It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

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

I have thoroughly enjoyed this film. I believe it has a magic touch,I see it as a wonderful fairy tale, with only minimal historical or topographical attachments, without paying any attention to plausibility or credibility or any such restricting considerations. It is the story of two completely dissimilar human beings, that experience a love above and beyond realism or logic,a love that unites them to the mysterious forces of nature, and leads them to create their own universe of beauty and happiness. Ray Milland was so wonderful (and so sexy) in this role, that requires a fine balance between comedy, drama and fairy tale stuff, and Marlene Dietrich had, for once, a warm and sincere role, that she plays to perfection, the prototype of a woman in love, who does everything for her man. I know the rumors about their mutual dislike, but honestly they matched perfectly together in this movie and this only proves how professionals both of them were.

Colonel Denistoun (Ray Milland) recounts an episode that happened at the outbreak of WW2 when he and Richard Byrd (Bruce Lester) escaped from German custody where they were being held as spies. They split up and make their way to Professor Krosigk (Reinhold Schunzel) who has a formula for chemical weapons that needs to be smuggled out. We follow Denistoun's journey as he meets with Lydia (Marlene Dietrich) and adopts her gypsy ways...This film is OK but nothing more. In fact it is quite dull in parts. Marlene Dietrich is unconvincing as a gypsy as is Ray Milland. Dietrich, however, still manages to bring her character to life - she's good at the humorous moments, eg, no messing around trying to kiss Milland - and brings an energy to her role, while Milland is likable but nothing more. There are rare tense moments, eg, whenever the Germans appear and the film needed far more of their inclusion. It just dribbled along for most of the duration.One of the best things about the film is Zoltan's (Murvyn Vye) deep voice. Zoltan looks slightly weird but is more convincing as a gypsy. He sings the title song - some nonsense about gold earrings and love. Golden earrings...!!??.....you're either a chav or a homosexual if that is what you wear on your ears.....NOT a gypsy man.

Golden Earrings (1947)A tough movie to love, but the best parts of it--or the best part, that is, known as Marlene Dietrich--make it easy to like. The actions scenes, the chitchat, even the opening scenes where men talk with bizarre astonishment a man's pierced ears, are often unconvincing. Even the core plot, looking for a key German scientist before it's too late, stumbles over its own clichés. And even worse, a key weakness is the lead male, the low key and unemphatic Ray Milland.Two years after the end of the war, when this film was made, there must have been a huge appetite for variations on stories about resisting the Nazis. This is a bizarre and highly unlikely one, not because Gypsies weren't involved behind the scenes in the action, but because the idea of a single gypsy woman taking in an Englishman who has to hide, for unexplained reasons, in Germany even though there is no war, is a stretch. (His mission is clear, but why an Englishman has to be undercover isn't historically clear to me.)But this is what we have, and Dietrich, who is German and began her acting in Germany but by this point was long part of Hollywood, plays a very fictional Gypsy. She is used a little like she was in the famous Josef von Sternberg movies, for her "aura," which she had plenty of. Most of the movie follows a series of encounters and difficulties with arrogant Nazis and between themselves. Much of the filming is at night, which is dramatic, and there are scenes of Gypsy camps that are part of a long line in Hollywood films. There is also an interesting followup of sorts from Hitchcock's "Notorious" the previous year, in the use of two key German archetypes, Reinhold Schunzel and Ivan Triesault. This is focusing on the details, which is what you have to do. Or just pull back and see a lovely romance unfold.

Hollywood has made a lot of strange movies over the years, but none stranger than this. WHY this movie got made I will never know, nor how Paramount could have thought it would sell any tickets in 1947. It is the strangest mix of genres I have seen in a long time, a movie that truly does not know whether it is trying to be a serious war drama or a Viennese operetta comedy.It tells the story of a British spy trying to get a poison gas formula out of Germany in the days just before WW II began. Ray Milland, a fine actor, is stuck playing the part like an escapee from Monty Python, all very exaggerated English prep-school dialogue. In Germany he meets a gypsy, Marlene Dietrich, who helps him to travel under cover as, of course, another gypsy. She plays her part like the typical Viennese operetta gypsy caricature, as do the other "gypsies" in the movie. But there are also Nazis, who are not funny at all. And then Milland finds he is starting to think like a gypsy, and that is not treated as a joke. Sometimes the music is for a light comedy, sometimes for a drama. Every time the Nazis show up, the film score plays Wagner, which is funny by itself.This movie could have been a comedy, or it could have taken the plight of the gypsies seriously and done a serious job of showing how the Nazis treated them. Both are hinted at in this movie, but neither pursued. What we are left with is a truly strange mish-mash of genres that must have embarrassed everyone (except the director) involved.Bizarre.