I just saw this one again on DVD and was surprised at how good it was. The acting, story and environment made it very easy to follow what was going on. I fail to see big holes in the plot: the characters are very well developed. What is created is a very sweet romantic thriller in a historical setting - the viewer knows that the revolution will take place so that part is anti-climatic.

The film didn't attempt to make the revolutionaries into the good guys - Batista's forces did come across as corrupt and arrogant though.

One mistake: Redford's character convinces the security chief he works for the CIA which is implausible since he's supposedly on assignment in Cuba and doesn't speak Spanish.

The island of Cuba is a long way from Morocco, but in Sydney Pollack's film of the same name the city of Havana isn't too far removed from 'Casablanca'. The two films share a similar exotic locale, the same shady intrigue, and an all too familiar bittersweet romance. All that's missing are Peter Lorre and Sydney Greenstreet, but what's surprising about Pollack's film is how well it stands up under the comparison. Robert Redford portrays a tough and charismatic (if slightly disreputable) gambler who drifts into the decadent Cuban capital during the last, desperate days of the Battista regime, and it's a pleasure to watch him playing, for once, a character without a built-in halo. The foreign intrigue, played against a background of political unrest, is perfectly suited to the swinging tropical setting, but the romance between Redford and beautiful revolutionary Lena Olin isn't as convincing. Don't blame the talented cast; the script lets them down too often during the last half of the film, undermining an otherwise attractive and entertaining bit of high-grade, escapist fluff.

To begin with, I had always stayed away from this one until now (watched in tribute to its recently-deceased director) given the fact that it was a notorious flop on original release. Having caught up with it, it’s strange to think that Hollywood was still trying to recapture the magic of CASABLANCA (1942) fifty years on: the title itself, the backdrop of a country in turmoil, a hero who won’t ‘stick his neck out’ until he meets the beautiful wife of a ‘freedom fighter’ (believed dead at some point), the gambling element as a symbol of the fickle nature of destiny, his antagonistic relationship with the chief villain (whom he dupes in the end), etc.

A lot depends on the effortless charm of its protagonist (Robert Redford – still looking great at 54), though his character is so laid-back that it’s hard to swallow him being so swiftly and easily a smooth operator with the authorities when required! Lena Olin and Raul Julia play the couple in peril this time around: reportedly, the latter so wanted co-star billing (though his relatively brief role hardly demanded it) that he opted to appear unbilled if his request was declined (which is exactly what happened)!; an overweight but quite effective Tomas Milian (a native of Cuba, incidentally) is the head of the organization rooting out the rebels; also on hand are Alan Arkin as the put-upon casino owner, Richard Farnswoth as “The Professor” and Mark Rydell as the real-life Meyer Lansky.

As expected of Pollack, he gives the film a polished feel all round – from Owen Roizman’s diffused lighting to Terence Marsh’s remarkable production design (depicting both the glamor and the seediness of Havana) and Dave Grusin’s plush Oscar-nominated score. Overlong at nearly 2½ hours, the film’s ultimate failure can be pinned down to its essential dullness (lacking in action and being deliberately-paced to boot) – despite a number of undeniably compelling individual sequences.