Charming and brutal

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

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Alan Ladd and William Bendix are cargo pilots in the far East. Shortly after their friend and fellow pilot John Whitney announces a surprise marriage, he's found murdered. Ladd decides to investigate the murder himself. Through nightclub singer June Duprez he tracks down the fiancée, Gail Russell, who seems very evasive. When he finds out her wedding present is a necklace Whitney could not possibly afford, he digs deeper, and slowly uncovers a smuggling ring, that might or might not involve Russell, who he is getting quite close to. The movie is a mixed bag, in almost every way. The story wants to be a mystery, relying too much on peripheral characters who seem important but aren't, such as Edith King as the owner of a jewelry store. Gail Russell's ('Moonrise') casting as a femme fatale seems like a potential goldmine, as she is one of the least likely actresses to play one. But she doesn't fully convince me, part of her appeal is her (real life) fragility and it doesn't mesh well with the more conniving aspects of her character. Duprez ('And Then There Were None') fits her role much much better, it's a shame it's such a minor role. Ladd ('This Gun For Hire') on the other hand is great, altho chances are this part was written with him in mind anyways. He could portray tough and tenacious as well as anybody else. And he has excellent chemistry with Bendix ('The Dark Corner'), who is always solid. There's a funny scene early on in the movie with Ladd and Bendix stranded after mechanical issues. Ladd is bare chested, covered in dirt and sweat (I imagine some ladies in the audience wanted this scene to go on forever), while Bendix is still wearing his shirt and is barely sweating. The movie's competently made, but director John Farrow ('The Big Clock') and DoP John F. Seitz ('Double Indemnity') have done way better and more remarkable movies. It makes the movie even more frustrating, so much talent in front of the camera as well as behind, and the end result (despite being a box office hit on release) is rather bland. Maybe if a better print surfaces I will enjoy it a bit more, but as it stands, it's only a 6/10

I have read the negative reviews, both concerning the overall impression of the movie and individual performances, and there may be some truth with them. But look at this view of my feeling of Gail's performance. This acting might be both an indication of John Farrow's ability and talent in knowing how to direct an actress with Gail's temperament so excellently, and Gail's own capability in understanding this directing.We first see Gail leaning over the stair railing, calling out to Alan Ladd if he is looking for her. Her posture here, her body language seems to me to show a personality of confidence and self-assurance. This demeanor of hers is bolstered, I feel, with a tone and articulation of voice adding to her firmness of mind. In every scene and conversation with Ladd, Gail's character, I feel, shows us a guiltless innocence in tone and manner, betraying no emotion but simply, slyly, and slowly winning Ladd over, conning him. And she almost succeeds as Ladd says, "...you really got under my skin..." and "If I live too long I may get too crazy about you." In the end our hero saves himself from the sly seductress, though. Gail's calm, self-confident, and subdued manner is apparent in every scene and always deliberate and intended to be that way. Her delicate, gentle looking face and tone is an excellent facade. For, we find out that she is the "fatal woman" of a big criminal organization. And who better to play this part than a sweet talking, innocent looking and sounding con artist and back stabbing woman who, "would have hated to kill you," as Gail's last words to Ladd are as she is lead away by the police.Other examples of Gail's duplicitous behavior can be seen throughout the movie, and, I feel all very effectively accomplished with the helping hand of John Farrow's excellent direction.

This film, which actually was one of Ladd's most financially successful films of the 40's, is a fun ride. Surprisingly, it's reputation has been one of a potboiler. It moves swiftly and has many good twists and turns. Gail Russell is wonderful and breathtakingly beautiful as the mysterious femme fatale. Alan Ladd was very well matched with Gail Russell. More so than Veronica Lake with her stony blonde beauty. The beautiful darkness of Russell and the Blonde Ladd was much more interesting. They were close friends and it shows in their two feature films together. A lot of the TV prints of this films have scenes missing that are crucial to the plot so if you can get a hold of a complete version of Calcutta you will be very lucky. A fun film from the 40's that you should try and catch up with.

Calcutta is far from Alan Ladd's finest hour on the silver screen (nor director John Farrow's, for that matter). His trademark contempt for women and his android-like affect prove unappealing and tedious when not undercut by plausible psychology or fleshed-out co-stars. Here he has nothing but a murky Asian hodgepodge of noir cliches to wade through, the inevitable William Bendix at his side (and, this time, on his side). Trying to solve the murder of a fellow trunk-line pilot working the route from India to China, he drifts from hotel to casino to airfield encountering a rogues' gallery of grotesques. Edith King, as a stogie-puffing Baby Jane Hudson, promises more than she delivers; Gail Russell, the black widow of the piece, is kind of like Mary Astor to three parts water. This is one film from the noir cycle whose obscurity gives little cause for regret.