Inadvands Boring, over-political, tech fuzed mess

Pacionsbo Absolutely Fantastic

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

drjgardner You can't go wrong watching a film with two of the most beautiful Hollywood actors of the late 30s – Robert Taylor and Hedy Lamarr in "Lady of the Tropics". Not only do we have these physically gorgeous people the photography in this film is exceptional, an d director Jack Conway was always successful when handling as film whose central character was a woman (e.g., Libeled Lady, Red-Headed Woman, The Girl from Missouri).Some may find the film a bit slow, though the script by Ben Hecht is certainly adequate. But Hecht and Conway were far better in different genres, so the current film never really rises above the line.

lastliberal I remember when I was living in Vietnam, I was told that Eurasian women were the most beautiful in the World. The French-Vietnamese women that I saw were indeed exquisite. Hedy Lamarr was perfectly caste as one of these women, and her performance in this film was so romantic that one would want to see it over and over.This fine film featured Oscar-nominated cinematography, a script by the great Ben Hecht (Wuthering Heights, Notorious, The Scoundrel, Underworld), and Robert Taylor as the leading man.The story is as old as time and you cannot fail to be moved by the tragedy.

mamalv Lady of the Tropics is a wonderful love story that of course ends in tragedy. Robert Taylor is a playboy living of the good graces of many socialite girls and their families. He travels in style to the Orient and comes across Manon (Hedy Lamarr) who is a half-caste, being born to a French father and an island woman. She wants to go to Paris so she can live in a white world. Her benefactor is Pierre DeLaroch (Joseph Schildkraut) who wants her to marry him. She turns on him and marries Bill Carey. It is one terrible incident after the other, until finally she goes to Pierre to ask his help to get Bill a job. She must be with him to accomplish this, and then he will send Bill away for work. Bill returns, and finds out what she has done, and vows to kill Pierre. She gets to him first, kills him to save Bill and then shoots herself thinking Bill hates her. Bill finds that she has killed DeLaroch, and looks for her finding that she is dying. He loves her still and she dies in his arms. A very sad love story. The film was ahead of its time, and critics blasted it. However today it is quite well thought of, if only because it shows how prejudice can ruin even true love. Taylor and Lamarr are beautiful, the film is great.

rparisious Hedy Lamarr was not generally as fortunate in her scripts or her directors as most of the great leading ladies of her day.Yet this now almost forgotten film may ,in fact, be her most perfect vehicle. "Samson and Delilah" appears the only alternative possibility ;still the gentler less garish approach here serves to better accentuate Miss Lamarr's exquisite beauty and muted, perfectly timed, performance.The part of the half-caste Manon seems written for her (an excellent Ben Hecht script); the photography deserved its Oscar nomination and makes us ask for what do we need technicolor? Furthermore,Lamarr is ably seconded by then newcomer Gloria Franklin as another gentle victim of the Saigon love game.And can Miss Franklin handle a heartbreaking rhythm. Why did America fail to take this delicate chanteuse to its heart?The main flaw in this work,which otherwise would deserve a nine or ten rating, is the casting of an already hardening Robert Taylor as the enraptured playboy.It is patent,considering the obvious parallels with "Camille, why Taylor was hired. He even goes through some almost identical motions a second time in the death scene here. And that is exactly the problem.Taylor has left romanticism behind him by the time this film was shot. His best notes here are quiet desperation. Francis Lederer would have been great for the role(remember him with Louise Brooks?),but, under the Hollywood casting system ,there was no chance he could have gotten the part.Flawed as it is, it is flawless Lamarr.And as every romantic believes ,there must still be audiences of unknowing lovers out there who will want to see it again-and again.