Reviewed by Glenn Erickson
A few weeks back Savant reviewed
Pépé le Moko, a sultry 30s
that oozed steamy romance in an exotic foreign setting. Hollywood immediately co-opted the subject
matter, and soon everyone from George Raft to Clark Gable tried their luck at playing
disillusioned sinners scrambling for atonement in some far-flung corner of the world.
Humphrey Bogart made it his trademark with the all-things-to-all-people hit Casablanca. Later
in his career, he'd alternate between prestigious work for other producers, and a series of cheap
films he co-produced at Columbia, through his Santana company. These include one or two gems
(In a Lonely Place is sort of an orphaned classic), but the majority trade
baldly on Bogie's trenchcoated man-of-the-world image. Fans of
Bogart will naturally enjoy Sirocco, but it's not a good movie, not by a longshot.
Gunrunner Harry Smith (Humphrey Bogart)'s latest shipment of arms to Syrian rebel
Emir Hassan (Onslow Stevens) is snagged by the occupying French, leading embittered General
LaSalle (Everett Sloane) to consider
executing hostages every time French soldiers are ambushed or blown up by terror bombs. LaSalle's
head of intelligence, Colonel Feroud (Lee J. Cobb) presses for negotiations instead. But his efforts
for peace don't impress his paramour Violette (Marta Toren), who's more interested in high living
and wants out of war-torn Damascus. Her opportunity comes when Smith steps in as a romantic
possibility; but Feroud is fast closing in on the smuggler.
Between 1997 and 200, Savant had several lengthy phone conversations with A.I. Bezzerides, a grizzled
but mentally sharp old writer who in retirement gained a hot reputation, thanks to the noir
classics he wrote: On Dangerous Ground,
Kiss Me Deadly. On a good day, he'd talk
one's ears off about those shows, and pictures as unique as Thieve's Highway and Track
of the Cat. But he had little to say about Sirocco, good or bad. Compared to his usual
angry, anarchic point of view, Sirocco just doesn't have their fire.
As a light drama, the show plays just fine. Bogart and especially Lee J. Cobb do fine acting work,
and there are dividends to be had in good bits by Zero Mostel (on the verge of the blacklist) and
favorite Nick "Va-va-Voom, Pretty Pow!" Dennis. But Sirocco is lukewarm at best, short on
thrills and predictably pat in both
plot and development. The situation starts out like good Bezzerides, unusually harsh. Syrian
terrorist insurgents (or patriotic defenders, take your pick) are locked in a death struggle
for Damascus with noble French soldiers (or oppressive colonial gangsters, take your pick). Unmasking
Bogart's gunrunner is no trivial matter, and he spends much of the film skulking about trying to
avoid capture and the firing squad.
But not much gels from all this except dry plot twists. Bogie is thoughtlessly cynical when
and thoughtlessly sober when captured. His attraction to Marta Toren, a dark beauty with magnetic
eyes, goes not much farther than gentlemanly flirting and several attempts by both to split to Cairo
for, as they put it, 'a good time.' The major conflicts don't come into relief. Their big escape attempt is
neither an action setpiece or an emotional highlight, like the finale of Casablanca, but a
feeble attempt to exit by bus. Bogart falls in and out of custody more than once, but Toren's
reactions are at best subdued.
Sirocco is too smart not to realize it's been cobbled together from pieces of
The Third Man and older Bogie classics like
To Have and Have Not. But, besides the gallantry of the Lee J. Cobb character (who behaves
more like the real hero) the rest of the show is cynical happenstance, unaided by deeper character
insights. The Nazi-like tendencies of the French 'good guys' don't help much either, and we don't
share Cobb's faith in Western virtue when he lectures Emir Hassan on what civilized behavior is and
Marta Toren (actually, Märta Torén) was a Swedish beauty imported, along with Viveca
Lindfors, to compete with the then
scandal-plagued Ingrid Bergman. Toren very strongly resembles Alida Valli, but sadly had a nothing career
in Hollywood. She actually worked in a second American remake of Pépé le Moko,
the flop Casbah, but as Pépé's moll, not the romantic lead. For this cut-price
Bogie vehicle, it looks as though the producers chose budget casting every time.
Perhaps Bezzerides intended to make Sirocco a more complex picture, with the Bogart and Cobb
characters forming a two-sided coin. Being basically a studio-bound quickie, potential nuances like
that are lost in a blah production, directed without any emphasis whatsoever. The show must have
been shot in record time, because it adopts a flat, no-frills 50s style. There's no atmosphere.
The interior sets are cheap and fake, the camera angles are all dull, and all the costumes look
like they just came from the dry cleaners. Even Bogie's trademark trench coat looks too perfect.
There's a hint that everyone knew they were making a corny show, when 2nd string French hero
Gerald Mohr seemingly does a quick parody of Bogie. It's right at the end of a take, when the two are
making a final midnight visit to rebel headquarters. Mohr lets Bogart walk off screen, and then adjusts
his shoulders and curls his lip over a cigarette, just as would a Bogie imitator. Letting Mohr
get away with that shows the lack of belief in the production.
Columbia TriStar's DVD of Sirocco is a clean transfer of a show that probably hasn't screened
much in 35mm since it was new. Burnett Guffey's crisp photography of the backlot sets is perfectly
rendered, and the sound, including George Antheil's sometimes-effective score, is clear.
For extras, Columbia has created a montage of photos (some from non-Columbia films!) and advertising
art for their
Bogart series, and set them to music. Therefore, all the 'special features' on the package back are either
promotional materials, or simple descriptions of normal DVD functions, like 'Scene Selections.'
The cover art is very attractive and tasteful.
A disclaimer on the package text erroneously says the film has been 'reformatted to fit your TV.' Made
in 1951, two years before CinemaScope, the movie is supposed to be flat 1:37, and has of course not
On a scale of Excellent, Good, Fair, and Poor,
Movie: Good-- saved by Bogart's presence
Supplements: publicity and ad art montages
Packaging: Amaray case
Reviewed: February 3, 2003
DVD Savant Text © Copyright 2007 Glenn Erickson