Extraño cargamento

"Strange Cargo" is a 1940 film starring Joan Crawford and Clark Gable that leaves the usual story lines behind - romantic comedy, kept woman, rags to riches - as it weaves an allegorical tale of escaping prisoners and a Christ-like figure who accompanies them. Gable is Andre Verne, a prisoner on Devil's Island who escapes with several other prisoners (Paul Lukas, Albert Dekker, Eduardo Ciannelli, J. Edward Bromberg and John Arledge). During the evening count, he's almost found missing but another man, Cambreau (Ian Hunter) replaces him in line. He then boards the boat to the mainland with them and Julie (Crawford), probably a prostitute, who is escaping also from a lecherous bounty hunter (Peter Lorre).

The prisoners fall on hard times as they escape through the woods and also while at sea when their water becomes tainted. Cambreau gives each prisoner comfort and helps them to confront the evil that brought them to Devil's Island, helping to bring them peace at last. This is not lost on Julie who sees a chance for redemption. Verne, however, isn't interested.

This is a very simple story beautifully directed by Borzage. The atmosphere of the film is dark and haunting. There is no preachiness. The sheer power of Cambreau and his sense of faith is what brings the prisoners solace. Hunter is majestic in the role. Gable is appropriately tough, and Crawford brings depth to Julie, who thought she knew what she wanted. The rest of the cast is top-notch.

"Strange Cargo" seems like a film that was made in the early '30s with its Christian parable. This was the last film that Crawford and Gable made together. Its powerful message makes this a fitting ending for a fine MGM team.

In disagreement with other viewers I found nothing UNEASY about this picture. The film, a great one, deals with a "Strange" character (Cambreau)who by his mannerisms and wisdom hint at his being God incarnate. The question then arises as to why God would come among a group of sinners, convicts and scum. The script is well-written and stimulates a great deal of feeling. The writer certainly was able to bring biblical principals to pass on the screen with well- employed similes. If one knows the bible at all, then they would know that Jesus Christ did exactly that and when he asked why he answered that it was the sick who needed a physician... NOT the well. All of the roles are well-acted. This picture is certainly in my top 20.

A beautiful movie with a mostly A-list cast, far superior to the source novel. "Strange Cargo" has almost non-stop action, yet the central allegory is never lost in action, nor is the storyline swamped by allegory. In less capable hands it might've been a maudlin movie, but instead is a finely crafted parable where a mysterious Christ-like figure (Hunter), introduced while taking Clark Gable's place in a prisoner head-count, accompanies and guides a mixed-nut boatload of escapees from Devil's Island. He's never an intrusive or moralizing figure, nor does he employ clever wordplay or ecstatic preachments, but assists each of the escapees as each individually confronts the internal corruption that led them to Devil's Island -- and the film's makers have the courage to show some of the men dealing with that confrontation, and some turning away from it, without giving judgment to the rightness or wrongness of either choice. This movie proves the potential for making a truly solid, entertaining and non-mawkish movie on orthodox Christian themes without the foolish baggage of robes and sandals (or insipid and sermony scripts). The movie's only disappointment is that Peter Lorre is not one of the escapees but a loathsome bounty hunter who has too few scenes. His character doesn't appear in the book, but deepens the parable. Overall, "Strange Cargo" is a movie that can be enjoyed for the plot alone, but which courageously adds layers, like those of an onion, that can be savored by the discerning. It's astounding this movie hasn't become a "cult" favorite, but perhaps its tendency to prompt introspection isn't much appreciated these days.

The Strange Cargo referred to in the title is in the person of Ian Hunter who is a mysterious other world convict who comes upon a group of them planning to escape from Devil's Island. It's a strange film, Strange Cargo with Clark Gable and Joan Crawford in the very last of eight films they were paired in by MGM.

Crawford dusts off her Sadie Thompson role for her character here. Even with the Code firmly in place it's rather obvious that Crawford is a working girl. She's free, but stranded on that notorious convict island. Gable is essentially the same cynical tough guy he played in so many MGM features at that time.

Ian Hunter is the mysterious stranger among them. These aren't a group of choir boys he comes among. Yet one by one as they die he brings a peace that passeth all understanding as the Good Book says. The escapees all don't die, but all but one come under his influence.

I'm surprised that TCM did choose this one for its theme this June of gays in the cinema. Prison films even during the days of the Code were a bit more open in treatment of homosexuality. The relationship of Albert Dekker and young John Arledge is rather obvious. Dekker in fact chooses a gruesome suicide rather than live without Arledge after he dies.

In fact what's really startling to me was that the heavenly figure that Ian Hunter represents neither condemns suicide or homosexuality. I'm really wondering how the censors of the day let that one slip through.

Paul Lukas has a very interesting part. He's today what we would consider a serial killer, he's married and killed many women for their money. He's cool and cynical and rejects Hunter's entreaties. When Hunter says they will never meet again, the line is loaded with implications.

Strange Cargo is a strange film. It's not bad, but could have been a lot better without code restrictions.

In 1940,Frank Borzage gave two great movies in a row.In these trouble times ,it was a true tour de force to achieve that."Strange cargo" and "mortal storm" are admirable works,works of redemption,full of compassion for the human race .Hats off to you,M.Borzage,you who are often ignored when they list their favorite directors.

A user wrote that "strange cargo" was ahead of its time.It's so obvious that even now,it remains demanding ,deep,and absorbing.When you see where the adventures movie has gone,the likes of Indiana and co,you wonder that some works like that have been produced. "Strange cargo" anticipates the cinema future.In several respects it's John Huston before John Huston,but with more faith in the human nature. I would go as far as saying the first part is some kind of Bunuel's "la mort en ce jardin"(1956),but a Christian(!) Bunuel.The users who saw the Spanish director 's underrated film will be struck by the analogies between the two works .Gable's and Crawford' characters resemble George Marchal's and Simone Signoret's in "la mort en ce jardin".Or rather the other way about.

The main difference is the indomitable faith in God that Cambreau displays in the whole movie.His face radiates like a Christ,and Ian Hunter outshines the two stars Gable and Crawford.His performance ,subdued and sober,but always mesmerizing ,fascinates.There are unforgettable scenes:the beach ,where he opens the gates of eden for some kind of thief ;the cask of fresh water;his strange predictions;Clark Gable screaming "I'm God!" after throwing him into the water.The movie often verges on fantastic,but a spiritual and sustained fantastic,not drivel such as "IJ and the last crusade".

"Strange cargo" was followed by "mortal storm" ,which iseven more superior to it.Here ,Borzage anticipates on Minnelli "the four horsemen of the Apocalypse" 1961) and Visconti (la caditi degli dei 1969).His love for the human race is still beaming:in a world gone mad where nazi hate oozes everywhere,there will be several Cambreau to heal the wounds :Mr.and Mrs Roth,Martin,Freya and the old Mrs Breitner.

Do not miss his earlier works ,pacifist ones of course :"three comrades " and "no greater glory".Should they give a Nobel price of cinema,Frank Borzage would have been a strong contender in his lifetime.