I remember seeing this film way back in 1959 when it first came out in the theater. History was moving very fast back in this time in Cuba and within days this item was quickly withdrawn from circulation. Before 1959 was out you could never have made an American film with the Castro as the good guy and the Batista counterrevolutionaries as the bad guys.Cameron Mitchell in the immediate days after the Castro revolution in Cuba comes to Havana to find his friend Logan Field who has gone missing. What he finds is Field's wife Allison Hayes now involved with Eduardo Noriega a rich plantation owner and singing at the nightclub in hotel owner Nestor Paiva's palatial resort hotel, once the playground of touring Americans as were many such places in Batista Havana.Michael Granger the local Havana cop and Castro supporter is taking a real interest in the comings and goings of Mitchell. And before long Mitchell up to the neck in a counterrevolutionary assassination plot that the missing Mr. Field was involved in before.Within days of this film's release public opinion changed radically about Fidel Castro and this film was buried. Not that it should have been unearthed for art's sake. This is sloppily put together with the villains making stupid moves that would have rivaled some of the movie Nazis of World War II vintage. If Pier 5, Havana teaches us anything it is that with help like this no wonder Batista regained power.

Cameron Mitchell plays an American who has come to Castro's Cuba in order to locate a friend who has mysteriously disappeared. The police are quite nice and helpful but Mitchell's life is constantly at risk due to evil counter-revolutionaries. In addition, Mitchell's old girlfriend and their past relationship together is a simmering subplot.This film was made during a tiny window in which the American film industry fell in love with Castro's Cuba and the Cubans moved towards Communism and repression. Errol Flynn made a couple films about this Cuba and "Pier 5, Havana" is another--odd little American relics where the new government was seen as very good and reasonable.Seeing this film and its very idealistic view of the new Cuba is pretty interesting. Here in Castro's new utopia, the police allow people to walk around town with handguns, they don't send suspects to political prisons and there are no purges and executions. Instead, the bad guys are all the counter-revolutionaries bent on undoing the recent revolution and a bringing about a return of the Batista government through violence and murder.Now all this is naive, but at the time it looked like this could be the new Cuba--so I can forgive this. However, what I had more trouble with was the occasionally bad dialog and awkward plotting. Now I am NO saying it's a bad film--it's just not a very good one. I'd recommend it more as an unusual curiosity as opposed to a good film.HORRIBLE Cliché WARNING: At the end, Mitchell catches the bad guy and is holding a gun on him. Does he shoot this dangerous man? NOPE! He drops the gun to duke it out man-to-man! Also, CONVENIENTLY, the lady's husband just happens to die so she and Mitchell can have each other. The way this is handled is SUPER-awkward.

Steve Dagget (Cameron Mitchell) goes to Havana to find out what happened to his friend from Miami, Hank Miller (Logan Field). The overthrow of Batista had just occurred and is the background for this story, wherein Dagget tries to find Miller but runs into ex flame Monica (Allison Hayes) who is now a night club singer and is being taken care of by a wealthy Cuban Fernando Ricard (Eduardo Noriega). Dagget's search for Miller gets him involved with the police who apparently now are defending the new government from being overthrown and retaken by the old order. This is all fairly interesting because at the time this film was made Castro had not yet been declared enemy number 1 by the US. Poor Dagget just wants to find his friend, but Miller had been used by the loyalists because he had expertise they needed, and now that they were done with him, he needed to be liquidated. Miller shows up one evening as night is closing in in a Havana beach house and Dagget, Monica, and him relive there old times together back in Miami. The film seems too stagey at first and would be easy to just turn off, but given a good half an hour to develop, it kicks into gear later. Directed by the super prolific Edward Cahn, none of whose movies I've ever seen before, but the titles sound pretty good.

Cheesy melodrama set during the time after the fall of Battista in Cuba. While the film has a man shot in the airport for crimes that a never specified this film seems to be a starting point for Hollywood's fixation with tin pot Latin American dictators/despots. In this film the bad guys are the supporters of Battista and the law abiding guys are working for the Castro Government. The only thing missing is a rally for Che. Not a very good film the acting is surprisingly wooden. I had a lot of good memories of Cameron Mitchell but this film made me question my recollections. The film was obviously shot on sets and very little location work is done. The dialog is uninspiring, and unlike other films of this era this film is not much fun to watch.