DOWN AND ALONG THE SHADOWY, LABYRINTHIAN ALLEYWAYS OF THE CASBAH, A NOTORIOUS BASTION IN FRENCH ALGIERS THAT HARBORED ALL MANNER OF CRIMINALS, THE VIEWER IS INTRODUCED TO A REMARKABLE THIEF AND LOVER, PEPE LE MOKO, WONDERFULLY ENACTED BY CHARLES BOYER, ALREADY A REIGNING SEX SYMBOL OF THE SCREEN. BOYER HAS FLED PARIS TO ESCAPE PURSUING POLICE; HE IS WANTED FOR STEALING JEWELS AND TAKES REFUGE IN THE CASBAH, A QUARTER ACTUALLY CONTROLLED BY THE FRENCH UNDERWORLD IN WHICH NO DETECTIVE DARE MAKE AN ARREST. CALLEIA IS THE CRAFTY, INSIDIOUS FRENCH DETECTIVE WHO MEETS WITH BOYER REGULARLY BUT PLAYS A WAITING GAME, WATCHING FOR THE MOMENT THE WANTED MAN WILL STEP FROM THE CASBAH AND INTO THE ARMS OF HIS OFFICERS. BOYER GROWS RESTLESS, LONGING FOR THE GRAND LIFE OF PARIS, RESENTING THE MOONING WOMAN DEVOTED TO HIM (GURIE) UNTIL A DAZZLING PARISIAN BEAUTY, LAMARR (IN HER AMERICAN FILM DEBUT) WALKS INTO HIS LIFE AS A TOURIST SLUMMING AMONG DANGEROUS CRIMINALS. EVEN THO SHE IS ENGAGED, LAMARR INVENTS EXCUSES TO SLIP BACK INTO THE CASHBAH TO MEET BOYER. BOTH OF THEM ARE NOW MADLY IN LOVE BUT LAMARR, THINKING PEPE HAS BEEN KILLED, LEAVES FOR PARIS, BOOKING PASSAGE ON A LINER. BOYER DASHES TO DOCKSIDE, BUYING A TICKET AND RUSHING ON BOARD. CALLEIA IS RIGHT BEHIND HIM, ARRESTING HIM AND TAKING HIM OFF THE SHIP. SUDDENLY BOYER SEES LAMARR AND BEGINS TO RUN TO HER. CALLEIA THINKING HE IS ATTEMPTING TO ESCAPE, SHOOTS AND KILLS HIM. THE TRAGIC LAMARR SAILS AWAY ALONE TO FRANCE. THE UNDERSTATED LOVE SCENES BETWEEN LAMARR AND BOYER ARE MOVING AND FORCEFULLY PASSIONATE, AND THE ENTIRE FILM DRIPS WITH AUTHENTICITY, AS WELL AS SUPERB CHARACTER ENACTMENTS FROM CALLEIA, AND GENE LOCKHART AS THE SLEAZY INFORMER WILLING TO SELL BOYER OUT FOR A PITTANCE. CROMWELLS'S DIRECTION IS CRISP, EVEN THOUGH HE RESHOT THIS MOVIE ALMOST SCENE FOR SCENE FROM THE EARLIER FRENCH VERSION.
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