BlazeLime Strong and Moving!

Raetsonwe Redundant and unnecessary.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

JohnHowardReid Jack Palance (Gil Walker), Joan Fontaine (Susan Lane), Corinne Calvet (Nikki), Robert Douglas (Danzer), Marcel Dalio (Goro), Jeff Morrow (Colonel Wier), Richard Shannon (Lieutenant Bill Luzon), Murray Matheson (Franz Kovac), John Doucette (Tirera), John Pickard (Hank Brady), James Anderson (Dullah, Goro's henchman), John Templeton (Luzon's offsider), Peter Coe (Hanrah), Madeleine Holmes (Rosario), John Wengraf (Kalferez), Otto Waldis (spiv who demands money), Jerry Paris (policeman in car), Albert D'Arno, Rene Chatenay, Anthony De Mario (policemen), John George (cart vendor), Eric Alden, Don Dunning (Moroccans), Mark Hanna (corporal at airport), Karin Vengay (Greek girl), Josette Deegan (French girl), Pilar Del Rey (Spanish girl), Rodd Redwing (police orderly). Director: CHARLES MARQUIS WARREN. Screenplay: Charles Marquis Warren. Film editor: Frank Bracht. Photographed in Color by Technicolor and Natural Vision 3-D by Ray Rennahan. Art director: John B. Goodman and Hal Pereira. Set decorators: Bertram Granger and Sam Comer. Special photographic effects: John P. Fulton. Process photography: Farciot Edouart. Make-up: Wally Westmore. Technicolor color consultant: Richard Mueller. Assistant to the producer: Harry Templeton. Assistant director: Daniel McCauley. Music: Paul Sawtell. Sound recording: Harry Lindgren, Gene Garvin. Producer: Nat Holt. Copyright 1 November 1953 by Paramount Pictures Corporation. New York opening at the Palace: 24 November 1953. U.S. release: November 1953. U.K. release: 26 December 1953. Australian release: 13 August 1954. Sydney opening at the Victory. 92 minutes.SYNOPSIS: A chartered plane crash-lands in Tangier. But where is the pilot, where's his passenger and, more importantly, what happened to the money he was carrying? COMMENT: A disappointing 3-D movie on all counts, this "B"-grade pulp adventure in a studio-built Tangiers features acres of talk interspersed with a few mild chases that lazily work up to a feeble, clumsily-handled shoot-out climax. One of the chief problems, alas, is Joan Fontaine. Her role is not only unconvincing, but superfluous. The film would have been tauter and more suspenseful if her entire role had been eliminated. True, she looks very cool and glamorous, but then the whole movie is beautifully photographed. (It's one of the few 3-D attractions lensed in three-strip Technicolor). All the same, Jack Palance doesn't look the part of the hero, and Douglas portrays the villain with little of his characteristic zing.At least Marcel Dalio plays with customary enthusiasm. He is the only one of the leads who seems to benefit from director Warren's constant use of wide-screen close-ups. Warren's pedestrian direction is compounded by both visual (distinctly tacky sets) and aural impediments, including a Mickey Mouse music score with every minor twist of the ridiculously far- fetched but unfortunately ho-hum plot inevitably heralded by ominous chords. All told, this picture rates as a thoroughly "B"-class effort. Only at least fifteen or twenty minutes of skillful trimming could salvage some entertainment from Warren's garrulous, dime-novel script which contemporary critics justly described as "pointless", "old- fashioned" and "seedy".

Dennis Bell A real rattletrap of a movie, in which all the parts clank like mad but can't mesh. Jack Palance is poorly used in a script that has him playing from moment to moment the grim stoic, man of the world, homesick patriot, lovesick romantic, and half a dozen additional stereotypes. He spends most of the time literally dragging around Joan Fontaine and Corrine Calvet while on the run from both the police and black marketeers. The plot is a slice of Cold War tripe in which embargoed American war surplus material is being sold to the Russians. Nobody in the cast looks entirely comfortable at any point, and neither will the viewer.

MartinHafer Apart from being filmed in 3D, there isn't a whole lot to distinguish "Flight to Tangier". It's an action-adventure film with very little action and it's, at best, a time passer. Aside from Joan Fontaine, it's mostly filled with B-list actors and just left me flat.When the film begins, a DC-3 airplane crashes at an airport in the international city of Tangier*. Oddly, however, no bodies are found in the wreck...and two folks, Susan and Gil (Joan Fontaine and Jack Palance) are caught by the police looking through the wreckage. Soon the police are giving them grief...as are some criminals and the pair want answers. What happened to the pilot and why?!It's weird but the film features some chases...and no one runs or really chases. It all seems very low energy and almost slow motion...and the film never rose above the level of mediocre at any point.

Spikeopath Written and directed by Charles Marquis Warren, Flight to Tangier stars Joan Fontaine, Jack Palance, Corinne Calvet and Robert Douglas. Music is by Paul Sawtell and cinematography by Ray Rennahan. Tangier airport, and a group of people await the arrival of as plane from behind the Iron Curtain. When said plane crashes and burns, it is found that there are no survivors or indeed any corpses. So exactly where is the missing courier worth $3 million? And just exactly what do these group of people have to do with the crashed plane?Someone somewhere in a big room full of executives at Paramount Pictures thought this was going to be a great Cold War type thriller. A drama awash with spies, black market dastards, shifty femmes and undercover operatives. Unfortunately what follows is immeasurably dull. A bunch of folk stand around musing about politico guff, then there's a half hearted chase sequence, some more politico guff, another lame chase sequence, and on it goes in the same fashion until the inevitable tepid ending closes the whole sorry picture down.Fontaine, looking lovely as usual, and Palance give it plenty of gusto, while the Technicolor is nice to take in. But once the poorly scripted contrivances start to take precedence over character dynamics, and the action scenes begin to bore, you realise you have been cheated and feel the need to strangle one of those Paramount executives. So avoid unless you suffer from insomnia. 3/10