Hellen I like the storyline of this show,it attract me so much

Jeanskynebu the audience applauded

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Mandeep Tyson The acting in this movie is really good.

Alex da Silva 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.

rhoda-9 Those reviewers who have complained that this movie lacks plausibility or has problems of construction are missing the point. This is a wonderfully camp romance, with plenty of Play, gypsies! Dance, gypsies! music, that both sends up exotic love stories and celebrates them. Buttoned-up Ray Milland makes an amusing foil for a Dietrich with black hair, tattered scarves, and tons of jewelry. The character's eagerness to feed Milland and look after him more closely resembles the good German hausfrau Dietrich was off the set than her mannered vamp roles. Censorship being in force, it's made clear that they share a caravan on platonic terms only, with Milland fighting off Dietrich's advances with a determination remarkable for a heterosexual bachelor who might be killed any day. His only excuse is that she smells, so perhaps a stuffy, fastidious Englishman might indeed be put off.In the small role of Milland's young companion on his secret mission, Bruce Lester adds a note of camp of a different kind. We are told at the beginning that he hero-worships Milland, and indeed he rather fawns on him. When, after they are separated, he meets Milland, now transformed into a brown-skinned gypsy with a shirt open to the waist, his glowing appreciation of the disguise even further suggests that not only Dietrich is romantically infatuated with Milland.Despite the wonderfully improbable characters and sequence of events, the growing love of Milland for Dietrich and his acceptance of the non-rational aspects of life is rather touching. And when, on their last night alone before he escapes, he says that each of them now contain half of the other, the two have become one, and then darkness falls, I think we can assume that the censor decided to give them a break! One goof--at the beginning, Milland, who is supposed to be English, refers to a lieutenant, using the American pronunciation. (The English say "leftenant.") Since Milland was British, he must have been saying it that way because the American movie-makers feared that American audiences would be distracted and confused by the British style.

richard-1787 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.

bdwitt I've watched this film perhaps a dozen times, and yet it always stays fresh with me. I think it's one of the best things Dietrich has ever done. This is a Dietrich you've never seen before. Not a worldly femme fatale, but an earthy, highly engaging woman. The interplay between this uncultured gypsy (Dietrich) guided by the spirit world and the stuffy, establishment rationalist(Milland) is both funny and poignant. Dietrich and Milland are simply wonderful in their roles, and Leisen's direction is subtle and clever. If the story lacks plausibility, who cares? This picture belongs to Dietrich and Milland and the wonderful authenticity they bring to their characters.