Das geheimnisvolle Testament

While much of Glenn Ford's early 1950s film output are unabashedly 'B' movies (he filled the same niche as Robert Mitchum did, at RKO), the movies are, by and large, very entertaining, and "Plunder of the Sun", shot in Mexico for Warners and John Wayne's Batjac Productions, is no exception. Directed by John Farrow, this action drama offers noir elements (an ambiguous hero, a 'fallen' woman, brutal violence, and an 'expressionist' use of light and shadow), John Huston-like characters (reminiscent of both "The Maltese Falcon" and "Treasure of Sierra Madre"), and an actually pretty accurate look at ancient Indian civilizations that built cities with pyramids when Europe consisted of little more than tribes.

Ford is Al Colby, a down-on-his-luck American recruited by rotund Thomas Berrien (Sidney Greenstreet-channeling Francis L. Sullivan) to slip a package through Mexican customs. When Berrien unexpectedly dies, a variety of characters offers Colby money, potential treasure, or his life, in exchange for the mysterious package, which he discovers contains part of an ancient document mapping where a hidden cache of priceless artifacts is buried. Seduced by both beautiful native girl Patricia Medina, who seems involved with all the 'major players', and drunken American 'party girl' Diana Lynn (doing a 'Gloria Grahame' impression), and 'educated' through beatings and genial lectures by the mysterious 'Jefferson' (scene-stealing Sean McClory), Colby teeters between succumbing to the vast wealth the document promises, and 'doing the right thing', and turning everything over to the Mexican authorities, who legally 'own' the artifacts. While Ford's portrayal lacks the subtle shadings of Bogart or Mitchum, he handles the moral dilemma quite well, and he certainly can take a beating!

With much of the action filmed at actual Aztec sites, in Oaxaca, Mexico, the film has an authentic 'feel', is fast-paced, and very watchable.

Certainly worth a look!

Not much of David Dodge's novel remains in this film version, other than the names of some of the characters and the basic plot. American insurance investigator Al Colby is hired to smuggle a package out of Havana and into Oaxaca, Mexico. When the man who hired him is murdered aboard ship, Colby decides to find out what he is carrying and why it is worth killing for. Unscrupulous antiquities dealers, disgraced archaeologists, and desperate women all clash in a search for buried Zapotecan treasure. Glenn Ford is serviceable as Al Colby, but the plot is murky, the characters are under-developed, and the location is inexplicably changed from Peru to Mexico. Although it is long out-of-print, copies of the book are still relatively easy to find (unlike prints of this film, which is still tied up in Wayne estate litigation), and reading the book is a much better use of one's time.

I only decided to review this film after seeing other reviews that I feel had an unfair opinion of a honest work. The performances are excellent and the location and cinematography is beautiful. This film is very atmospheric and enjoyable in my opinion. Give it a look.

Too many wanna be's for my taste. In the first twenty minutes alone I counted three; Patricia Medina's Rita by way of Ava, Francis Sullivan's Sydney G, and S McClory's P Lorre. And then, as Snoop suggested below, there is Glenn Ford's I Don't Wanna Be as in I'm Phoning This One In. So before I could stick around for Diana Lynn's imitation (Mary Astor would be my guess) I bailed. Good location shooting, though, removes this John Farrow offering from the realm of utter crap.

American Al Colby (Glenn Ford) arrives in Havana. Femme fatale Anna Luz (Patricia Medina) recruits him to help her and her collector husband Thomas Berrien to smuggle a small package into Mexico.

Glenn Ford is too calm and collected. It has two effects. It doesn't really fit the role and his calmness saps away the tension. He acts like he expects to be recruited. The story would work much better if he's an average tourist falling for Anna and getting pulled into something that is over his head. He rarely acts like he's in danger. It suppresses the tension.