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The Sea Wolf, 1941
Writer Van Weyden (Alexander Knox) and recently-arrested fugitive Ruth (Ida Lupino) are thrown into the water when the ferry they’re aboard is struck by another ship. They are rescued by the crew of a ship called the Ghost, but soon realize that they are out of the frying pan and into the fire. Their rescuers are a miserable group of sailors, lorded over by the cold and cruel Captain “Wolf” Larsen (Edward G Robinson). Van Weyden and Ruth must stay on the right side of the crew if they hope to survive the voyage out and back.
Great characters and some surprising plot developments make for an interesting maritime suspense film.
Movies set in isolated locations with no chance for escape are perfect for exploring a certain type of toxic hierarchy. Aboard the gloomy, doomed ship the sailors go along with Larsen’s bullying tactics seemingly out of a mix of dark amusement and the relief that they are not the ones caught in his sights.
The arrival of the two passengers/prisoners throws a wrench in the functional/dysfunctional working of the ship, especially Van Weyden with his quiet insistence on decency. In particular, Van Weyden inspires the ship’s alcoholic Doctor Prescott (Gene Lockhart) to crawl out of the hole of drunken despair in which he’s lived for years. Naturally, Larsen must meet any such change with humiliation and abuse to try and ensure that his men stay in their places. It’s only a matter of time before this ebb and flow leads to disastrous consequences for those involved.
Robinson is predictably good in the role of the maniacal captain, a man so sure of his cruel view of the world that he runs his ship almost through sheer force of willpower. I was not as familiar with Alexander Knox, but his more understated performance is a nice counterbalance, and a more appealing model of confidence. Van Weyden doesn’t need to bluster and put people in their place to make his points, lending more credibility to his beliefs. Lockhart cuts a compelling and tragic figure as a man trying to recapture his dignity far, far too late. Barry Fitzgerald is deliciously hateable as the ship’s cook, a man who will happily inform on his fellow sailors if it means staying in the captain’s good graces.
Lupino is her usual solid self as the defiant Ruth, who is more than aware of the inherent danger of being the only woman on a boat full of men who are in the habit of cruelty and humiliation. The biggest surprise of the film is a young John Garfield as a sailor called George Leech. Leech’s first appearance, the way he is filmed, positions him as a danger, especially to Ruth. When Larsen forces an unwilling Leech to donate blood to Ruth in order to save her life, it seems as if this will only add more animosity to his already dour demeanor. But the way that Leech develops as a character is very interesting and much different from what I expected.
Overall what I liked most about this film, aside from very enjoyable performances from the cast, was just how unpredictable I found it. Even the basic premise---a writer and a woman who is a fugitive---is unusual, and there were multiple times that the plot simply didn’t go the way I expected, or that a seemingly foregone conclusion took a left turn at the last moment. Literally down to the last few minutes this one managed to surprise me, and that was a lot of fun.
There are also several moments that are just really good, like goosebumps good. There’s a sequence where a defiant Dr. Prescott climbs the ship’s mast while ranting and raving that is just fantastic. Higher and higher he climbs, as Larsen rains a mixture of insults and entreaties down on him, and the narrowing, dizzying climb totally encompasses the inescapable nature of being trapped on the ship.
I suppose my only complaint is that the background that we learn about Larsen feels a bit contrived, even in the context of the film’s reality. Perhaps this is something that’s more fleshed out in the original novel, but I found it a bit strange.
Good stuff!
The Sea Wolf, 1941
Writer Van Weyden (Alexander Knox) and recently-arrested fugitive Ruth (Ida Lupino) are thrown into the water when the ferry they’re aboard is struck by another ship. They are rescued by the crew of a ship called the Ghost, but soon realize that they are out of the frying pan and into the fire. Their rescuers are a miserable group of sailors, lorded over by the cold and cruel Captain “Wolf” Larsen (Edward G Robinson). Van Weyden and Ruth must stay on the right side of the crew if they hope to survive the voyage out and back.
Great characters and some surprising plot developments make for an interesting maritime suspense film.
Movies set in isolated locations with no chance for escape are perfect for exploring a certain type of toxic hierarchy. Aboard the gloomy, doomed ship the sailors go along with Larsen’s bullying tactics seemingly out of a mix of dark amusement and the relief that they are not the ones caught in his sights.
The arrival of the two passengers/prisoners throws a wrench in the functional/dysfunctional working of the ship, especially Van Weyden with his quiet insistence on decency. In particular, Van Weyden inspires the ship’s alcoholic Doctor Prescott (Gene Lockhart) to crawl out of the hole of drunken despair in which he’s lived for years. Naturally, Larsen must meet any such change with humiliation and abuse to try and ensure that his men stay in their places. It’s only a matter of time before this ebb and flow leads to disastrous consequences for those involved.
Robinson is predictably good in the role of the maniacal captain, a man so sure of his cruel view of the world that he runs his ship almost through sheer force of willpower. I was not as familiar with Alexander Knox, but his more understated performance is a nice counterbalance, and a more appealing model of confidence. Van Weyden doesn’t need to bluster and put people in their place to make his points, lending more credibility to his beliefs. Lockhart cuts a compelling and tragic figure as a man trying to recapture his dignity far, far too late. Barry Fitzgerald is deliciously hateable as the ship’s cook, a man who will happily inform on his fellow sailors if it means staying in the captain’s good graces.
Lupino is her usual solid self as the defiant Ruth, who is more than aware of the inherent danger of being the only woman on a boat full of men who are in the habit of cruelty and humiliation. The biggest surprise of the film is a young John Garfield as a sailor called George Leech. Leech’s first appearance, the way he is filmed, positions him as a danger, especially to Ruth. When Larsen forces an unwilling Leech to donate blood to Ruth in order to save her life, it seems as if this will only add more animosity to his already dour demeanor. But the way that Leech develops as a character is very interesting and much different from what I expected.
Overall what I liked most about this film, aside from very enjoyable performances from the cast, was just how unpredictable I found it. Even the basic premise---a writer and a woman who is a fugitive---is unusual, and there were multiple times that the plot simply didn’t go the way I expected, or that a seemingly foregone conclusion took a left turn at the last moment. Literally down to the last few minutes this one managed to surprise me, and that was a lot of fun.
There are also several moments that are just really good, like goosebumps good. There’s a sequence where a defiant Dr. Prescott climbs the ship’s mast while ranting and raving that is just fantastic. Higher and higher he climbs, as Larsen rains a mixture of insults and entreaties down on him, and the narrowing, dizzying climb totally encompasses the inescapable nature of being trapped on the ship.
I suppose my only complaint is that the background that we learn about Larsen feels a bit contrived, even in the context of the film’s reality. Perhaps this is something that’s more fleshed out in the original novel, but I found it a bit strange.
Good stuff!