Crisis (1950) Online

Cary Grant is a noted surgeon traveling with his wife (Paula Raymond) in a Latin American country when there's a "Crisis." This 1950 black and white film also stars Jose Ferrer, Leon Ames, Ramon Novarro, and Gilbert Roland. Grant, as Dr. Ferguson, and his wife are trying to leave the country due to political unrest when they are kidnapped and brought to the home of the country's dictator, Raoul Farrago (Ferrer). There, they learn from his wife (Signe Hasso) that the leader is dying of a brain tumor, and options for an operation are few as no one wants him to live. Ferguson agrees on certain conditions. Ultimately, his wife is involved in a riot, and he sends her home. It isn't until the surgery is over that he learns that certain things have been kept from him.

This is actually a very good and underrated film, not the usual Cary Grant type of role or movie, which in itself should have sparked some interest when it was released. People know the handsome Grant and his debonair persona, his gift for physical comedy and the way he has with a line - but it's nice to remember occasionally that underneath all that star power and tailored suits there's a fine actor. Here he plays a man who makes a commitment to a patient he plainly doesn't like, and he has to fight to control his emotions. His anger over the situation makes this difficult. Ferrer is terrific as a violent man who thinks of his people as dumb children as he feathers his own nest with money that rightfully belongs to them. As his Evita-like wife, Signe Hasso has a chance to show her capabilities, and she's excellent - charming on the surface, worried about her husband, and hard as nails underneath. Hasso was a wonderful Swedish actress often relegated to B movies or to small roles in A films. Eventually she turned to theater and television. Here we see, had the roles been there for her, what a find she truly was.

It's always great to see old-timers Gilbert Roland and Ramon Novarro, the latter as Colonel Dragon, and the former as a revolutionary who wants Grant to kill Farrago on the operating table. Actually he's no better than Farrago, and Ferguson gets a bird's eye look at oppression politics.

A very good film; worth seeing for Grant, Ferrer and Hasso.

CRISIS remains perhaps the only film that is completely forgotten when lists of Cary Grant films are offered. Even some of Grant's lesser vehicles are discussed, in depth, but Richard Brooks' CRISIS, which features a really stellar cast is 'lost' in contemporary cinema circles. There is no logical reason for this. Grant gives one of his very rare straight dramatic performances -- and one very very different from the dramatic range in NONE BUT THE LONELY HEART. It is a strong, forthright piece of work. The film deserves rediscovery for any number of reasons -- Grant's work, the first sign of Brooks' major talent... and one of the few (if only) Grant films that deals with modern political issues. I had remembered the film very well from my youth and never saw it listed for TV showings or any retrospectives. Thus, finding a rare DVD copy was wonderful ... and, surprisingly, very rewarding. Here's to someone pulling CRISIS out of obscurity and into a rung on the Cary Grant pantheon.

They say it was to be a widower and his child ,like in the novel.But the producers got their vow and they paired Grant with the bland Paula Raymond.Actually the real female star is Signe Hasso,a beautiful fascinating woman.Jose Ferrer is ideally cast as the great dictator.

The main weakness of the screenplay is the fact that Grant does not receive the message:his moral dilemma is not as harsh as it could have been.Nevertheless ,"Crisis " is a strong debut from a great director .

Good lines:

Ferrer: "You 've done me and my people a great service."

Grant: "I haven't voted for you"

Ferrer :"Neither have they"

The ending does not take the easy way out: the "revolutionary " man is actually a perfect demagogue and the country is probably waiting for the next dictator.

Crisis represents yet another attempt by Cary Grant to break away from his light leading man image and do something with more drama. His last attempt was None But the Lonely Heart which got great critical notices, an Oscar nomination for him and died at the box office. The public just didn't want to see him in stuff like Crisis.

The film is one of a very few non-musical productions by Arthur Freed at MGM. And the original story was intended for Spencer Tracy who was to be a neurosurgeon traveling in Latin America with a 10 year old daughter. The powers that be decided a little romance was needed so Tracy was substituted by Grant and he was given a wife played by Paula Raymond instead of a daughter.

He's a neurosurgeon and when the powers that be discover him in their country he's brought to the presidential palace to operate on Peron like dictator Jose Ferrer. Then the rebels capture Paula Raymond and Grant's got a dilemma.

Signe Hasso who was cast in the role of the first lady bears more than a passing resemblance to Eva Peron does the best job in the film. Cast in Latino parts are such Hollywood Latinos as Raymond Novarro, Gilbert Roland, Antonio Moreno, and Pedro deCordoba. All perform well.

Crisis marked Richard Brooks's directorial debut and he wrote the script as well. Unfortunately the same thing happened here as did to None But the Lonely Heart. Great reviews and it lost money. Brooks was established as a director though.

Sometimes timing of movies ruins a possible award - witness how two splendid films, ALL ABOUT EVE (about the underbelly of the theatre)and SUNSET BOULEVARD (about the underbelly of the movies) came out in 1950, and managed to keep each other from sweeping the Oscars that year (although both did share in the Oscars). Each had great actresses in performances of stature (Bette Davis and Anne Baxter as Margo and Eve, and Gloria Swanson as Norma Desmond) up for best actress - but it was the year for Judy Holiday for Billie Dawn in BORN YESTERDAY.

That same year, this nice little political thriller came out. It told the story of political intrigue in Latin America, complicated by the failing health of a dictator, and how an American doctor is torn between the threats of the dictator's regime and of the local revolutionaries. Cary Grant actually had a non-suave role here - he had serious things confronting him, like his dislike of his prospective patient (Jose Ferrer) and fears for his wife. Richard Brooks in his screenplay looked at such figures as the Argentine Perons (Signe Hasso plays the dictator's wife, like a clone of Evita), and notes the huge statues and pictures of the dictators - an early observation of what we call "the cult of personality". Ferrer is properly despicable, as a man capable of any act of violence for advantage, but also sickly due to his brain tumor. He also occasionally brings out points that pure democracy fans do not like to discuss: as he tells Grant Americans are perfectly willing to patiently stand in line for purchasing items or seeing movies, but in his country after a few minutes people standing in line start fighting and rioting. The opposition to Ferrer is little better than he is. Witness Gilbert Roland, who okays the kidnapping of Grant's wife, and once the dictator is dead starts telling Grant "These people are children who need a leader to tell them what to do." Someone disagrees with Roland, for he is shot by a sniper shortly after. The film ends with Grant sarcastically taking care of a panicking Roland and sneering at his political beliefs at the same time.

It was ahead of its time in dissecting Latin American political reality. So why is CRISIS so little recalled, while other Grant thrillers (like NORTH BY NORTHWEST or NOTORIOUS - both by Hitchcock) are remembered. Not due to production or script or acting. Rather timing. In 1950 Douglas Fairbanks and Glynis Johns and Jack Hawkins appeared in the movie STATE SECRET. Set in a fictional Balkan country (supposedly Yugoslavia, but fictitious) a British surgeon is forced to take care of an ailing dictator, who undergoes a secret operation. But the dictator dies, and Fairbanks tries to flee the country aided by Johns. Almost the same type of plot (although a different part of the world). Both films deserve revival. And like ALL ABOUT EVE and SUNSET BOULEVARD, both checkmated each other's full effectiveness in that year of coincidences 1950.

"Crisis" is a study in how a strong supporting cast can make a movie complete. While Grant and Ferrer give powerful performances, they are enhanced by even better performances by Signe Hasso and Ramon Navarro. The latter two, with subtle, understated characterizations, round out a thoughtful script and cast. The story is compelling -- medical/ethical conflict, interwoven with a political drama which doesn't attempt to sway. It does provide a backdrop which doesn't interfere but enhances.

This is Richard Brooks' first directorial effort. Examining the work half a century after it was made, the film presents a director who knows how to get the most from his actors through the written word and the way it is spoken. Three actors sparkle: Cary Grant, Jose Ferrer, and Signe Hasso.

Compare Cary Grant's acting in the Hitchcock vehicles and in this. Grant presents a maturity in his speech patterns that do not show up under Hitchcock's direction. I think much of the quality of the performances is probably due to the director who took his first film seriously--probably a lot more than he did in his later career.

All in all, this is a curious film--quite unusual in several ways compared to the average Hollywood products in the Fifties. Is it only a question of humanism winning over all evils? Or more?

I had thought I'd seen just about every film Cary Grant made until I saw "Crisis" on Turner Classic Movies today. I found it a well-done suspense thriller, which at the same time examined some heavy moral decisions that must be made in times of stress and crisis. The moral dilemma of a doctor facing a decision to save a life, when the patient's death would benefit so many is truly a difficult one. Does the doctor live up to his oath to heal, or does he live up to his moral values which demand that tyranny be opposed and destroyed? Do professional ethics supersede moral values? The battle within the doctor is well delineated. The climax of this battle within himself is sobering. The acting is excellent, especially that of Grant and Jose Ferrer. Ferrer's depiction of the dictator is chilling indeed. The end comes as a decided relief.

Even someone who's been keeping track of old movies for many years can be forgiven if this one slipped under the radar. Surgeon Cary Grant and his wife are vacationing in a South- or Central-American paradise when they are abducted by government forces. Seems the country's dictator (Jose Ferrar) has a brain tumor but is afraid to leave the country due to revolutionary activity. Grant is pressured into performing the operation. Only problem is, the guerrillas have captured his wife, threatening to kill her if Ferrar survives the operation. But the letter informing him of this never reaches Grant.... Supporting cast includes Leon Ames, Ramon Navarro (Ben-Hur of the silent era) and Signe Hasso as Ferrar's wife, an Evita Peron clone. This is a tense and often intelligent drama (and slightly out of Grant's usual debonair range) that doesn't merit the obscurity it seems to be buried in.

Cary Grant stars as a famous neurosurgeon who is vacationing in a South American country with his new bride. The pair are subject to a "friendly abduction" when the current president of that country, Raoul Farrago (Jose Ferrer), learns of his presence. You see, the president has a brain tumor, and due to the fact that his country is on the verge of civil war, he dares not travel to another country for the operation he needs to save his life.

Farrago is a tyrant who claims that he must be so because democracy would never work in his country. His people are illiterate children, he says, and wouldn't know what to do with freedom if they had it. However, being a national "father image" doesn't prevent the president from stealing everything in the country that isn't nailed down. The president's wife does a great job of emulating Evita Peron before much was really known about her. Then there is Gilbert Roland as the leader of the opposition. He wants to make his people free, as long as he gets to be the new dictator. Roland does a great job with this role. How far he has progressed here since his early days as an actor at the dawn of sound.

So the question is - does Grant owe a service to the dictator by saving his life with a delicate operation only so that patient can go on being a killer and a thief, or would the death of this tyrant better serve mankind? If you throw the safety of his wife into the balance - what decision does the doctor make?

Most IMDb critics claim that this is unlike any other Cary Grant role, but to my eye and ear, his performance was remarkably reminiscent of "Notorious." Agent Devlin was more romantic, to be sure, but Dr. Ferguson is also a cool, calm, rational, and duty-bound man in a political maelstrom: he's a surgeon, vacationing in a banana republic whose tumor-stricken president shanghais him. The result is a trenchant dramatic character-- which Grant does very well.

The screenplay is solid; the direction, camera work, editing, etc.-- competent. But any critic would be remiss not to mention other notable performances. Ramon Novarro and Gilbert Roland always add to a film, of course, but I'd single out two other performers:

The Spanish composer Vicente Gomez graces only one scene, in a café, but he plays a soulful guitar solo that I wanted much, much more of.

And then there's Jose Ferrer. He steals nearly all his scenes as a Latin American dictator with a brain tumor, especially the scene where he watches Grant's amateur surgical team drill into a fake human skull, rehearsing for the brain surgery awaiting the dictator himself tomorrow. When the rehearsal is done, Ferrer is sweating visibly and fumbling with a cigarette. He makes it easy for you to project yourself into that makeshift O.R. with the student surgical team-- you with a brain tumor and a captive surgeon who makes no effort to hide his antipathy.

Of course, Grant has no trouble holding his own in every scene, including that one. "Tell them never to use that instrument on the brain again," he says to his translator. "It might suck a piece right out of the brain." Ferrer hears, of course, and through his sweat he asks, "How did it go?" Grant drops the stitched-up skull in a garbage pail and says, "Oh, it went quite well. But you died."

I suppose people who are just looking for a vehicle to swoon over Cary Grant will be find this movie dull. Not that he's not '"swoonable" in this. He's great! But this film has to be viewed as a serious drama that attempts for the first time in Hollywood (!) to look at the issues of a Third World country. It's the first time! Hollywood was still making safe, 'nice' movies, and was heavily in the horror and insanity of McCarthyism. That a film like this could be made at all, is amazing. This is a pretty 'small' film, shot mostly on soundstages with a little known supporting cast. But that cast is great, especially Jose Ferrer, who really gives one of his very best screen performances. The score is excellent, the tension is well-paced, and the script... well, it may seem dated today, but considering how many people didn't know (and still don't know!) what's happening in other parts of the world, it packs a lot of information in usually, a very eloquent way. And you just gotta love the idea of the dictator watching his surgeon rehearsing the surgery that might possibly take his life! For it's time, this is a remarkable film. Today, it is less so, but still is very worthwhile entertainment.

Fans of Cary Grant should see this under appreciated film. It proves that Grant could indeed act - and that he has far greater range than his standard light comedy fare would indicate.

This is not a great movie, but it is a very well made movie. It has high production values. The film features three of the major "Latin Lovers" from the Silent era - Gilbert Roland, Ramon Novarro, and Pedro De Cordoba.

Jose Ferrer and Signe Hasso play a Latin American Dictator and his wife. They are the weakest points in the production - Ferrer insists on "Acting" through every scene. His performance comes across as very dated and unbelievable. Hasso, normally a fine actress, comes across as wooden and barely lifelike.

The weakest point in the production is the script. It insists on being very "politcal" and this detracts from the enjoyment value. Yet, because of this political viewpoint, it treats Latinos with much more respect and consideration than other movies filmed during this era.

I loved this movie because of the performance of Signe Hasso, who conveyed all she could, given her stereotypical lines. Farrago's part was a caricature of a Hispanic dictator. I wonder how many actually have such a sardonic, self-deprecating sense of humor. Grant was excellent, but demonstrated what a marvelous actor he is by delivering somewhat stilted, corny lines with aplomb and feeling. Paula Raymond's part gave her little to work with. The others were serviceable.

But Miss Hasso was superb. I missed the opening credits, and had no idea who she was, but was immediately intrigued by her performance. I suppose she was patterned after Evita, but she came across as much more sympathetic than Eva ever could. When I came to IMDb to learn who played the part, I was stunned to learn it was a Scandinavian, rather than a Hispanic. She carried it off marvelously.

Renown brain surgeon, vacationing in an unnamed Latin American country with his wife, is stopped from leaving by the president's wife and minions after the savage dictator falls ill. The doctor reluctantly agrees to operate, not knowing that his spouse has been kidnapped by the Revolution, who want the leader's head on a plate. Although he stays in a somber low-key throughout (with the exception of a comic teeth-brushing bit), Cary Grant is just as interesting in a dramatic film as he is in more lighthearted fare--though the lack of offhand humor makes itself felt. Debuting director Richard Brooks, who also adapted the script from George Tabori's story, provides a steady pace which is neither gripping nor dawdling, and he handles his actors efficiently enough. A curious vehicle for its star and studio (MGM), the picture fails to unnerve us with its staged violence (which seems derivative of Fritz Lang) and angry, shouting mobs. What it does do well is present two important men on opposing sides reaching a temporary truce through medicine and illness. In this regard, "Crisis" is unusual and occasionally effective. ** from ****

This Cary Grant film is shown less often on TV than most of his films. Part of this may be because it certainly isn't among his very best films but part of it also must be due to its odd plot. Cary is a famous brain surgeon who's on vacation in South America with his wife. A nasty dictator is dying and needs brain surgery, so Cary and the wife are abducted and brought to meet the "president for life" (Ferrer). Grant is told that he really has no choice about doing the operation, because his and his wife's lives are forfeited if he refuses or botches the operation, as they know that Grant would much rather see this evil little dictator assume room temperature. Because of this, it's a tense little film. Also, I particularly liked the ending. On so many levels, it was an excellent wrap-up for the film--both in what occurred to the dictator as well as his replacement.

having only seen a couple of cary grant films after seeing this i certainly will attempt to watch some more! mr grant helped by a strong script which brings out his best attributes seems simply to glide through this movie, thats not to say this is a bad thing as he is a joy to watch, his small mannerisms and the tone of his voice really develop the role in which some actors would have crashed and burned. without mr grant i dont feel the movie would have held together so convincingly, although i was impressed with the use of foreign language and the ending which while quite simple did surprise me. one thing though the soundtrack was very grating and takes a little gloss off a good movie, so perhaps subtitles is the way ahead!!

I first saw this movie in 1950 when it was released. I thought it was a good drama, more or less accurately portraying many of the problems of Latin American governments, with good dialog particularly between the two male leads. Incidentally, I did not find either character particularly sympathetic, but no matter. Many of the comments here have mentioned the resemblance to Eva Peron of the Signe Hasso character. Just an interesting observation: In the much later made for TV movie, Evita Peron, Signe Hasso and Jose Ferrer both had roles. He was the tango singer who seduced Evita and took her to Buenos Aires. She was the aging actress who befriended the young Dva Duarte and found herself in a jail cell. Of the two movies, Crisis is by far the better film. Evita Peron was a ripoff.

Cary Grant remains one of the best actors ever to grace the silver screen. His subtle and understated performance was a marvel to watch. Jose Ferrer was very effective as the dictator. Paula Raymond as Grant's wife delivered a wooden performance and did not add to the movie. This movie was made in 1950, but the lighting and camera work appear to be from the late thirties or early forties. That spoiled the movie somewhat for me. I am a huge fan of Richard Brooks but this was not one of his best efforts. The movie was disjointed moving from scene to scene and the believable dialog went mostly to Grant and Ferrer. The saving grace was the sets and the inkling into the character and thinking of both the doctor and the dictator. Towards the end, the truth of their convictions became quite clear. That revelation is exactly what makes the movie watchable in spite of the negatives. I suppose this could be remade, but there is no one who could ever top Grant's performance. That is the reason I recommend it.

It's always nice to discover a "new" Cary Grant movie. As I watched this one, I really liked it.

As the movie begins, a renowned American neurosurgeon, Dr. Eugene Norland Ferguson (Cary Grant) and his wife, Helen (Paula Raymond) are on vacation in an unidentified Latin American country. When local civil violence breaks out at a jai alai game they are attending, they try to avoid it. However during the upheaval, they are kidnapped by the local police and taken to the mansion of the country's military dictator, Raoul Farrago (Jose Ferrer). Though they are welcomed and treated well by Raoul's wife (Signe Hasso), they are clearly captives of the government and become pawns of a civil war between the country's dictator and its rebels.

Dr. Ferguson determines that Farrago has a brain tumor that needs to be removed. But, he has no surgical team or equipment with with to operate, and Farrago's entourage forbids him or his wife from leaving the mansion or moving Farrago to any hospital, for fear of the local rebels' wish to kill Farrago.

Ferguson asks that his wife be moved to safety, and his wish is granted. But, the rebels soon grab her and demand that Ferguson let Farrago die or kill him on the operating table.

However, as a physician, he cannot allow himself to be swayed by political upheaval, not even to save his wife's life. The movie continues to its conclusion, with tension in the operating room and tension on the streets of the Latin American capital.

If any film demonstrates that an actor can make or break a movie, this is it. The scriptwriters deliver Cary Grant a poor hand - a plodding, ham-fisted drama which rushes from climax to climax, before abruptly ending without any real resolution or conclusion. However, Mr Grant single-handedly salvages the entire enterprise, aided by a delightful set design - his blockbuster performance successfully draws the viewer away from the plot, to focus on his character alone.

Virtually all the tension delivered in this film is produced by Cary Grant - a cold stare, a few harsh words, a powerful stride. He is a joy to watch, and the manufactured and phony attempts at drama the script shoehorns in only highlight how poor they are in comparison. With a better script, this film could have been a marvel - as it stands, it is an excellent showpiece for Mr Grant's talents, and an object lesson to aspiring actors (and scriptwriters, for that matter) everywhere.

Lightweight leading man Cary Grant decided to try playing a serious role for a change in writer & director Richard Brooks' first directorial effort "Crisis" about a gifted surgeon who agrees to operate on a notorious South American dictator who suffers from a brain tumor. Nothing about "Crisis" is remotely like anything that Grant had done before in Hollywood. Humor is not used to relieve the tension or the drama in this straightforward medical yarn. Brooks adapted George Tabori's short story "The Doubters," and he pulls few punches realistic yarn. It should come as no surprise that Latin Americans didn't like approve of this controversial movie. Ultimately, Grant's stab of being serious amounted to a flop, despite the poster ads that proclaimed "Carefree Cary Grant on a gay vacation with his lovely bride walks right into Danger!" The arrogant dictator, Raoul Farrago (José Ferrer of "The Shrike"), insists that the good doctor operate even though several more qualified surgeons are available to treat him. As it turns out, none of those doctors want to save Farrago. You see, Dr. Eugene Norland Ferguson (Cary Grant of "Gunga Din") and his wife Helen (Paula Raymond of "The Duchess of Idaho") are on holiday from their ship when they find themselves arrested by Farrago's armed enforcer Colonel Adragon (Ramon Navarro of the silent "Ben-Hur") who doesn't take no for an answer. Meantime, a representative from an oil company, Sam Proctor (Leon Ames of "Lady in the Lake") advises the Fergusons that he go through with the dangerous operation. Ferguson doesn't want his wife around if anything goes wrong. She boards a train with an armed escort to leave the country. Earlier, Ferguson and his wife had dined out in a restaurant where the subverves hang their hats, the doctor meets the ring leader of the opposition, Roland Gonzales (Gilbert Roland of "Beneath the 12 Mile Reef") tries to convince Ferguson to botch the operation. Truthful to his oath as a doctor, Ferguson goes ahead with the operation. Farrago survives but ignores his physician's orders. The ending is appropriate to this Metro-Goldwyn-Mayer social consciousness drama and it should come as no surprise what happens to the dreaded Farrago. The ending has a touch of irony to it. "Crisis" lives up to its title, and Brooks never lets the tension slacken throughout this taut thriller. Reportedly, Grant threw himself into the role and approached genuine doctors who showed him a thing or two about the surgeon's profession.

Surgeon Cary Grant and his wife Paula Raymond are vacationing in some South American country when they are kidnapped by the military police and taken into the mountains. There they are told the country's dictator, José Ferrer, is in need of an operation to remove a tumor. Grant reluctantly agrees but then his wife is kidnapped by revolutionaries who would like to see Ferrer dead.

Hollywood types have always had a fascination with the politics of Latin American countries, their dictators and rebels. This was especially true in the 1950s. So I'm not surprised this was made. I'm also not surprised it flopped at the box office. It's the directorial debut of Richard Brooks, a director who I believe made it farther having friends in high places than any appreciable degree of talent. But I suppose that's true of many directors, actors, etc. even to this day. Grant does fine here but the film is so serious and monotone that it removes many chances for Grant's charisma and personality to shine through. There are a couple of quips here and there that stand out against the rest of the movie's drabness. Paula Raymond is pretty but wooden. José Ferrer is very stagy. Signe Hasso, Leon Ames, Gilbert Roland, and Ramon Novarro are all fine in supporting parts. It's not a bad movie of its type, just ordinary and dull. Not the kind of movie a Cary Grant fan will likely expect.

While vacationing in South America, brain surgeon Cary Grant (as Eugene Ferguson) is railroaded into operating on his host country's despotic dictator, Jose Ferrer (as Raoul Farrago). El Presidente Ferrer has a brain tumor, and won't let Dr. Grant leave the country unless he agrees to operate. As a show of good faith, Ferrer grants pretty Mrs. Paula Raymond (as Helen), Grant's wife, permission to leave the country early, so she can go shopping. Things get complicated when Ms. Raymond is kidnapped en route, by revolution-minded Gilbert Roland (as Gonzales).

This is most notable as the first film for director Richard Brooks, who went on to have a very impressive career. "Crisis" is a well-intentioned and thoughtful, but labored, political drama. Ferrer does well in his role; but, Grant's persona doesn't quite fit the scrub cap, surgical gown, and latex gloves. TCM's Bob Osborne reported that Mr. Brooks' original script gave Grant a 12-year-old daughter, but, MGM wanted Grant to have a romantic partner. Watch for former silent film stars, like Ramon Novarro (Col. Adragon) and Antonio Moreno (Dr. Nierra).

***** Crisis (7/3/50) Richard Brooks ~ Cary Grant, Jose Ferrer, Paula Raymond, Ramon Novarro

I saw this film again last night after a very long time and could not help comparing it to the similarly themed British film 'State Secret', which was also released in 1950. Whereas State Secret was a fast moving classic full of snappy dialogue and dark wit, CRISIS let itself down by a plodding script, wooden acting and heavy moralising. Grant is unconvincing as the American surgeon caught up in political intrigue while vacationing with his wife in a South American country. The cinematography is poor, making the sequence of events hard to follow and the ending extremely melodramatic. Overall, it is a missed opportunity with such a good storyline to start with and I'd describe it as a badly made rather than a bad film.