I like the storyline of this show,it attract me so much

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

The acting is good, and the firecracker script has some excellent ideas.

The most extraordinary feature of this film is the incredible smoothness it adds to the story line; it's a masterpiece of great dialogue and incredible actors to deliver the story. Who has ever seen any better, and unobtrusive, acting than that of the likes of Saunders, Marshall and the relatively unknown but great actor Steven Gary (who plays Dirk Strouve) ? One will never see another film to exceed this one in these respects.

If what you are looking for is a standard film story about a painter, look elsewhere. This is a strange story and a strange movie. But don't take that as criticism. I found it very compelling.They say that the story was about Gauguin...and if so, then I can't say he was a very admirable fellow. Here "he's" Charles Strickland, a middle-aged businessman who abandons his wife and children so he can paint in Paris. His tale is told through the eyes of Herbert Marshall. Could there be a worse human being than George Sanders as Charles Strickland. Virtually no redeeming qualities...at least until he gets married to a girl in the South Pacific. Of course, life always pays one back, and Strickland declines into leprosy.The cast here is intriguing. This is one of the best -- though not likable -- performances given by George Sanders. Herbert Marshall is perfect as the eyes of the story (watch for scenes where he is walking...you can notice a limp due his real artificial leg). Elena Verdugo is interesting as the South Seas girl...you may remember her best from her recurring role in "Marcus Welby, M.D." Florence Bates (usually the nagging mother-in-law type) has, perhaps, the most unusual role of her career. Albert Bassermann, as the South Seas doctor, is interesting, though I'm not sure he was any great actor. But his career story is something worth looking up on Wikipedia.I guess we should thank the George Eastman House for restoring this film, although I'm not sure if the nitrate copies were so badly decomposed to explain the relatively poor quality of the print (as shown on TCM), or whether they just did a poor job of restoration. The images are not crisp, and the color scenes in Tahiti are terribly deteriorated.Nevertheless, this is a film to watch. It's unusual and intriguing.

There have been few other actors, before or since, who could play the part of a cad better than George Sanders, and he was at his best in this film. Nothing will ever alter the fact that he gave a very fine performance in a film which any movie-goer is likely to find rewarding, and I recommend it to any IMDb users who happen to have so far not seen it. It is based on a great fictional work by Somerset Maugham that is clearly and openly acknowledged to be a non-biographic fictional reconstruction of the life of the artist Paul Gauguin who walked out on his wife, family and friends in Paris to spend the last days of his life in a wild painting spree in Tahiti - so poor that many of his final works were painted on the walls of his hut because he could not afford to buy more canvasses. Similarly Maugham's artist, named Charles Strickland, was a well to do Englishman, and the book starts by picturing the build up of frustrations he found in his very conventional life there. He eventually walked out of it to spend many years of penurious and bohemian living as an artist in Paris before his culminating mad dash to the South Seas finally provided a sense of release and freedom through the copious colours and lifestyle changes he found in his final destination. It is a book I first read as a boy and have always loved, but it is a long time since I last read it so I should now download or purchase another copy.This said, my expectations exceeded what this film provided. The film of this book appeared during the war in 1943 - a time when many of us were experiencing symptoms of escapism. It can perhaps best be described as having achieved modest success. For many years I did not want to spoil my fading memories of Maugham's great book by watching another version presented on celluloid - many others may have felt the same. But I vividly remembered reading a review of it which described the tremendous visual impact it achieved when the black and white images associated with Strickland's drab life in Europe finally gave way to the riotous colours he found in Tahiti. I immediately felt that here was a perfect example of how monochrome and colour sequences could be integrated into the same film to increase its emotional impact. By then early home videos of this film had been released entirely in monochrome, this seemed to me to miss the whole point of filming the book so I never bought one.A DVD claiming to present the complete cinema version of the film as it had been originally screened, finally appeared in 2007. I bought it with great expectations and waited with breathless excitement to see the transition to colour when Strickland reached Tahihi. Unfortunatelty the report on which I based this expectation proved a little misleading - only the almost final sequence was in colour, and this showed only the paintings Strickland had completed on the walls of his hut before his death, not the third or so of the story which took place on the island. I still enjoyed the film and this relatively small difference should not affect any viewers coming to it with no prior expectations, but for me it was not the film I had been waiting to see for so many years. I believe a great opportunity was missed here for creating a visual impact that would perfectly compliment the emotional impact experienced by Strickland when he changed his lifestyle. Whilst I still have no hesitation in recommending this DVD to IMDb users who are interested in art, this has been one of the extremely few occasions where I felt that I would like to see a film remade. True today's directors would probably film the European sequences in muted colour with a heavy sepia over-wash rather than in black & white, but with enhanced colouring used for Tahiti the overall effect would be the same. Sadly such a future film could not star George Sanders, but maybe Michael Douglas would step in here.

While the beginning of this film is a bit slow, with a few touches of humour sitting a bit uncomfortably, soon we are treated to a simple but effective treatment of this extraordinary story. As the Gauguin-like painter Charles Strickland, Sanders actually does a bit more than play his 'typical cad', but relishes his character's poking fun at a hypocritical society, and shows real passion in describing to the Maugham-like figure exactly WHY he leaves his ordinary London existence. We absolutely believe him when he insists "I HAVE to paint". Wisely, the director doesn't let us see any of Strickland's canvases, and we are only limited by our own imaginations as to how powerful they must be. The only exception comes at the end, and without spoiling anything, I believe that it's handled extremely well. Other performances are a delight, particularly in the entertaining vignettes of turn-of-the-century Tahitian life.