Like virtually all films of its era that deal with Africa, the Middle East and the Far East, this one is totally matter-of-fact about the impact of colonialism on the affected nations and their people, and instead concentrates on the hardships suffered by Europeans assigned there. Melvyn Douglas, ordered to command a penal colony in French Indo-China, falls victim to heat, boredom, loneliness; so severe is his decline into alcoholism and despair that not even the arrival of his beloved, Ann Harding, is able to pull him out of it for long.
The prisoners would gladly trade his problems for their own. What lifts this melodrama out of the realm of the ordinary is the outstanding work of director Tay Garnett, particularly his use of a very mobile camera and the construction of perhaps a dozen long tracking shots that are stunning to behold. It is always notable when conventional material is transformed into on-screen excellence by the talent behind the camera, as well as in front of it. Here is a prime example.
The prisoners would gladly trade his problems for their own. What lifts this melodrama out of the realm of the ordinary is the outstanding work of director Tay Garnett, particularly his use of a very mobile camera and the construction of perhaps a dozen long tracking shots that are stunning to behold. It is always notable when conventional material is transformed into on-screen excellence by the talent behind the camera, as well as in front of it. Here is a prime example.