Affair in Trinidad (1952) Reviews

• Slight Affair

  jpdoherty2009-05-13

  The re-teaming of "Gilda" stars Rita Hayworth and Glenn Ford in the 1952 production "Affair In Trinidad" had Columbia Pictures executives having high hopes of achieving something nearing the same success as their enduring 1946 classic. But James Gunn and Oscar Saul's screenplay failed to reach the mark and the picture turned out to be nothing more than just another average Noir! Nevertheless it did have some things going for it and not least a sizzling performance from the beautiful Rita Hayworth as a nightclub entertainer. The stunning Hayworth just gnaws at the scenery throughout and setting male hearts a racing with her inimitable renditions of a couple of songs which, in her hands, simply sparkle! Vincent Sherman does a reasonable job in the director's chair and the glorious black & white cinematography by Joseph Walker is as sharp as a button. The excellent DVD transfer is particularly enriched with well defined imagery! Glenn Ford is his usual laconic, sullen and truculent self as Steve Emery who arrives in Trinidad only to learn that his brother has committed suicide. Refusing to believe the suicide claim he sets out to prove otherwise. Determined to get to the bottom of what exactly happened to his sibling and with the help of his brother's widow (Hayworth) he exposes the truth resulting in an action filled finale. The picture is well held together by a good supporting cast such as Valerie Bettis (who also created Hayworth's couple of dance routines), Torin Thatcher as the police chief but especially Alexander Scourby as the smooth and charming baddie with the colorful name of Max Fabian. His role looking every bit like a dry run for his smooth and charming racketeer Mike Lagana in Glenn Ford's cop classic "The Big Heat" the following year. Not too bad a movie really and I can think of worse ways to spend 94 minutes. But there are no extras - not even a trailer - which to put it mildly is nothing short of reprehensible!

  More

• quit comparing...........both are good

  rickdumesnil-552032015-12-30

  Will people learn to stop comparing.....these movies were made 6 years apart and set out its goal of entertaining us to the hilt. Rita Hayworth alone is enough to watch it all the way....and the black and white cinematography is excellent. Yes the storyline is thin but it still is intriguing and well done. What a good job also done by the supporting actors...even Juanit Moores role turned out to be very important. You think i left out Glenn Ford....no way...some say it is wooden acting....no way. Ford could act without making physical gestures....just look at the expressions on his face. He is simply awesome. OH and by the way the ending is fine for me and i am really happy to own this very entertaining DVD

  More

• Rita's Comeback Picture

  bkoganbing2007-04-17

  When one talks about Rita Hayworth and Glenn Ford as a screen team, one is primarily talking about Gilda. There first film, The Lady in Question had them as featured players, second was the classic Gilda, third was The Loves of Carmen with a horribly miscast Glenn Ford. It was after that one, that Rita Hayworth married Aly Khan and was off the screen for four years. When she came back, Harry Cohn decided not to be too adventurous. Her last big success was Gilda with Glenn Ford, she got Glenn Ford. She was a singer stranded in the southern hemisphere in Gilda, she was again a singer stranded in Affair in Trinidad. Stepping into the George MacReady's shoes as villainous mastermind is suave and continental Alexander Scourby. Rita's husband is murdered and the Trinidad police inspector Torin Thatcher knows full well Alexander Scourby is behind it. Scourby is your international man of mystery in the Sydney Greenstreet, Orson Welles tradition. Thatcher wants Rita to spy on Scourby and she agrees to find out exactly what he's up to. In comes Glenn Ford into the picture as her late husband's brother. He wants some answers and nearly succeeds in wrecking the whole project. Good thing Rita's a quick thinking girl, a better thing is that Ford's a man of action, helps them both out in a pinch. Come to think of it, though Alexander Scourby is a fine player, Orson Welles would have owned this part and even better if he had directed Affair in Trinidad. This is just the kind of story that someone like him could have made into a classic. What a film to remember with Rita with her most well known co-star and another ex-husband as well. Harry Cohn probably would have shot anyone who brought him that idea, still it's interesting to speculate. Though Affair in Trinidad got panned by critics it cleaned up at the box office with all of Rita's loyal fans wanting to see her again. It's still a treat for fans of the screen's greatest sex symbol.

  More

• Rekindled and ignited

  gordon_19842007-01-06

  To address some issues: there is a familiarity with 'Gilda' which is just that and cannot possibly take anything away from what a triumph this film actually is. Firstly, I love how it is such a classic, straight-to-the-point Hayworth vehicle. Business: Harry Cohn had to 'give away' Born Yesterday, which was intended for his number 1 star, to Judy Haliday; now she was "back!" just like the posters said; she had star power and wasn't given From Here To Eternity as her comeback simply because she had too much box-office to be in an ensemble picture; and what better way than to give fans a sure-fire treat - Hayworth and Glenn Ford in another simmering film noir? Except, this is no 'Gilda' - this is 'Affair In Trinidad'. Hayworth reinvents herself, her talent bristling with abandon in her opening number The Trinidad Lady. The swirling intro to this film is over in seconds and there she is - still the star and definitely not off the pedestal. We can see the transformation is what films can get away with just that little bit more - when Hayworth 'slides' to show off her amazing legs it's like a revelation, a force that cannot be held back. This is Rita dancing with her trademark unearthly grace, yet now she has experience that she can convey like never before. This is certainly true with her acting too. She had always been able to give spirited performances that she isn't always - superficially at least - given much credit for. But here she handles her scenes with great texture, assurance and (key to most starlets of the era's guaranteed appeal) vulnerability. My favourite scene is when she is 'stealing time' to peek through documents for the police - she gets a rare kind of drama not normally given to her before. It's just en interesting, daft moment that is perhaps just typical 1950's melodrama, but glamorous and crucial at the same time. We also see the impressive actress Valerie Bettis, who is very much a character that was emerging in this period - a very vamp-like, sardonic lady with a smouldering alcohol-sustained sexuality, in the vein of Gloria Swanson, Bette Davis, etc. She eats the scenery, which is an acquired taste, but well worth it. The actress in question is Valerie Bettis who it would appear was a successful TV actress in the same decade. Her character Veronica Huebling certainly tried to use her sex appeal to entrap and exploit men, the way she believes Chris Emery (Hayworth) is able to, which possibly explains her heavy drinking. Juanita Moore conveys a powerful presence also, managing some interesting lines. Some of which are dated, or perhaps just twee, but to be enjoyed nonetheless. When Hayworth famously tosses her hair again, we don't need to hear any 'Gilda' comparisons. She had moved on, she had made straight-forward vehicles all through her ascent to super-stardom and fans will definitely appreciate the familiar elements resonating their own special glory, but shaken together as it is, we get something new that is definitely worth investigation.

  More

• I Was Born To Be Kissed

  Noirdame792006-04-23

  After her divorce from Prince Aly Khan, Rita Hayworth returned to America and Columbia immediately put her into this film, reuniting her with her favorite costar, Glenn Ford. Associate producer of "Gilda" , Virginia Van Upp, was also on board, as was Stephen Geray who had portrayed Uncle Pio in the earlier film. It is a noir along the lines of the aforementioned movie, with Rita portraying Trinidad café dancer Chris Emery, whose husband, Neal, is the owner of the joint. The authorities show up one evening after her dance routine to inform her that her spouse has apparently committed suicide. Although shocked, she later cooperates with police when they conclude that he actually was murdered and they ask her to help with the investigation. They suspect the wealthy playboy Max Fabian (Alexander Scourby), of the crime, and since he is infatuated with Chris, she can get close to him. Neal's older brother, Steve (Ford) arrives, unaware of his brother's death, but once he learns of it, he is determined to find out the truth. He is suspicious of Chris, but he is also attracted to her - something he tries to conceal. As Chris cannot reveal what she is up to, Steve begins to suspect that she knows more about Neal's death than she will admit. He is infuriated further by Fabian, who makes it no secret that he desires her. This leads to a showdown at the villain's mansion, with a strew of menacing, secondary characters to supply a sub-plot of spies and world control a la Gilda. Although not quite on par with the earlier Hayworth/Ford teaming, this is an entertaining picture that should please the viewer in the way of suspense, intrigue, and of course, the electricity generated between the two stars. And the songs (Rita's vocals were dubbed by Jo Ann Greer), "Trinidad Lady", and "I've Been Kissed Before", steamy dance routines (created by Valerie Bettis, who appears as the wife of one of the spies), and the gowns by Jean Louis are definitely a highlight. Update - the film was released on region 1 DVD in 2008. Good to have it, although I thought it could have gotten more extras - but this is Columbia, so one shouldn't expect that to happen too often. Definitely a must for Rita and Glenn fans.

  More