Copyright 12 March 1948 by Paramount Pictures. New York release at the Paramount: 31 March 1948. U.S. release: 12 March 1948. U.K. release: 9 February 1948. Sydney release at the Prince Edward (for 4 weeks): 26 March 1948. Australian release: 22 April 1948. 8,493 feet. 94 minutes.SYNOPSIS: Air Force buddy has only two months to live, so Major Alan Ladd takes on a dubious charter flight to earn the money to show him a good time.COMMENT: This final teaming of Alan Ladd and Veronica Lake is a bit disappointing. Many of the ingredients for an exciting film are here, but the script forces Ladd to constantly take a back place in romance to Douglas Dick. Ladd has too little to do. And when the climactic action is handed over to Wally Cassell, one wonders if the producers are not trying to torpedo our hero's career. (A great stunt fall at the climax - but it's not Ladd that's made to look good).Nevertheless, the film is beautifully mounted. Seitz's photography is most attractive, sets and costumes are dazzling. Fenton's direction is immaculately smooth. No expense has been spared on crowds and atmosphere.Despite his often-relegated position on the sidelines, Ladd plays with his usual gruff vigor. Miss Lake is appropriately viperish as a vamp with both eyes on a fortune. Mr Dick is amiably weak as the buddy with too much platinum in his head. The main support players - Luther Adler as a cat-and-mouse detective, Mikhail Rasumny clerking a rundown hotel, Morris Carnovsky as a silken villain, and Eugene Borden as a philosophical if exasperated captain/engineer/steward - are one and all excellent, though Mr Cassell is perhaps just a little too bright and breezy in his stereotyped role of a girl-loving sergeant.OTHER VIEWS: Exciting thriller, played against exotic backgrounds - all brilliantly created in the studio, with convincing miniatures and almost imperceptible process screen effects. The art directors have excelled themselves here. Both sets and players are lovingly photographed by ace cameraman John F. Seitz. Director Fenton has drawn capable performances from his cast, kept the plot moving briskly and staged his action sequences with thrilling realism and drama. In all, splendid entertainment, impeccably (and expensively) produced. - J.H.R. writing as George Addison.

I found this movie entertaining, but I think it is a mistake to compare it to "Calcutta," since they are very different in many ways. The only similarity is that they both take place in the orient. "Calcutta" is essentially-- aside from the adventure trappings -- a "whodunnit" with a surprise twist at the end, similar to both "Dead Reckoning" and "The Maltese Falcon". "Saigon," which I enjoyed for what it is, is a much less involving movie because, for one thing, there is really not that much suspense. However, the Ladd/Lake combo is always interesting to watch and the supporting actors -- in particular, Morris Carnovsky and Luis van Rooten -- I found fascinating. Whereas Paramount gave "Calcutta" a much more expensive mounting (which paid off because it actually took in more at the box office than even "The Blue Dahlia), I felt they really reduced the budget on this movie -- the hotel sets at the end being the only really expensive looking ones. recommended for Ladd/Lake fans.

SAIGON was the last teaming of ALAN LADD and VERONICA LAKE, and sorry to say, it's also their least satisfying effort.It's the buddy theme again, with Ladd and WALLY CASSELL trying to protect their buddy, DOUGLAS DICK, from the truth that he doesn't have long to live--and then getting involved in an adventurous tale of smugglers, loot and murder. VERONICA LAKE turns up to join the trio for a cloak and dagger sort of tale that pits the three buddies against the villainous LUTHER ADLER.Neither Ladd nor Lake is seen to best advantage here and the script, as well as their seeming indifference to the storyline, is the real problem. Paramount apparently made this one in a hurry to cash in on whatever remained of the star chemistry Ladd and Lake once had, but they got poor returns for their efforts and didn't invest enough time to create a good enough script.For Ladd and Lake fans, it's strictly below average as entertainment.

Saigon is the end of the line for Mike Perry (Douglas Dick). As a Captain in W.W.-II, Perry had taken a wound to the head, enduring 6 months of varied and complicated surgeries. And, as a crowning glory, earning a plate of platinum to match the medals on his chest. Despite the efforts of the best doctors, he is fading fast; only he doesn't know it. Rather than telling him and sending him home to die, Mike Perry's pals, Maj. Larry Briggs (Alan Ladd) and Sgt. Pete Rocco (Wally Cassell) decide to keep him on the move with them, as they travel the Far East. To cram "100 years of good living" into 2 months...maybe less. (For the rest, the only similarities with THE BLUE DAHLIA are 3 army-pals (Jimmy, George and Buzz), and 1 pal with a W.W.-II head-wound (Buzz).)However, good living comes at a price: Larry Briggs and both boys take a flying job, offered them by the unscrupulous Alex Maris (Morris Carnovsky), and for a payment suspiciously high $10,000 suggests something more akin to smuggling rubies, than to an innocent business trip as Mr. Maris calls it. But then again, that kind of money could set thing up nicely for Mike Perry.Shady deals often involve shady ladies. Just as the arranged flight is supposed to take off, Mr. Maris' secretary Susan Cleaver (Veronica Lake) appears on the scene, dressed in a leopard coat. Her demeanor is anything but sweet, a quality enhanced, when anyone reaches for the briefcase she carries; but something about her captures Mike's attentions… and Larry's. The attraction might have been a passing fancy, if Susan Cleaver didn't now find her lot thrown in with the boys', when the sound of gunfire triggers an emergency take off. Amidst much protest, Susan is bundled in, up, and off to Saigon (nowadays called "Ho Chi Minh City", Vietnam).Veronica Lake and Alan Ladd amaze me with their sensitive portrayals, they give so much! Susan Cleaver and Larry Briggs are characters with a past, melancholy, but not devoid of all feeling, of all hope. In one scene, Larry Briggs points to a mark on Susan Cleaver's face, where she had been slapped. "Is this where he hit you?" Larry asks, leaning over to kiss the spot. "There, now it doesn't hurt anymore." Susan shows indifference, almost loathing… until he leaves the room. Then she turns slightly, resting her head against the bedpost….she's falling for him... There's another marvelous sequence involving an evening gown (made by Edith Head). Susan comes out of her hotel room, finding Larry on the adjoining balcony. Susan is resplendent in draped white. Larry walks up to her; Susan turns around to give him the full view, her usually straight face softened into a sweet expression. Gingerly, Larry takes the back collar of her gown, which is actually a hood, and frames Susan's beautiful face. Larry looks at her for a moment, and then with the same gentleness, lets it back down. "No. It looks better the other way, with your hair showing."...I like "Saigon" very much. Performances are really excellent all the way around. Tender scenes are played with sincerity, as are the lighter moments that lend relief to this melodrama. Unconcerned with strict adherence to plot, it delves instead into character study, and is the better for it. It gives us the why, when and where, and leaves us to discover the how. The suspense and adventure are wonderful...the romance too!I really look forward to the moment, when this great movie will be released on DVD; NTSC-VHS copies of this film are scarce nowadays. My proposal: a Veronica Lake DVD-box with Veronica's other scarce films, like "The Blue Dahlia", "The Glass Key", "I Wanted Wings" and "So Proudly We Hail!"Robert