rljsmlch Gail Russell too soft, lovely and vulnerable to be the bad girl in this somewhat boring film. Too much dialogue and not enough action. June Duprez underused. Do not get the feeling of being in India. Really just another detective story. Almost no more than one flying sequence. Ladd plays it cool and indifferent with Chinese shop keepers. Ladd in all his sartorial splendor. Ladd a good looking guy when young. Light colored suits worn by Ladd and others give testimony to lack of air conditioning in those days. This is best reference to a very hot Calcutta climate. Man whose murder Ladd is trying to solve is only seen in one or two sequences at beginning of film. Very easy to forget what he looks like for such a good buddy of Ladd and Bendix.

bkoganbing The team of Alan Ladd and William Bendix, as good friends off the screen as is shown on the screen in Calcutta, is the only real reason to watch this potboiler of an adventure story. The version I saw had several minutes cut out of it that were crucial to the plot.Ladd and Bendix play a pair of pilots ferrying cargo and passengers from Chungking to Calcutta and back over the 'Hump' which is what the pilots in wartime called the Himalayas. The native people there more picturesquely called the mountain range, 'the roof of the world'. It was a dangerous run and these guys decided to keep doing it and make some money after World War II. You can see the flag of Nationalist Kuomintang China on their flight jackets.Anyway a third buddy of there's John Whitney greets them in Calcutta after a dangerous run in which cargo had to be dumped and announces he's getting married. Ladd who has a loose relationship with June Duprez, and Bendix both don't think terribly much of the idea, but congratulate him anyway.The next day Whitney is strangled in the streets of Calcutta and Ladd and Bendix like in The Blue Dahlia the previous year are on the trail of the culprit. The first stop is Whitney's fiancé, pretty Gail Russell, who knows a lot more than she's telling. Let's just say that a whole lot of pilots are being made out to be saps.Tremendous events were going in both India and China at the time that Paramount was making Calcutta on their sound-stage yet from the story you would never know it. No hint at all is made about the Communist insurgency in China and in India you would think the British Raj was going to last another hundred years. Not one word about it in this potboiler of a plot which the Films of Alan Ladd says resembles Terry And The Pirates.Probably Calcutta would have been a lot better had we seen more of Bendix in the film. That's always good for any picture. However he gets to try and earn a living for the two of them while Ladd stays in Calcutta to solve the mystery. However it's Bendix who hears something from merchant Paul Singh that he tells Ladd about that starts the whole thing to unravel. Later on Bendix runs some interference with the British police that allows Ladd to stay free and solve the case.Calcutta is so typical of the potboiler films Ladd did and carried on the strength of his personality. It hasn't much else to recommend it.

shemp47-1 I like Alan Ladd but this is one of his weakest films. No plot. No excitement. Gail Russell is attractive but couldn't act if her life depended on it. She has the same facial expression throughout the film regardless of the scene. When she's told her fiancé has been murdered-no expression. When she's making out with Alan Ladd- no expression. If only Veronica Lake had been available. Ladd is always good. This was still at a time when they had him take off his shirt in every movie. And the Calcutta we see is entity on the Paramount backlot. Maybe with some decent writing, some villains, maybe a plot, this could have been something Quite a bore.

bmacv Calcutta is far from Alan Ladd's finest hour on the silver screen (nor director John Farrow's, for that matter). His trademark contempt for women and his android-like affect prove unappealing and tedious when not undercut by plausible psychology or fleshed-out co-stars. Here he has nothing but a murky Asian hodgepodge of noir cliches to wade through, the inevitable William Bendix at his side (and, this time, on his side). Trying to solve the murder of a fellow trunk-line pilot working the route from India to China, he drifts from hotel to casino to airfield encountering a rogues' gallery of grotesques. Edith King, as a stogie-puffing Baby Jane Hudson, promises more than she delivers; Gail Russell, the black widow of the piece, is kind of like Mary Astor to three parts water. This is one film from the noir cycle whose obscurity gives little cause for regret.