THE MAN FROM CAIRO
US, 1953, 82 minutes, Black-and-white.
George Raft, Gianna Maria Canale, Massimo Serato, Guido Celano, Irene Papas.
Directed by Ray H. Enright.
An example of the small-budget studio producing action films, often as supporting features. This film was made in Italy, using many Italian actors, including Ginna Maria Canale, very popular at this time. There is a surprise brief experience by Greek actress, Irene Papas, in one of her earliest roles, surprising as a young dancer in the club considering the very serious roles in her later career.
But, this is George Raft film. Initially a dancer, he had emerged during the 1930s in serious roles and continued through the 40s and into the 1950s, archetypal a as the gangster in Some Like it Hot. He had a fan base but many considered him very wooden in his performances. And, for those who think that this is the case, this film offers probably the best evidence.
There is quite a complex set up in the plot, gold bullion stolen during World War II, hidden in Algiers, the French government wanting it back, gangster connections stealing it. There is a survivor of the initial attack who is wanting to communicate the truth and benefit by it, a French general who has been blamed and wants exonerate himself, but from the audience point of view he acts very suspiciously. Then there is the local police, especially when the singer in the night club is murdered.
The French government have organised an American businessman to do the investigation in Algiers but first sent him to Saudi Arabia to produce a cover of his work in the oil industry. At Cairo airport, he meets an old friend, George Raft, who had served in Algiers during the war, indicating that he will be coming back to Algiers searching for a man with four fingers.
Raft is mistaken for the American undercover agent, taken by the police and interrogated, the subject of pursuit by the local thugs, his room searched, waking up to find the dead woman, and her friend appearing as he came to and his fleeing. She describes him to the police but then denies that he is the man, most improbably attracted to him but according to the screenplay almost immediately falling in love with him, introducing him to the local casino owner – all after the gold.
There is a twist, an entrepreneur illegally transporting the gold out of Algeria, disguised now as coins and hidden in the trains. Raft has been in contact with an authority with a rendezvous at the back of a fortune teller’s tent. But, he is the entrepreneur – leading to quite a confrontation, police, fights and shootouts, and an improbable romantic happy ending.
And, the strange thing, all throughout the film George Raft walks through Algiers and into the action sequences wearing coat and tie, often with a hat, standing out so obviously with all locals in the way they are dressed.
This was the last film by Ray H. Enright who had worked with Mack Sennett, editing, scripts, and had directed quite a number of fine westerns over the decades.
