User reviews

The idea of drug trafficking and addiction as social threats didn't emerge until the post-war years – when marijuana and heroin no longer confined themselves to urban blacks and jazz musicians. Though the subject would seem a natural for film noir, the cycle as a whole ignored it, except for odd references (Jules Amthor drugging Philip Marlowe in Murder, My Sweet, for example).

But in the late 1940s, two films took on the phenomenon directly: Port of New York and To The Ends of the Earth. Both films show the stridency that would soon come to be characteristic of the Red Scare films of the early 1950s. Port of New York, however, effectively explored its noirish milieu, while To The Ends of the Earth harks back to the international espionage pictures of wartime and the pre-war years.

Treasury agent Dick Powell witnesses the mass death of Asian `slaves,' jettisoned overboard in chains from a Japanese freighter off the coast of San Francisco. Soon, in relentless pursuit of the opium poppy, Papaver somniferum, he circles the globe from Shanghai to Egypt to Cuba and finally to New York. His travels curiously intertwine with those of an American widow (Signe Hasso) and her young Chinese ward (Maylia). He uncovers a ruthless (`fanatical' is the preferred adjective) worldwide conspiracy to grow, distribute and sell opium, ultimately refined into heroin. The case doesn't crack until his ocean liner begins entry into New York harbor.

It's a good-bad movie. One of the burdens the noir cycle occasionally had to shoulder was paying homage to various principalities and duchies of the U.S. Government, generally J. Edgar Hoover's Federal Bureau of Investigation (as in Call Northside 777) or the Treasury Department (as in T-Men). Here, it's the Narcotics Bureau headed by Harry Anslinger, who graces the movie with his presence in three cameos. The requisite tone of reverence is anathema to noir, and Powell's voice-over narration drones on and on, a powerful opiate in itself.

But the nuts and bolts of the drug trade operated by a global cartel retain surprising interest, and the movie's pace picks up as it progresses, right up to a fairly shocking twist at the end. Many of its attitudes and assumptions show their age, but To The Ends of the Earth ultimately delivers its product.

To The Ends of the Earth is directed by Robert Stevenson and written by Jay Richard Kennedy. It stars Dick Powell, Signe Hasso, Maylia, Ludwig Donath and Vladimir Sokoloff. Music is by George Duning and cinematography by Burnett Guffey.

Dick Powell stars as Treasury Agent Commissioner Michael Barrows, who after witnessing a terrible incident at sea goes on the trail of a major narcotics ring. Part docu-noir, part straight out crime drama, Stevenson's film is a pic that demands your full attention. Such are the intricacies of a plot involving a global narcotics operation, and the number of characters involved as Barrows literally country hops, it may even be a picture that improves because of a "needed" second viewing. Not to say that is a requisite, the structure and pace of the piece simply may not be your thing, but I'd like to put it on record that it seems an improver and definitely one to watch and listen to carefully. Helps, also, that there is much narration to aid the complexity of the case.

It begins in shocking fashion, with an event that has the ability to take you aback, and with your attention grabbed we are then on a jaunt with Barrows, getting up close and personal with either shifty persons or loyal international people willing to help the intrepid agent. He has dry wit and a cunning knowing, a guy we basically like to be around, with Powell (not for the first time in such a role) splendidly in character. There was a large budget afforded the production, so the near documentary approach doesn't look cheap (helps having Guffey on photography duties), while the MPA eased their "drugs in film" regulations to let the pic breath an air of much needed realism.

With the evils of narcotic smuggling given intelligent filmic substance - we learn much about the manufacture of opium and how it is hidden and retrieved etc - and some very drastic scenes involving murder and suicides, this is mature film making. Not all the cast leave lasting impressions (apart from Powell they were largely unknown at the time), and some of the speech sections are a little clunky, but this is an utterly polished piece of adult crime drama film making. 7.5/10

Well, 2 hrs ago I put this on because Dick Powell is the man. I was tired and just wanted something dark and quiet to maybe nap to. I have to say, this is no movie to nap to. This is just as fast-paced and exciting as it gets. But, you better pause it if you go to get a drink. The story moves along non-stop. Great performances in a really cool flashback style with Powell narrating. And of course, Mr. Powell gets knocked out a couple times with cool retro "getting knocked-out" visual effects.

In some ways, it is very much ahead of its time. In the first few minutes, you'll know you are watching a very well done movie. The scene where the slaves go overboard and it motivates Dick Powell to track down the murderer is enough to get you interested. Every time, Powell gets nearer something happens to sidetrack him. The predications about drugs and South America are extraordinary, given that over 50 years has elapsed. The way of smuggling the drugs is very clever. I recommend this movie because of its suspense and its ability to draw you into it.

It's a Dick Powell semi-noir with a documentary feel about the opium trade. Robert Stevenson directs a trifle stodgily -- as alas, is his wont in this period -- but there are some striking compositions by DP Burnett Guffey. Whichever TCM flack introduced this claimed it came in at a budget of $2,000,000, which strikes me as wrong, considering this is a Columbia production not starring Rita Hayworth. There are some problems due to fighting with the Hays Office, but the result is highly watchable.

A fun, serial-like adventure movie which presages "Raiders of the Lost Ark" and that harkens back to a time when the world seemed like a bigger and more mysterious place. Dick Powell is the quintessential tough guy who also loves his rose garden. Excellent twist ending.

Strangely neglected film, probably because its view of the international drug trade seems rather quaint by today's standards. Still, a wonderful time capsule that reminds us of such forgotten history as Japan's wartime domination of China and the crumbling colonial empires of England and France in the Middle East. Also, the slave trade theme continues (sadly) to resonate, given the recent headlines about Chinese workers being smuggled into the States as sweatshop laborers.

Michael Barrows (Dick Powell) goes on the trail of an opium smuggling gang. There are some big players involved in the chain and we follow Barrows through various countries including Shanghai, Egypt, Beirut and Cuba before he sets sail for New York. It is at the end of this journey that we have a surprise twist in the story and a spectacularly evil villain is revealed - one of my favourite moments.

The cast are good - Maylia who plays "Shu Pan" looks a bit like a pussy cat alien. However, she ain't no pussy. Signe Hasso who plays "Ann Grant" is an enigma throughout the film and you just know that there is something menacing lurking within Ivan Triesault who plays "Vrandstadter". The cast change quite quickly during the film and this can be confusing at the beginning.

In fact, the film is overlong and complicated with a very annoying intro that never seems to finish. Shut up and get on with the film! The beginning section is particularly confusing with all the different federal bodies and consuls that are involved. What on earth is going on and who is who? The film improves once Barrows sneaks onto the land of Binda Sha (Fritz Leiber) in search of the poppy field. You can then ride out the rest of the film which plays as a James Bond adventure and has some great ideas for smuggling drugs.

There is a harrowing scene at the beginning of the film where we see some Chinese slaves being thrown overboard tied in chains and attached to the anchor. There are other memorable scenes throughout the film, eg, the search for the poppies, the fire on the ship to New York and the final confrontation on the small police/coastguard boat. It's a good film but it's length means that it can be quite exhausting, especially if you are trying to follow matters at the beginning.

Dick Powell's a detective again in To The Ends Of The Earth though his name here isn't Richard Diamond or Philip Marlowe. Instead he's what we would now call a DEA agent though that agency didn't exist back in those days. He works for the Treasury's Narcotics Enforcement Unit and a mystery involving a really large stash of opium takes him around the world and literally To The Ends Of The Earth in solving it.

The film is narrated by Powell and this Columbia film is very similar in style to those 20th Century Fox documentary classics The House On 92nd Street and The Street With No Name from Henry Hathaway. The director is Robert Stevenson who is far more familiar to viewers for his later exclusive work for Walt Disney studios in such things as Old Yeller and Mary Poppins. You can hardly believe the same guy directed those items as well as To The Ends Of The Earth.

Powell almost circumnavigates the globe, starting out in San Francisco and then going to Shanghai, Cairo, Beirut, Havana, and finally New York in pursuit of an international narcotics smuggling gang. The story takes place in the pre-World War II years while Japan occupied Manchuria. The most ridiculous part of the film is the notion that the Japanese are behind the opium trade as part of their war policy though the gang is certainly international enough.

What makes the film relevant for today is the plea for international cooperation to put an end to the drug trade. In fact this film was one of the to even talk about drug addiction, a problem not mentionable under The Code. Opium dependence knows no borders, respects no nationalities.

The film will also have a surprise ending that you might not expect coming. The only hint is a bit showing a portrait of who turns out to be the chief villain. The artist's interpretation of said villain screams out who's behind it all.

Powell gets good support from Signe Hasso, Ludwig Donath, Vladimir Sokoloff and Maylia in telling roles. To The Ends Of The Earth is one of the best films Dick Powell made in his post musical period, don't miss it if you can.

needed special permission of production code to talk about drug smuggling made during Powell's 'tough guy' years opium trade set 1935

"To The Ends Of The Earth" was a film made during the period after Dick Powell transitioned from the pretty-boy crooner in light-weight films to a more world-weary and middle aged leading man. I generally loved these films, as Powell's characters were often incredibly cynical...and he pulled it off very well. This one, while showing SOME of this new sort of Powell character, sadly, isn't up to the quality of his best performances of the era...though it is a decent time-passer.

The film begins in the mid-1930s with an insanely graphic and troubling scene. Treasury Department Commissioner, Mike Barrows (Powell), is on a boat in the San Francisco area that is trailing a boat full of smugglers. In a sick and desperate act, the captain of the boat being pursued decides to have his men toss their illegal cargo overboard instead of being caught with it...and you see dozens of Chinese migrant workers chained together being tossed into the sea to their deaths! Barrows witnesses this and is horrified...and vows to see this captain apprehended. But they are now in international waters and the boat escapes.

Later, there is a lead that the captain MIGHT be in China and so Barrows travels there to hunt for the scum-bag. However, it soon begins clear that these Chinese workers were not what he originally thought. They were, in fact, slave laborers used by folks in the narcotics trade to plant and harvest poppies and soon he finds himself investigating the heroin trade.

While all this sounds very exciting, the film's pacing wasn't great and the story went to too many locations and had too many characters. Normally I don't see this as a problem but I found that the pacing and story were not especially well done. I think a lot of this was made more obvious because too often instead of DOING anything, the characters talked and talked and talked. Overall, not a bad film but one that was surprisingly flat at times.

Dick Powell is a proto-James Bond of sorts as he sleuths through this global smuggling ring plot. On the bright side, there are international locations, Powell does a stand-up job as the globetrotting detective, and there are some intriguing puzzle-like conundrums in terms of the criminals' schemes and methods, a touch of exoticism, and several minor twists. But coming in at 108 mins, boy does it out stay its welcome. It reminded me of T-Men (1947) as it is almost a PSA about how gallant our police authorities are, but that movie was far more dynamic and incendiary compared to this meandering snoozefest. As usual with quasi-noir like this, I almost never regret watching any example of the genre - here, I just ended up with mixed feelings. Again, focussing on the positives: it puts a spotlight on international crime in the 1930s (the time it's set in), and the methods used to counter it, plus it claims to be based on actual cases. It also jumps around in setting with some scenes on trains and ships which adds a jolt of variety to the mix. Another bonus is the appearance of the striking-looking Swedish actress Signe Hasso who gives a notably inscrutable and icy turn as a key suspect in the criminal syndicate. Watching it in two/three sittings as I did might help you get through it - YMMV.

I have been looking for this picture since I first saw it when it was released in 1948. It impressed me then with the world wide scope of its story of opium smuggling and I had been anxious to see it again. I had thought about it many times over the years and knew that it was not on video and did not know where I would find it. By accident I found it listed in the movies on Movie Plex. It apparently had been show previously as there were 21 votes for it so at least 21 others had seen it. Seeing it the second time after all these years was just as enjoyable as the first time.

This was a combination documentary/fictional melodrama "based on actual incidents from the files of the Narcotics Division of the United States Treasury Department" for the "purpose of setting forth the functions and procedures of the Division" headed by Commissioner Harry J. Anslinger, who appears as himself in the opening, middle and end of the film. One of the "thou-shalt-nots" that was part of the Production Code list that had to be adhered to before a film could be issued an approval number---in this case PCA No. 12390---was an edict against showing any kind of illegal drug trafficking. The producers fought for and acquired a revision in the Code for this film.

Theoretically, based on a true events. Dick powell is barrows, an agent for the united states treasury. Looking into smuggling. Smuggling people and drugs. Co-stars signe hasso, vladimir sokoloff, and maylia. Investigating the opium trade. It's almost an episode of dragnet, where it's presented as a documentary. But not quite. Some (described) violence. And a travelogue of (supposed) travel around the world... china, egypt, cuba, and some other exotic locations. Which were probably the back lot of columbia studios. But the real gem of this film is learning the steps of harvesting poppies. It's good! Quasi historical piece. Powell had just done murder, my sweet, but this was a couple years before the bad and the beautiful. Story by jay kennedy. Directed by robert stevenson. He would later be nominated for directing mary poppins! Powell died young at 58, from cancer.

Every time I looked to see how much time was left I'd say - dammit. Wish it could have gone on longer. Not sure why this one isn't more well known. Opens in that semi-documentary style, but after that it turns into a top-notch film. Story is complex enough without being confusing, entire cast is good. As much as I enjoyed Powell's been-there-done-that kinda attitude in "Murder, My Sweet", I like him better here, where it's more subtle, plus I like how his character is able to show a little more genuine surprise as the story unfolds.

Hate reviews that give away stuff, and I don't mean just give away the important stuff, I mean give away anything. Totally stubborn about that, more than anyone I know. Sorry, not gonna say anything about this plot except that the title sums it up well enough. Much better than most 40s-50s international intrigue BS like "Beat the Devil" or "Rope of Sand". If you can slog through that crap you need to watch this.

Most everything I watch these days are old crime thrillers, and as much as I enjoy them, a lot don't hold up well over time. This is an exception, no question. I hardly ever write reviews here - honestly, I don't even know if I've even done one, that's how much I care about putting them down. Felt compelled to in this case.

This film is great from start to finish as it outlines the ingenious methods used by the drug traders. Some harrowing scenes as the Chinese slaves (being smuggled to pick poppies) are disposed of. A freighter of doubtful origin is spotted off the U.S. coastline. The coastguard investigates and as it draws near, the captain of the coast guard cutter is witness to a most appalling scene. The slaves being

smuggled are underneath a large tarp on the deck of the freighter. The captain of the ship, realising the consequences of his human cargo, decides to remove the evidence. The slaves are shackled to the anchor chain which is now released into the ocean. The fate of the slaves is sealed and the proof of the illegal cargo is removed. The matter is reported and from then until the end of the film, it is non stop action and intrigue. Dick Powell is the narcotics agent assigned to the task of tracking down the drug growers and dealers. It is a very involved film with lots of surprises (do not blink). A great twist at the end.

Sorry but after 30 years as a real Treasury Special Agent the idea that any country would let that quantity of drugs leave their jurisdiction is a pipe dream (pun intended). This film contained as much stock footage and lines on maps as there was actual acting. Columbia Pictures did a better job with the 1950 film Customs Agent starring William Eythe, Marjorie Reynolds and Jim Backus. The best of the lot was the 1949 film Port of New York with Yul Brenner in his first role. Skip this one until you see the other two.

What a great example of economical film-making, right up there (although in a different genre) with Brief Encounter. Dick Powell, having transitioned very successfully (years prior) from boy crooner to hard-boiled tough guy, plays a narc on the trail of opium. Riveting drama, tightly directed by Robert Stevenson. Almost a docu-drama, but extremely engaging. Excellent support from Signe Hasso, Ludwig Donath, Vladimir Sokoloff, etc. A must-see.

Fast-paced, tautly told tale of international opium smuggling in the pre-WWII period. Despite the docu-drama format (from the files of the US Treasury Dep't, etc.), police procedure manages not to get in the way. And a crackling good story it is, with a sneaky twist ending. Anti-Drug agent Barrows (Powell) has got to unravel an elaborate drug operation that takes him around the globe. On the way, he encounters all sorts of suspicious characters and risky situations. The studio (Columbia) does a good job mimicking exotic locales to create an appropriate atmosphere for the dedicated Barrows.

So, who's the man behind the illegal operation? Well, for one thing, we know he's an agent of imperial Japan (circa,1935) since their army seeks to pacify a conquered Manchuria with loads of the deadening drug—(note: I wish the prologue stated whether this wicked scheme is actual historical fact or not). Anyhow, the premise provides employment opportunity for a host of Hollywood's shady characters, including Hoyt, Hasso, and two favorite Nazis, Triesault and Donath. So there's intrigue a-plenty.

However, I'm not sure I buy the last leg of the smuggling operation since it seems so risky, depending as it does on exact timing in a big ocean. Nonetheless, the various ruses are cleverly conceived, although at times the various in's and out's may be a little hard to follow. And you may need a scorecard to keep up with the shifting cast of characters. But that early scene of jettisoning illegal cargo is one-of-a-kind and about as cold-blooded as any film of that era.

(In passing-- a recurring theme is international cooperation in behalf of mankind, while the final shot is an optimistic one of the United Nations building. A year later, and I suspect the menace would have shifted to the Soviets with a much darker outlook.) Still and all, this is one of the best docu-dramas from a time when Hollywood appeared to be doing gratis pr work for the feds.

Before James Bond travelled the world in pursuit of the baddies, Dick Powell did the same with a lot more class and a lot less car chases and explosions.

Powell is Commissioner Barrow, on a mission with the Coast Guard, off the shores of California, witnessing the murdering of a hundred Chinese dumped overboard by a Japanese ship captain.

Identified as drug slaves involved in intercontinental narcotic traffic, Barrows follows their tracks to China and then Egypt and Cuba and back to the US, meeting along the way allies and enemies.

A woman in particular could be the ring leader, given her suspicious presence in all the key areas, but is she? Or she is just an innocent widow trying to do well?

Very entertaining and modern.

I love listening to Nat "King" Cole and one of his best songs is "To the end of the Earth". To lay my curiosity to rest, I decided to watch the 1948 film, "TO THE ENDS OF THE EARTH," to determine whether it carried the song's original rendition.

Alas, it did not, but that was a minor loss, as the movie itself is a gem. It is a mixture of documentary and action, with great cinematography, acting, a tight script brimming with twists and turns, well coreographed action sequences, and superb direction by Robert Stevenson -- who, to be honest, I had never heard of until I watched this film.

Dick Powell is on top form, and beautiful Signe Hasso, and baby-faced Maylia, manage to pull off performances that certainly deceived me to the end.

The drug trade is such a major international problem these days, and such a source of work for forces of law and order, and criminals alike, that I am happy to have had the good luck of happening upon this film I knew nothing about, and to learn so much about what the world was like in the mid-1930s, just before WWII, and in particular how the drug trade was beginning to develop its roots. Interestingly, many of the methods used then by the authorities and criminals alike, are still in use today, albeit aided by far more sophisticated technology on both sides. Sadly, it is a never ending war.

Superbly done, riveting stuff, highly recommended!

This Film about the World-Wide-Drug-Trade had to Attain "Special Permission" from the "Goody-Goody" Gatekeepers at the Motion Picture Production Code.

The Film-Makers "Dared" to Tell the Story of Opium Operations Around the Globe.

Tell it they Did.

The Plot is Intricate, Involved, and Extremely Complicated.

With Multiple Players, Locations.

Also an Almost Encyclopedic Explanations of the Growing, Harvesting, and Shipping of Opium.

The Poppy Plant Plays a Major Star in this "Police Procedural".

With Dick Powell Laying Out the Story as a Determined Treasury Agent.

Powell also Supplies an Immense Amount of Explanatory Voice-Over.

Frankly is a Needed Relief because there is so Much Going On.

The Movie Grabs Hold of the Audience at the Outset with a Brutal Mass-Execution of Drug-Slaves Aboard a Japanese Ship.

It Never Let's Up on the Web of Intrigue, Sacrifice, and Danger.

Facing All Decent Members of the "Human Race", as Powell is Want to Tell Us with some Sermonizing.

The Sprawling Cast is Anchored by Powell with Good Support from All.

The Globe-Hopping Following the Distribution is Interesting and Full of Detail both Verbally and Visually.

The Film is Long and Requires Attention to Fully Appreciate.

There's a Twist Ending that No-One will See Coming.

More than Worth a Watch.

It's Essential Viewing for its Place Breaking with the Code.

That Help to Spearhead the Slow but Steady Post-War Film Industry Trek,

Cracking the Code One-Year and One-Taboo at a Time.

I thoroughly enjoyed this picture and I had been looking for it for a long time. It's not often a motion picture can mesh all components into a first class entertainment production. This one is so completely absorbing from start to finish that I wished it wouldn't end. It was 110 minutes well spent.

It is remarkable to note the metamorphosis in Dick Powells' career, from an effeminate tenor in "42nd Street" in the early '30's to a tough-talking, gravel-voiced film noir star, beginning in the mid '40's with "Murder, My Sweet", and "Cornered", culminating in this near-masterpiece.

Can't find fault anywhere here. The story moves along at breakneck speed, and, as mentioned in my summary, if you get up to get a snack you will lose the thread of the story, so intricate and complex is the plot. If this were a book I would say I couldn't put it down.

Whatever happened to good film-making? Movies get worse and worse, but thank God for TCM. This picture is a little outdated, but just go with it and take into consideration that it was made 60 years ago. Truly, they don't make 'em like this anymore.