There is something appealing about escaping the humdrum existence of modern life and setting sail for distant lands, with many people finding that the more remote a location, the more they feel a sense of peace and tranquility. Many have sought the refuge of a distant land as their home, finding value in the promise of starting over and leaving their old lives behind. In what is one of his most impressive films, Tay Garnett uses it as the foundation for Café of the Seven Sinners, a delightfully irreverent but hard-hitting comedic drama in which we are introduced to Bijou Blanche, one of the most notorious torch singers in the South Pacific, who spends her life taking on temporary jobs in a range of establishments, providing entertainment to tourists and locals alike before inevitably finding herself getting into the crosshairs with the law, becoming a nuisance for the authorities across multiple islands, who are consistent in their desire to deport a woman of such ill-repute, despite her status as one of the most beguiling entertainers in the region. This all changes with the arrival of an alluring soldier, who immediately falls for the mysterious chanteuse, making every effort to sweep her off her feet, with immensely successful results. Wonderfully odd but also genuinely moving in how it captures the spirit of a particular era with elegance and nuance, Café of the Seven Sinners is a tremendous film. Garnett spent most of his career as a director-for-hire, but many of his films showcase that this was simply an unfortunate matter of timing, since his work reflects a consistency and elegance that far exceeds the rapid-fire qualities of lesser journeyman filmmakers. While it may not be as beloved as some of his other productions, this film is still a wholehearted delight, a captivating and enthralling romantic comedy that is as provocative as it is moving, stirring emotions in the viewer that we may not have expected, and making a case for itself as a definitive work in the careers of everyone involved.

A film like Café of the Seven Sinners could not be made today in quite the same way – this isn’t to do with any morally questionable content (considering it is a film in which a remote island is the setting, its surprising that it manages to be quite compassionate and respectful, despite the era in which it was crafted), but rather that the mystique of the exotic has changed considerable. Suddenly, these remote islands situated far from western influence are no longer safe havens for rejects and outcasts, becoming tourist destinations frequented by the exact people the characters in this film were hoping to escape. There is something so intriguing about the idea of disappearing from ordinary life and reinventing yourself in an entirely new environment, which is the central theme of this film, which follows our protagonist and her gaggle of eccentric friends as they embrace their status as outsiders, venturing as far from their pasts as they can and looking to embrace the unknown that comes with taking residence on these small islands. Café of the Seven Sinners is a film primarily about escaping the past, but it is never too far behind. In fact, its often those who want to escape the most desperately that find themselves haunted by their previous actions, and while it takes a more lighthearted approach for the most part, the film touches on some deeper themes, examining the full spectrum of human desires through the story of a budding relationship between a free-spirited singer who refuses to subscribe to any social conventions, and a soldier who lives his entire life by the book, the two initially clashing in their views but eventually learning to live with one another, adapting to their unique quirks and discovering that there is more to romance than that initial spark, which needs to be maintained. Set to the gorgeous backdrops of the South Caribbean (or rather, a very close recreation of it), the film manages to be quite profound, even at its most simplistic.

At the time Café of the Seven Sinners was made, Marlene Dietrich was one of the most interesting stars working in Hollywood, a reputation she continues to hold decades after her passing. The qualities that made her such an icon are not difficult to see – her enigmatic screen persona, coupled with her unique sense of style and abundance of talents, made her a magnetic presence whenever she appeared, leading to several directors writing films based around these qualities in the hopes of being one of the many that got to sample from her rich, powerful gifts. Garnett is not necessarily someone who understood Dietrich as implicitly as Josef Von Sternberg, but he’s certainly doing terrifically well at emulating his work, capturing the beguiling star’s greatest qualities and highlighting the elements that made her such an incredibly complex performer. She does everything we could fathom in this film – she plays into her mysterious persona through the dramatic material, as well as showing her comedic skills, which are rarer to find in her melodramatic performances. She also has several musical numbers, where we get the chance to witness her delivering several ethereal, beautifully sultry performances that are amongst her very best. The film also features John Wayne, who had recently ascended to the status of one of Hollywood’s most bankable stars, and while he isn’t particularly notable in the role, he is still as charismatic as ever. The real gems of the supporting cast are Broderick Crawford and Mischa Auer, both of whom are exceptionally funny and genuinely moving in their small performances that are more than just comedic relief, but the beating heart of the film. With their work being so strong, we could easily justify a film just based on their characters. Café of the Seven Sinners is certainly a vehicle for Dietrich, and she absolutely earns our praise, but it’s the supporting cast that gives the film some of its unique flavour, gradually and methodically exploring new depths of the human condition in the process.

There is much more to Café of the Seven Sinners than just a group of eccentric characters engaging in the “romance on the high seas” trope that persisted in many productions during the Golden Age of Hollywood, and Garnett was evidently more creative than just being restricted to the same hackneyed tropes we usually encountered in many of these films. At the heart of the film, we have a story of two wayward souls finding one another at an opportune moment, and working through their differences to find common ground, which reveals much more to them than initially anticipated. To handle the sheer volume of ideas that existed at the heart of the film, Garnett had to employ quite a daring approach, which was to find the balance between madcap comedy and sincere melodrama, both of which are essential to the overall identity of the film, and one of the many reasons it works so well. There are undeniably some strong emotions scattered throughout this film – the comedic sequences are offbeat and wildly entertaining, whereas the quieter and more subtle moments of romance are intended to be more meaningful, which it achieves through broadly dramatic overtures. It’s certainly not easy to effectively oscillate between the two without it feeling either flippant at one extreme, and overwrought on the other – but yet Garnett achieves something absolutely remarkable in the process, crafting a sincere and deeply compelling exploration of the growing love between these two characters as they navigate their growing romance, setting aside several challenges in pursuit of something much deeper. Café of the Seven Sinners is certainly quite a daring film, and Garnett makes sure we are completely aware of the various nuances that he brings to the production, making it a much more engaging affair, rather than being yet another run-of-the-mill romantic melodrama that may hit all the necessary targets, but at the expense of something much more compelling.

The critical reappraisal of Garnett’s work has been slow and steady, but it seems to be gaining momentum, especially through more viewers becoming aware of works like One Way Passage and Made for Each Other, both of which are absolute masterpieces that deserve just as much acclaim and status within the American film canon as any of the more obvious choices. Café of the Seven Sinners is arguably not quite as good, but even at its most simplistic, the film is exquisite, capturing a set of ideas that feel like they are derived from a clear and concise understanding of the human condition and all of its unconventional quirks. As solid as it is entertaining, the film captures a very specific tone that sadly no longer exists in mainstream Hollywood productions, and instead functions as a relic of the past, which makes for profoundly compelling, entrancing viewing. Featuring some of the most intriguing work ever done by its enigmatic star, who is in her element here, and driven by a sense of curiosity, Café of the Seven Sinners is a wonderfully eccentric, captivating film that is filled to the brim with unique qualities that make it genuinely quite endearing, even when it does tend to veer slightly towards the overly melodramatic in some parts. Garnett is a director who has more than earned his place in the canon of great filmmakers working during the studio era, and while his name may not be known by many, the more we recognise his exceptional work and give him what he is clearly owed, the sooner his legacy will begin to reflect his talents. Entertaining and moving, as well as being as chaotic as it is enticing, this film is a wonderful achievement and a true delight from start to finish.