the time he gets to his destination a thick fog is blanketing the ground. An accomplice tries to 'talk' him down but his first attempt almost ends in disaster. Cut To: The plane has landed and is being unloaded. How did he do it? Your guess is as good as mine. This is just one example of the sloppy writing and direction. In time he becomes a partner of the boss of the outfit, June Havoc, Dainty Baby June from Gypsy now all grown up. Meanwhile, journalist buddy Tom Tully is 'exposing' the racket. Bareley worth a look.

ROCKY-19 Though not the greatest film by a long shot, the earnestness in bringing to the foreground the nasty underbelly of the black market in post-war Asia is a major redeeming value of "Intrigue." That innocent people starved while criminals prospered is a fact, and still occurs, unfortunately.The story is told through the plot line of an American ex-military pilot in Shanghai. Brad Dunham (George Raft) along with three other flyers during World War II were court martialed and kicked out, accused of black market activity. The unjust shame has taken its toll, and Brad's three friends have died, including one by suicide. Brad himself now hangs out in Shanghai and has adapted to his infamy by turning to trade of which he was accused - smuggling. Meanwhile, his journalist pal Marc Andrews (Tom Tully) and the sister (Helena Carter) of one of the dead pilots are seeking to find the truth.Andrews' bigger story, of course, is the depth of damage done by the black market in China. Little does he know that Brad has joined forces with the dishy boss (June Havoc) of the main smuggling ring. Meanwhile Brad becomes exposed to that dark side by visiting children at an orphanage and seeing the homeless, starving people in the streets. Brad's better side does not have to fight very hard to gain the upper hand, but the challenge is to make right out his wrongs.The direction is rarely inspired. Though there are a few nice bits of dialogue, the writing has an unfortunate trend toward the precious. Raft's relationship with either woman is not all that interesting. (There seems more reality in his male relationships and his interaction with the children.) It would have been a big improvement had the music in general been more honest to the setting. And yes, there is some stereotype in the Chinese-ness, but it is not the insulting subservience we see so much of in the Hollywood of the day. Plus we are briefly blessed by the presence of Peter Chong as a courageous editor.Tully has the most passionate role as the voice of justice and social responsibility, and he's very good. It's a rather idealized picture of a journalist, but that's what people really want to see, not some boozing sellout. Raft, too, when free from the film noir elements, is earnest in the real theme of the picture. It's those film noir elements that seem to stiffen him and make the action implausible.Still, the main subject of the film gives it human importance.

bmacv Into a web of Asian intrigue flies, from a `secret airstrip in French Indochina today,' pilot George Raft; at the center of the web waits spider-woman June Havoc. Raft is the sole survivor of four wartime buddies discharged by court-martial; now he runs contraband. But the risks are high and he wants more money; his superior (Marvin Miller) balks so Raft goes over his head to the boss (Havoc). She runs her criminal empire garbed in elaborate ladies'-longs and makes him her partner - and maybe something more.But another side of him pulls him toward Helena Carter, come from the States to vindicate her dead brother, one of his disgraced buddies. And into the mix, too, comes another old friend (Tom Tully), a roving newspaper man investigating the black market that keeps the city's populace near starvation but that's also Raft's bread and butter. The sloe-eyed orphans which Carter helps to feed start to gnaw away at Raft's sense of his `right to live first cabin.'A romantic adventure along the lines of Singapore, Saigon and Calcutta, Intrigue could use a good deal more of it. The movie starts strongly and promises twists and turns as intricate as the back alleys of Shanghai. But then it hits a sentimental, sermonizing slump about how the black market devalues the Chinese dollar, thus keeping rice and `canned goods' from the mouths of enfeebled children, and it never quite climbs out again. Because not much else is going on, it becomes hard to ignore the clichés that keep piling up: Jay C. Flippen as a salt-of-the-earth bartender, Philip Ahn as the trusty native sidekick, Miller and Dan Seymour as Hollywood heavies who fall short of any real menace. Havoc's glamorous presence can't compensate for the thin writing in one of her too few movie roles (she was far more fun with Alan Ladd in Chicago Deadline). His bomber jacket and white aviator's scarf can't quite disguise Raft's thickened midriff or the fact that he's on the shady side of 50 (he commands attention only when he's nattily tailored). The movie should have been slimmed down and barbered up, too; it might just have made the jump from forgettable to passable.