Der Untergang der Titanic

The media is full of reports of the maiden voyage of the unsinkable Titanic and all are excited about the prospect, whether it be the third class passengers travelling to a new life or the first class passengers travelling to continue the good life they have. Richard Ward Sturges is not a passenger but he buys a third class ticket off someone else then makes his way up to first class. He has done this because his wife has taken his son and daughter on board the Titanic. Tired of an uncomfortable life among the British upperclasses, Julia Sturges is seeking a "normal" life for her family back in her native America, and if that means being away from the stiff and very English Richard then so be it. As their marital drama is played out, the Titanic sails on ever faster, with bigger problems just over the horizon for all of the passengers.

Many decades before James Cameron delivered Titanic as a disaster movie with a dramatic relationship at its core, someone else had already done it with this 1953 disaster melodrama. The main difference in the narrative is perhaps a note on the difference with our time because the story is not about romantically intertwined young people but rather an older married couple and their romance. Aside from this difference the approach is similar because the majority of the film is a melodrama driven by the characters, which then is fitted into the bigger drama of the ship sinking, taking many with it. Unlike the effects-heavy modern version, this film puts the focus on the family drama happening.

This works well in making for an engaging film as we see the very English Richard clashing (in an English way) with the more modern Julia in their relationship. Of course it all comes good in the end (well, in a way) but up till then this centre-piece held my attention well. The emotion during the actual sinking of the ship is well received as well, it is restrained and very much the stiff-upper-lip type of thing of the period. Compared to the manipulative use of music and sweeping expressions of emotions in the remake, I must admit I found the changes in the characters played out with restrained emotions of the disaster. The cast work well with this. Webb is strong in his character, retaining what makes the man while also softening towards the end. Stanwyck does likewise, convincing in her early character but yet able to find the love inside her character from the past. The rest of the cast are solid enough but do not really have the same material as the two leads; Dalton, Aherne, Wagner, Basehart and others are all good enough for what is asked of them and, as normal, Ritter is entertaining in her usual character.

Overall then, an engaging melodrama that maintains a very British sense of emotion but yet is still quite moving. Those who have not yet seen the remake for what it is should perhaps take a pass at this and see if they prefer this version for being shorter and more restrained.

A doomed ocean liner is perfect fare for a big-budget studio like Fox, whose production unit gives the real life tragedy the conventional Hollywood treatment. Wagner and Dalton charm as the attractive young lovers, while Stanwyck lends a formidable presence as the matron with a past. However, Webb is an unusual choice for the lead, given his rather brittle personality. The script makes good use of his aristocratic demeanor by squaring him off against his estranged commoner wife Stanwyck. He's all stuffy rules and European airs, while she's taking their two kids and returning to her practical American roots. There's a subtext here about Webb coming to realize a human side buried under layers of snobbish pretensions. It's an interesting idea, but I wonder how many viewers were able to warm up to Webb's basically cold personality. Fox took a chance here and I doubt that it helped at the box-office.

Nonetheless, Ray Kellogg's special effects are outstanding, especially the liner as it lists headfirst into the water that became a spectacular logo for the movie's ad campaign. Note, however, the general absence of noisy panic surrounding the evacuation, the opposite of what you would expect given the life and death circumstance. Generally, both passengers and crew react efficiently as if executing a fire drill. I suspect anything more realistic would have risked unsettling 1950's audiences and dampening box-office appeal, but whatever, the general absence is noticeable. Also, I'm not clear on what happened to the women and children in steerage. These are the poor folk presumably responding to America's "give us your huddled masses yearning to be free". Maybe I missed something, but the class segregation aboard the liner is made unmistakably clear and we do know the ladies and children of wealth made the cut. But what about those "huddled masses" since the movie is based on fact? Still and all, not to worry since they're all going to heaven anyway as the final choral overlay assures us.

Speaking of class struggle, too bad the screenplay doesn't exploit the lively potential of a Clifton Webb-Thelma Ritter face-off. They're two extreme ends of the refinement spectrum — the earthy commoner and the waspish aristocrat. Yet no one was better at delivering sarcastic barbs than these two. Squaring them off against one another would have produced great verbal fireworks and social contrast. All in all, the movie is entertaining with some good moments, but fails to hit the dramatic high points inherent in the real life tragedy. Ultimately, the screenplay reflects the extreme cautiousness of its time period.

Just a precaution: If you are expecting a completely accurate historical account of the night with all the scientific details neatly in place, look elsewhere. This film instead focuses (touchingly) on the human drama involved with the ship, with many of the elements of real passengers' accounts rolled into the story of Clifton Webb and wife Barbara Stanwyck (Both excellent; when Isn't Barbara Stanwyck excellent?) and their children. A few real characters are involved, but for the most part the drama surrounding the fictional characters is in the forefront. A beautiful and striking account, the film deserved a few more Oscars than it got, primarily for Miss Stanwyck and a supporting Oscar for Robert Wagner, who does wonderfully in his role.

This film has been overshadowed by the 1997 blockbuster, but this 1953 story of the tragic ocean liner certainly stands tall on its own merits, not the least of which are the star performances by Clifton Webb and Barbara Stanwyck.

Built around the domestic drama of a fictional family, the well-known story of the sinking of the Titanic unfolds in an unrelenting and straightforward fashion. Brian Aherne (as the captain) is the victim of delayed and incorrect information and sails the ship right into the iceberg. We get glimpses of the rich and famous who populated the doomed ship as well as the luscious interiors of the ship.

The special effects are tremendous without taking over the film. The final scenes of the sinking ship are awesome. But the story of innocent passengers takes center stage here. Stanwyck and Webb are a squabbling couple with two children. The girl (Audrey Dalton) is a snob who is charmed by a college boy (Robert Wagner). Thelma Ritter plays a Molly Brown- like character addicted to loud jewelry and cards. Richard Basehart plays a defrocked priest. Allyn Joslyn plays the infamous coward who dresses like a woman to gain a seat on a lifeboat. Oh, and that's Mae Marsh the kid gives his seat to.

The final scenes of Webb and son are superb. An excellent film.

When I was young I was probably the only kid in years who had checked out our library's copy of Walter Lord's "A Night to Remember." It began a lifelong fascination with the ill-fated liner. I was home sick on the couch a short time later when I saw this film for the first time on TV. Forty years later, I still remember how this movie touched me then. Even then I was hooked -- not just because the film dealt with the Titanic, but for some visceral reason I couldn't put my finger on. Still can't -- decades later. I'm not ashamed to say I continue to get choked up by the scene where Webb is on the slanting deck with his "son", telling the boy he's never been prouder of him. Fast forward several years and I'm sitting on the couch watching this film with my own son for the first time. Sure enough, I'm having a tough time not losing it all during the Webb and son scene (especially poignant now) when I sneak a peek over at my boy. I've seen him cry maybe two or three times in his whole life yet there he sat with unmistakably moist eyes. What a moment to share. I'm very happy to see so many other people here feel positively toward this movie. One of the defining movie experiences of my life.