This semi-musical remake of "Pepe Le Moko" and the American remake "Algiers" focuses heavily on the obsession for Marta Toren by Casbah thief Pepe (played here by Tony Martin in one of his few real "acting" assignments) and makes the den of thieves and cut throats truly a claustrophobic prison for its hero. He's more than content (at first) to remain in this ghetto, that is until the exotic Toren shows up much to the chagrin of the sultry Yvonne DeCarlo, his long-time mistress who is instantly filled with fury. Algiers inspector Peter Lorre, a pal of LeMoko's in the Casbah, warns him never to leave, but love for Toren will open a Pandora's Box that leads to betrayal and eventually Martin's downfall.
The songs barely last a minute each (if that) but two stand out-the Oscar Nominated "For Every Man There's a Woman" and the ensemble "Horray For Love!" which in the 1980's some ABC advertising executive approved for use as its daytime soap promotional music theme. There's also a rare film appearance of the legendary Katherine Dunham (as a café proprietor) and her dance troop which depicts an accurate view of the black population in Northern Africa and the Arab world.
Compared to the first two excellent versions, a musical version seems unnecessary, but what has been produced is actually quite enjoyable. Then, there's the lovely DeCarlo, free from Salome's dance and Scherezade's song, getting to sing an embittered verse of "For Every Man There's a Woman" simply to harass the love-lorn Martin. This was long before she got to sing "I'm Still Here!" on Broadway in the original "Follies", and anybody who has heard the cast recording of "Follies" will agree that here she has not been dubbed like other future stars on Broadway (most notably Angela Lansbury) were in movies at this time. DeCarlo is excellent in her cynicism, trying to hide her love for Martin but showing definite heartbreak in her eyes. Lorre is excellent as the law enforcement officer who is actually on LeMoko's side but knows ultimately he'll have no choice but to place Martin under arrest. Toren is lovely but bland, but Martin shows more depth in his character than you'd expect from him.
The songs barely last a minute each (if that) but two stand out-the Oscar Nominated "For Every Man There's a Woman" and the ensemble "Horray For Love!" which in the 1980's some ABC advertising executive approved for use as its daytime soap promotional music theme. There's also a rare film appearance of the legendary Katherine Dunham (as a café proprietor) and her dance troop which depicts an accurate view of the black population in Northern Africa and the Arab world.
Compared to the first two excellent versions, a musical version seems unnecessary, but what has been produced is actually quite enjoyable. Then, there's the lovely DeCarlo, free from Salome's dance and Scherezade's song, getting to sing an embittered verse of "For Every Man There's a Woman" simply to harass the love-lorn Martin. This was long before she got to sing "I'm Still Here!" on Broadway in the original "Follies", and anybody who has heard the cast recording of "Follies" will agree that here she has not been dubbed like other future stars on Broadway (most notably Angela Lansbury) were in movies at this time. DeCarlo is excellent in her cynicism, trying to hide her love for Martin but showing definite heartbreak in her eyes. Lorre is excellent as the law enforcement officer who is actually on LeMoko's side but knows ultimately he'll have no choice but to place Martin under arrest. Toren is lovely but bland, but Martin shows more depth in his character than you'd expect from him.