#Zw cad 2012 free#
The poster art’s colourful evocations of ‘soldiering’ does eventually kick in during the last half hour in which Hank, his first mate, and Merryweather break Louis free in the easiest prison escape ever, and while slickly filmed & edited, there’s little in the action nor the film’s overall direction that shows Edward Dmytryk seemed to care about the production maybe he sensed the script’s malnourished state, or stuck to workmanlike direction, given Gable’s anti-leftist stance – Dmytryk’s career had been freshly resuscitated after he agreed to name names for HUAC following his blacklisting with fellow Hollywood Ten members – and the star getting 10% of the gross profits. Hank is willing to facilitate the Hoyts’ reunion purposely so he can tell Louis man-to-man he wants his woman – a muddy possibility that’s clarified in the finale when Louis’s revealed to be a milquetoast, a wanderer, and physically unfaithful (as per his more-than-likely fling with a waterfront prostitute, played by Grace Chang). Hank’s aggressiveness is soon tempered by Jane’s need to work with him to rescue husband & photographer Louis (Gene Barry, who has barely 3 scenes in the whole picture), locked up in one of the least secure Cantonese prisons. There’s also “Rita,” a furious storm which barely manages to hide its role as kitschy metaphor to Hank’s quick, tight, embracing and lip-smashing of Jane Hoyt (Susan Hayward), his chosen woman. That inaugural dinner between the inevitable couple blazes through drinks, a nostalgic echo of Hank’s bustling Chicago via an LP recording, and a western dinner. Heck, he even adopted two ragamuffin orphans because he felt an instant responsibility for their uncertain futures. Of course, the only missing element in his life is a good wife & mother. Hank’s a genial smuggler who wields a hard fist or fires a hidden deck canon at aggressors, scumbags, and selfish conmen instead of facilitating drugs, he smuggles watches, and respects local customs instead of being an exploitive ugly American. In the end, however, the filmmakers relied on Gable’s innate charm to make up for an underdeveloped anti-hero who never does anything especially nefarious. Merryweather (reliable, stoic, and wholly emasculated Michael Rennie) calls him a gangster while a nick-knack shop owner & ex-lover (Frances Fong) praises him as a white linened saint. The goal may have been to build up the mystique of Hank Lee through contrasting observations using secondary characters: local police Insp. Sometimes the dialogue sparkles and is amusingly wry, but there’s a weird push to get the unlikely lovers lip-locked within minutes alternate footage of Gable taking a mountain tram down from an observation point was used as background footage for the Main Titles, but it’s a cheat, as Gable doesn’t appear until 25 mins. Gann’s adaptation of his novel that features an undercooked, poorly developed romance between a married woman and the charismatic bad boy she hires to rescue her flaky shutterbug husband from a mainland Chinese prison. Upon it’s original theatrical release, Clark Gable’s first picture after being ‘dumped’ by longtime studio MGM wasn’t well appraised by critics, and although the passing years may have enhanced the film’s curio value – namely, the gorgeous cinematography of Hong Kong prior to its meteoric growth as a major commercial hub with massive waterfront redevelopment – it isn’t a particularly good picture. Special Features: Audio commentary by film historian Danforth Prince / Stills Gallery / Theatrical Trailer.
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Synopsis: A woman travels to Hong Kong and engages a smuggler to help rescue her husband from mainland China.