Golden Salamander

This is a slightly confused smuggling mystery with an oddly cast Trevor Howard as "David", a British archaeologist sent to Tunisia to supervise the removal of some artefacts. He arrives at the inn run by "Anna" (Anouk Aimée) and a slightly sinister pianist Wilfred Hyde-White ("Anjo"). Next thing, he is involved in a gun-smuggling racket with local hoodlum Herbert Lom ("Rankl") and his lobster fisherman pal "Max" (Jacques Sernas) whilst slowly falling in love with the much younger "Anna". It's a good looking film, but the story has more holes than a Dutch cheese with just way too many co-incidences. Howard is fine, but Lom features all too rarely to build any sense of suspense. Sernas is positively smouldering so why Anouk would prefer the older man is slightly bewildering; and the casting of Miles Malleson - ordinarily the archetypical British vicar/train enthusiast as "Douvet" - the local policeman, is just a bit too baffling to make much sense of the really thinly spread story.

While the poor casting in "Golden Salamander" might surprise you, it it STILL worth seeing. It begins with a British man, David (Trevor Howard), driving along some very, very wet roads at night in Tunisia. Eventually, he pulls off the road--and stumbles on some guns that have fallen out of a crate. Soon, some folks return to retrieve the guns--and David runs, as he's pretty sure these are smugglers. However, he does NOT report this to the authorities.

His job in the town is to pack some antiquities for transport to a British museum. During the time he's in the town, he falls for Anna (Anouk Aimée). He also soon realizes that Anna's brother is one of the smugglers. What's he to do? And, just how deep does this conspiracy go?

This is a nice action-romance. As I mentioned above, the casting was odd, as Howard was almost two decades older than his love interest. I also was dumbfounded when there was the HUGE fight near the end...and Anna just stood there watching (even though if the wrong man wins, she will die!). Despite these problems, the film is exciting and has a very good plot...and it's well acted as well.

With her little-girl voice and arched eyebrows, a 17-year old Anouk (Aimee) is a real attention-getter. Having her fall for the much older and plainer Trevor Howard, however, is something of a stretch. Nonetheless, it's a fascinating movie to look at even if the basic plot is unexceptional. Archaeologist Howard travels to north Africa to retrieve shipwrecked treasures that include a golden salamander. There he stumbles across a network of gun- smugglers and hooks up with the exotic Anna (Anouk) in a seedy, atmospheric café. Just who is and who isn't a part of the network generates some suspense.

But the movie's strength is in the acting and the photography. Howard is superb, as usual, while Anouk manages to be both emotionally vulnerable and surprisingly accomplished in her first big part. Special mention should go to Walter Rilla for his super slick version of a gangster kingpin. He looks and acts the sinister role to a proverbial T.

However, what I liked best is what the pro's call "mise-en-scene", ie. the placing of a scene. Someone in production had the great idea of filming on location, along the north African coast line. This results in a number of visually stunning compositions made all the more so by the subtle tonalities that only black& white photography can produce. Catch the romantic scene on the beach with the setting sun in deep-focus background. Color is simply too literal to capture this kind of poetic effect.

The dialogue is spiced up nicely with several exotic pearls of wisdom, but what about that escape scene by the cliff which seems pretty implausible-- how did Hyde-Whyte know a sheep flock would pass at exactly the right time. Or the climax, which seems a little too tame for my liking. Nonetheless, it's one of those movies that's stayed with me over the years for reasons I can't quite pin down. I guess it's something about the authentic crowds along the Arab bazaar or the sheer poetry of that coast line stretching into the distance and beyond. Yes indeed, there's a lot to be said for the old black & white.

When I saw the cast for this, I figured the movie would either be very good or awful. Luckily, it was the former. Good acting, great cinematography, editing and a convincing character path make this movie a real classic. Of course there are the "exotic" Arabs, but their depiction is not as offensive as in most films of its era. The somewhat dazed performance by Anouk Aimee leads one to believe that she either had a lot of trouble with the English language, or overplayed her depressive qualities. The boar hunt sequence brings to mind the conclusion of the book "The Alexandria Quartet." Aside from these minor quibbles, I recommend The Golden Salamander to anyone with an interest in character development, intrigue, and film noir that isn't about people unjustly accused of criminal action, innocent people led into same, and heists gone wrong.

Watchable British thriller about gun-running in Post-WWII Tunisia with faint echoes of THE MALTESE FALCON (1941; except that the title artifact bears little relation to the main plot!), TO HAVE AND HAVE NOT (1944) and THE THIRD MAN (1949; not least the presence of two of its cast members), but is perhaps too low-key to be really memorable. Nonetheless, the film has a remarkable cast (Trevor Howard, Anouk Aimee', Herbert Lom, Walter Rilla, Miles Malleson, Jacques Sernas, Wilfrid Hyde-White) and nice, noir-ish atmosphere going for it - and is short enough (87 minutes, though some sources give this as 96!) to keep tedium at bay...which could result from its lack of incident (apart from a couple of confrontation scenes and a climactic fistfight between Howard and Lom) or the incongruous pairing of its two leads.