There are films that are so connected to their times, when taken out of context there's no rhyme, no reason for portrayals, but factor in the great betrayals, lets you accept the extremes, of paradigms. As Rick Leland is disgraced and then ejected, from a role that he would like to have perfected, leaves him in a tricky place, after losing all his face, and he's become quite disengaged and disaffected. On a boat he gets to meet curious souls, who have ambitions to dispose and take controls, as the layers are peeled back, looks like there might be an attack, by the folks who like to eat food out of bowls.

Of its time.

Bogey's immediately pre-Casablanca movie re-unites him with his co- stars Astor and Greenstreet and his writer/director of The Maltese Falcon, John Huston. Yes, Huston revised the script as he shot, though he did not receive a credit. This created problems when he was drafted near the end of shooting and Vincent Sherman took over. No join is visible in the film fortunately, due to the polished cinematography of Arthur Edeson (also from The Maltese Falcon) who was to join Bogey on Casablanca. Although the script doesn't measure up to Maltese Falcon standards, it's entertaining enough if not taken too critically and provides some wonderful opportunities for star turns by Bogey, Astor, Greenstreet and a wonderful support cast of delightful oriental off-beats led by Victor Sen Yung as a cheery thug, Chester Gan as the philosophical ship's captain ("It is the Japanese way. If you praise our sons, we say they are unworthy"), Lee Tung Foo as a friendly hotel proprietor and Monte Blue as a silent sot. And, of course, no Oriental-type movie would be complete without Philip Ahn. Here his role is memorable but brief. (That's a curious film we see in the cinema, incidentally. Obviously a Japanese silent movie, though dubbed dialogue on the sound track is designed to give us the impression it's a sound film). Produced on an expansive budget, the film is a marvelous example of Huston's feeling for visual atmosphere. Edeson's low-key film noir lighting is a major asset here, as is Adolph Deutsch's skillful score. The sets are appealingly created too, especially the wharf set with its chugging train and the menacing bulk of the Genoa Maru. In short, Across the Pacific is a very agreeable piece of entertainment indeed. It has quite a lot going for it, especially in the acting, atmospheric and artistic departments. If its entertainment total is less than the sum of its parts, blame the Second World War!

Director John Huston, right from the big success of THE MALTESE FALCON, recruits Humphrey Bogart to play ex-Army officer Rick Leland in this World War II propaganda flick. Espionage, treason, a bit of romance in this drama aboard a Japanese steamer. The viewer gradually discovers a few of the passengers are not who they claim to be...including Leland. Bogart woos a small-town girl Alberta Marlow(Mary Astor)...not so innocent. Sydney Greenstreet plays spy Dr. Lorenz, willing to pay for military information. A Japanese-American(Victor Sen Young) making a trip to see the old country may just be the most mysterious passenger aboard. Bogart and Astor trade flirty banter and lighten up some of the drama. Also in the cast: Monte Blue, Charles Halton, Keye Luke and Frank Wilcox.