La malle de Singapour

"When I want you to sound off, Golden Bell, I'll pull your rope"--Harlow to Yu-Lan in "China Seas." There's not another actor, alive or dead, who could make that line work, but Harlow finds both the obvious comedy and the hidden pathos in it. (The pathos stems from her realization that she's out of her league, and her fear that the others at the table are looking down their noses at her.)

She, Gable, and Wallace Beery, are perfectly cast here. Harlow is the sassy, brassy, slightly shady blonde who's impulsive and emotional, but who really wants to do the right thing. Gable is of course steady and solid, all man, in charge, unflappable, ironic, and irresistible. Beery is by turns roguish, charming, tough, and menacing.

Roz Russell does a fine job as an old flame of Clark's who shows up for the voyage. Her British accent holds up pretty well. Lewis Stone plays the cowardly 3rd Officer who is out to repair his reputation, a far cry from his future as Judge Hardy. And Robert Benchley does his familiar drunkard routine.

Besides being well-cast, the film is exciting, with tropical storms, piracy at sea, and complicated romances. The special effects are excellent for the era, and the pacing is lively. Really a fine film.

It is a relief to see a vibrantly entertaining film that is well-crafted as a finely made chair. Like most chairs, this film is no classic like "Citizen Kane" or "Gone With The Wind" but it's exciting with charismatic leads like Clark Gable and Jean Harlow. The chemistry between the two is gripping, even if a lot of their encounters in this movie are rather repetitious of the "I love you but I shouldn't" variety. One can see why Gable and Harlow were cast together at every opportunity MGM had from "Red Dust" onward. The other supporting actors are quite good especially Wallace Beery as a slippery villain. While Robert Benchley is quite amusing, his drunk act starts getting really old after a while. Also, it's quite sobering to realize that Benchley would die in 1945 from the effects of long-term alcoholism. In sum, despite some unhappy reminders of Hollywood's racism of times past, this is a fine film that probably served as one source of inspiration for Spielberg's Indiana Jones series of films in the 1980s.

Rollicking fun with the MGM sheen at its height. Jean and Gable were always a great match and they continue here as a doxy and a ship's captain. The script is serviceable enough to not stretch belief too far, what is more fantastic is that Jean would be traveling on a China tug in white satin no matter how striking it is, same goes for Clark in his white captain uniform but that's Metro for you. This is the last of Jean's true brassy platinum blonde roles. For the short time she had left in her regrettably too brief career she softened her look and her roles were heading to the more ladylike end of the spectrum, for instance Wife vs. Secretary. Rosalind Russell is just starting out here too stuck in one of what she referred to as her Lady Mary roles, full of good diction and the graaaand manner her great flair for comedy wouldn't be tapped for several years, she's fine but knowing what she's capable of she feels constrained. The rest of the cast is terrific with Wally Beery and Robert Benchley standing out in full bodied characterizations. Keep in mind that this was made in the 30's so racism and sexism are on full display in a very casual way.

It is funny, sexy, exciting, and every bit as resonant today as 1935- really saying something for a post-Code picture.

It's MGM of the period all the way. Bang bang bang, nonstop action, mile-a-minute dialogue. Basically a shameless retread of Red Dust, I actually like it a lot better than Red Dust. It's also got a dash of Shanghai Express, which is fine. Maybe it's the fact that I'm drawn to "souls at sea"" pictures and ensemble films about disparate groups thrown together by fate, their bizarre stories intertwining.

And what an ensemble this film boasts: There's Harlow, who by now could act, working her sex-clown routine with total confidence- fierceness to the Nth degree. Acing scene after scene, playing off Gable and Wallace Beery and Hattie MacDaniel (who has a rare good role, although not as substantial as it could be) just wonderfully. She should have gotten a Best Actress nomination for this.

Then there's Gable as Gable. Roz Russell is stuck playing one of the dour, humorless Brits MGM frequently cast her as in the thirties (see also Night Must Fall and The Citadel ). Donald Meek and Lewis Stone and Robert Benchley and plenty of others, all making the most out of their bits.

The stories are tight, every character compelling, and great dialogue all wonderfully pieced together. I don't often agree with Leonard Maltin or find his assessments of films too astute, but he is completely correct when he calls China Seas "impossible to dislike."

China Seas, a minor title in the classic film library, is the film to show to win people over to the "Black and White" side and show them how exciting and entertaining a classic movie can be.

A great story and a great cast. If you set aside all the early Hollywood traps about racism and sexism, this is a terrific and watchable romance/adventure.

The story is very similar to Gable's later film, "Mogambo." He's the adventurous cad who loves two women - a beautiful ice-queen who represents his link to civilization (Russell); and the cute but stubborn and uncouth "woman of the world" who has the capacity to betray him when it suits her (Harlow). This movie is very well acted. I've always said that if you give Gable an affectation to fall back on, he does extremely well. Here, he's a barking sea captain, which, almost by accident, gives his performance a better range than it otherwise would have. I don't really like Harlow, but she's good in her role.

The editing is a bit strange - many closeups are too obviously added in later, but I guess I can partially forgive this because of the time it was made. It really shows how Harlow was on a roll when she was with the rest of the cast, though. Because these individual shots do not fit in with the movie at all.

There's some amazing effects during the typhoon sequence, with a steam engine running loose on the deck - and you actually see people get run over and flattened. It's disconcerting even though you realize the camera tricks involved. Very inventive for its day.