Mandalay turned out to be unexpectedly good. I went in expecting a predictable romantic story with standard plot devices, but the film rose above those expectations by depicting a group of flawed individuals seeking some form of resolution within what is now Myanmar. Kay Francis portrays a woman whose life takes her from being a refugee fleeing the Russian Revolution to the position of an arms dealer’s lover, then a high-end prostitute, alongside an alcoholic, and finally toward a possible path to redemption – all in about 65 minutes. Her acting effectively conveys the emotions associated with each stage of this journey; her expressive eyes communicate hope, hopelessness, self-assurance, and even murderous thoughts as required. It’s a remarkable display of talent and serves as the film's focal point. Lyle Talbot delivers solid support as an alcoholic doctor, Warner Oland provides a memorable performance as a sort of Chinese gangster/brothel owner without class distinctions, and Ricardo Cortez is effective as a capable but detached man. Michael Curtiz, known for Casablanca and many other excellent films, seems to be working on a less ambitious project here, though the cinematography is very assured. One early scene, for example, tracks a motorboat from the harbor across the bay, then pulls back smoothly to reveal a yacht and eventually introduce a character standing on its rail—it’s exceptionally well-executed and elevates the overall quality of the story. The film's locations are believable, and the production team manages to create a sense of a Southeast Asian port, riverboats navigating jungle waterways, and a varied population, seemingly without ever having left Los Angeles. This is a noteworthy achievement in filmmaking from the nineteen thirties.

Source on TMDB