Boyer doesn't actually say that, of course -- in fact, he never LEAVES the Casbah, so how could he -- but it's the general idea. I'm told this independently-produced Hollywood classic is almost a shot-for-shot remake of Duvivier's "Pepe Le Moko," from the previous year; I've never seen that one, but it's hard to believe Duvivier could have matched John Cromwell's fabulous production design, combining skillful backlot compositions with second-unit location projections, or the moody James Wong Howe photography, with the sweeping tracking shots capturing life in every corner.
The story may be no more than standard romantic hokum, but whether the filmmakers intended it or not, the movie has a wonderful existential melancholy, with Boyer's heavy eyelids viewing the world impassively, accepting his fate unquestioningly. Add to that a fine rogue's gallery of character actors (especially nice work from Gene Lockhart and Alan Hale), and you have brilliant Hollywood escapism. The judicious, sparing use of music (unusual in those Max Steiner days of underline-everything-with-a-melody) adds to the atmosphere. And it matters not a whit that Hedy Lamarr is not much of an actress here, or that every plot turn is utterly predictable.
The story may be no more than standard romantic hokum, but whether the filmmakers intended it or not, the movie has a wonderful existential melancholy, with Boyer's heavy eyelids viewing the world impassively, accepting his fate unquestioningly. Add to that a fine rogue's gallery of character actors (especially nice work from Gene Lockhart and Alan Hale), and you have brilliant Hollywood escapism. The judicious, sparing use of music (unusual in those Max Steiner days of underline-everything-with-a-melody) adds to the atmosphere. And it matters not a whit that Hedy Lamarr is not much of an actress here, or that every plot turn is utterly predictable.