If you don't like this, we can't be friends.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

I watched this movie for the first time yesterday [08/10/2016] and thought it was a turkey. Maybe it was just me, but a lot of the other reviewers apparently felt the same way.I was 40 minutes into the film when the thought came to me, "Where are we going with all this?" Things got a little more complicated when Lamarr's character ended up engaged to three men at the same time: one arranged, a second coerced, and the third willingly to Robert Taylor's character, whom she did marry. We never got to see the prince she was supposed to marry per the arrangement.Lamarr's character got a little giddy at times, something seemingly out of her part and detracting from the serious nature of the story. Given the title, Miss Lamarr, and the setting, I would think her character would have been more of the Dragon Lady type; but then again, that's just me. Someone posted that she wasn't too selective of her films, with which I am inclined to agree. Others thought perhaps the audiences of the late thirties were not as sophisticated, but there were some very good films that came out of that era, so there is no excuse for a turkey with high-powered talent.

You would have thought that with such a good cast this would be a good film. It is actually a poorly scripted film with poor direction. The performances are good, but the characters aren't believable. Hedy Lamarr may have a convincing French accent, but I don't believe that she is half- Chinese. She doesn't look or sound Chinese in any way. If anything, she looks and sounds French. The film fails to explore the whole issue of inter-racial relationships. Instead, it focuses on citizenship and how you can marry to gain citizenship in America. This is a theme that Lamarr would explore more convincingly in 'Come Live With Me' with James Stewart. However, this film comes nowhere near the quality of 'Come Live With Me'.

I thought Robert Taylor was very good in Waterloo Bridge. Here, however, he just doesn't produce the chemistry the part should have. He isn't really bad, just in this case rather average.On the other hand, the rapturously beautiful Hedy Lamarr is so perfectly cast in this role. She handles the language accents so well. This film provides an example that those who say yes she was beautiful but couldn't act, that that just doesn't hold water. Her acting here is really quite perfect for the part. The inner conflict of somehow knowing her fate yet dreaming that things could be different comes out in her subtle facial expressions. And of course she looks perfect in the nice dresses and hats. I could see why Bill was trying everything to stay with her and take her away from there. Oh how it is when an American man falls in love with a foreign beauty. See "Act of Love" starring Kirk Douglas if you can.The other actors did a fine job in this movie as well. And of course the cinematography won a well-deserved award. How I prefer the black and white movies.This is really an underrated movie with an underrated actress in the lead. I enjoyed it at least as much as her more famous movies. Sure wish Hedy, parts turned down aside, would have played in more top movies.If there is one downer about this movie, it is rather sad. But the wonderful Hedy Lamarr singlehandedly makes up for it.

Certainly two of the most beautiful stars in films were Hedy Lamarr and Robert Taylor, and here they are together in "Lady of the Tropics," a 1939 film directed by Jack Conway. It's the story of a half-caste named Manon who, as a second class citizen, can't get a passport to leave Saigon. Taylor is a playboy who falls for her; the two marry, incurring the wrath of Manon's sometime boyfriend Delaroch (Joseph Schildkraut).Made under the Hays code, the ending of the film is obvious and inevitable; also, it closely follows the story of Manon Lescaut, told twice in opera, once by Puccini and once by Massenet. There's a scene from the Puccini version in the film.The film is beautifully photographed. Lamarr has a lovely, tender quality as Manon, and she is stunning in her Adrian gowns and hats. Taylor has a role similar to his Alfred in Camille, and he does it well, resplendent in his white suit and brilliant smile. One of the posts suggested Francis Lederer in the role. Lederer was a handsome and wonderful actor, very romantic, and would have brought a more exotic persona to the part. I admit, however, to liking the rugged, earthy, American quality Taylor brings, as the character should be truly out of his element in Saigon. This makes Manon's inability to get a passport all the sadder and more desperate.Joseph Schildkraut was a master at portraying the kind of evil manipulator he did as Laroch, so while his Oriental makeup is a little disconcerting, his performance isn't.A lovely film. Too bad about the code.