Piraten im Karibischen Meer

I loved this movie. All the stars were at their peak. They looked so glamorous and young and vital in their careers. I loved Paulette Goddard.

In my personal opinion, she has been overlooked by so many. She was a wonderful beautiful star. Can't believe in the re-release they put Susan Hayward ahead of Paulette. Hayward had a very small part. Paulette was the star of the movie. It's not the first time they have put Goddard last. Too bad. I think she's terrific. She had the ability to do comedy as well as drama. And she was a very gorgeous woman. That wonderful laugh of hers.

Yet another star-studded box office hit few people have today even heard of. (Raymond Massey later admitted that he recalled so little about this film that when he observed to John Wayne they ought to do a movie together it fell to Wayne to remind him that they already had.)

By the time he made this Cecil B. DeMille was leaving all the location work in the hands of second unit director Arthur Rosson and the scenes at sea are otherwise achieved with obvious models (although the giant squid is memorable enough for the film to collect its one Oscar, for special effects).

However it doesn't take itself too seriously, and with a cast like that - notably Victor Kilian as n'er-do-well Mathias Widgeon; although it's Milland rather than Wayne who gets to tell Paulette Goddard "My, you're mighty desirable when angry!" - and with plush costume design and interior decor in sumptuous Technicolor its a good way to kill a couple of hours.

Cecil Blount DeMille, CB. The original 'Name Above The Title'. No matter what Frank Capra stated it was DeMille who put the Director/Producer over the title. His was a name that brought in the public and their money when Capra was still a 'gag man' for Mack Sennett. From the first feature film in Hollywood, THE SQUAW MAN (1914) to his last production, THE BUCCANEER (1958) he represented HollyWoods commercial success.

With DeMille people fall into two (2) camps. We HATE that hack and his hokey movies or we love him for he put our dreams on the screen. We fall into that second group seeing our first DeMille film circa 1957 THE TEN COMMANDMENTS (1956). My brother was four (4) and I was six (6) and we were enthralled with CB from then on. He dared to put BIG THINGS on the screen. They may not of always worked but he was unafraid to do them, stretching the envelope technically and did not give a damn what his critics thought and neither do we.

REAP THE WILD WIND (1942) was his second color film and we saw it in a re-release circa 1958. The plot is typical DeMille, obscure historical incident blown up for the big screen. Romance triangle punctuated by action sequences leading to a rousing conclusion. The film is well cast with Paramount Stars Paulette Goddard and Ray Milland. Not able to get Errol Flynn or Tyrone Power CB obtained John Wayne who turned in a credible and sincere performance. Milland stood up well to the 'Duke' and Ms. Goddard was a radiant love interest. A young Susan Hayward also showed her stuff with Robert Preston. Over shadowing all was Raymond Massey as the head villain with stooge Victor Kilian. Not to be forgotten was the CB stock company, from players who were with him during the silent era to Akim Tamiroff in a voice over for the 'Lamb'. Paramounts special visual effects wizard Gordon Jennings led that team and garnered a Oscar and Victor Young provide the score. Music being very important in carrying some of the fantastic goings on. Especially the Giant Squid scene that was directed underwater by CB himself.

The one (1) thing we never understood about CB is that he left many (BETTER) projects go fallow after investing money and time developing them. A few were THE WAR OF THE WORLDS, TITANIC and WHEN WORLDS COLLIDE. Two (2) were done by George Pal with CB as uncredited producer. It would have been very interesting to see how these would have turned out if made in the 1930s. Just thinking about the casting and how the special visual effects would have been done is a fascinating mind game.

In 'Reap the Wild Wind' we have a chance to see Paulette Goddard, front-runner for the Scarlett O'Hara role until Vivien Leigh showed up, sporting a Southern accent and enjoying herself as a feisty Southern belle heroine. Unfortunately, her part is nowhere as complex as the role she almost got in the Selznick epic.

It's a lusty period adventure about two battling ship salvagers who vie for a strong-willed Georgian girl. The outstanding special effects steal the film, as do the lavish sets and costumes of a bygone era. Susan Hayward is featured in a smaller role as Paulette's unfortunate cousin. Both are heavily burdened by Southern accents and roles that are paper-thin giving them little more to do than flounce around in frilly costumes and bonnets while the men--Ray Milland, John Wayne and Robert Preston--carry the main weight of the action-filled romance.

A stunning climax involves an underwater battle with a giant squid. Understandably, it won an Oscar for Best Special Effects. Beautifully photographed in technicolor, it's given the lavish Cecil B. DeMille treatment and makes an entertaining if foolish epic that shows its pulp romance origins.

Here's a lavish, exuberant tale of the high seas, produced and directed by Cecil B. DeMille, and presented with all the excess and spectacle the great showman built his career on. It involves shipwrecks, deep-sea diving, and giant squids, among other things. It's that rare kind of movie that's genuinely fun to watch, where you find yourself smiling because you're so engrossed in the story and the characters, often in spite of yourself. It's of the Saturday-afternoon-at-the-movies genre, where you leave plausibility at the door and put yourself in the hands of people who know how to entertain.

`Reap the Wild Wind' is the story of a sea captain (John Wayne) whose cargo ships are repeatedly sunk and plundered by a vicious crew of salvagers. When one of his ships is struck down, Wayne is rescued by a spirited southern belle (Paulette Goddard), with whom he falls in love. In order to help Wayne get the command he dreams of, Goddard becomes friendly with an influential lawyer (Ray Milland), and a love triangle develops. Through various turns of events, the two men find themselves on opposite sides of the fight against the raiders, with Goddard caught in between them. The story builds up to a spectacular battle with the squid, which single-handedly won the film an Oscar for its special effects.

The movie is well acted straight across the board. Wayne, having just achieved stardom, has the least colorful role but still registers strongly. Goddard plays her tempestuous role to the hilt, and is a joy to behold throughout. Her character is a welcome variation from the frail, straitlaced heroines of her time – she enjoys salty sea ballads, throws frequent tantrums and is not afraid to get her hands dirty – something of a toned-down Scarlett O'Hara. Raymond Massey is rightly villainous as the chief pillager. The highest acting honors go to Milland, however. His performance as the shrewd but foppish attorney is delightful, stealing scene after scene and providing priceless moments of comic relief, then turning noble toward the end.

In addition, the movie is beautiful to look at. At the time the film was made, color photography was still relatively new and quite costly, so it was generally reserved for epics. You can see every penny of it on the screen here. The direction is brisk and vigorous, and the visual effects are fantastic for that era or any other.