Le dernier négrier

SLAVE SHIP

Aspect ratio: 1.37:1

Sound format: Mono

(Black and white)

Any film which opens with an unbilled Lon Chaney Jr. being crushed to death during the launching of a ship can't be all bad! And, indeed, Tay Garnett's SLAVE SHIP gets off to a cracking start with a hellish vision of the slave trade along the West African coast in 1860. Sadly, the long middle section is bogged down by muted dramatics and a number of soggy romantic interludes (Warner Baxter and Elizabeth Allan provide the offending drippery), but the rousing climax makes up for some of the longueurs. George Sanders turns up, horribly miscast, in one of his pre-stardom roles as a villainous sea-dog.

1937's "Slave Ship" looks today as gritty as it must have been shocking to audiences 80 years ago, a script concocted by several writers, including William Faulkner, who admitted that he merely doctored certain scenes that hadn't come off. George S. King's 1933 novel "The Last Slaver" was the basis for a story that remarkably pulled no punches in depicting the odyssey of the newly launched ship Wanderer, tasting blood on the runway as Lon Chaney delivers a stinging unbilled cameo as a doomed laborer unable to escape its path. Three years, and as many names later, the rechristened Albatross is now commanded by Jim Lovett (Warner Baxter) and first mate Jack Thompson (Wallace Beery), with cabin boy Swifty (Mickey Rooney) willing to fight anyone for what he believes in. The slave trade had fallen on hard times by 1860, officially a hanging offense, so after their most recent trip back from Africa, Lovett meets and marries young beauty Nancy Marlowe (Elizabeth Allan), deciding to start over with a new crew and sail to Jamaica in the business of trading goods instead of lives. This does not sit well with the crew, willing to continue their trafficking on human suffering despite the risks involved, forcibly taking control of the ship after a successful mutiny. Unable to prevent the six week voyage back to Africa, Lovett reveals all to his wife, who finds that she still loves him and is willing to forget about his past and work out their future. What they don't know is that Thompson plots to leave his captain behind while the fully loaded ship returns to America, only for the intended victim to turn the tables on his captors, producing a climax as rich in excitement as it is unpredictable. If not for the poorly done romantic scenes involving the little dog it might have been an enduring classic, but it's still a real find, quite unexpected for 1930s Hollywood. MGM's "Souls at Sea" may have earned all the accolades but Darryl Zanuck's pluck produced the better picture, under the assured guidance of director Tay Garnett, both John Ford and Howard Hawks proving unavailable. Beery actually plays the villain, George Sanders in support, Mickey Rooney the true standout.

In 1860, a mutinous crew forces the captain of a former SLAVE SHIP to return to Africa for another highly profitable human cargo.

Sadly neglected, this is a film with some very good elements indeed. Stirring action, a little romance, a dose of humor and a social conscious are among its strengths. Although the opening shipyard scenes have a rather lean feel to their production values - with the sparse crowd of extras and the rear projection - once the plot moves to shipboard & Africa the film's quality kicks into high gear. The climax, with its gunplay & explosions, is especially exciting. The tying of the slaves to the anchor chain - a horrendous scene - anticipates AMISTAD by about 60 years.

The acting is quite good. Warner Baxter nicely underplays his role as the slaver captain who reforms upon marrying lovely Elizabeth Allan. Rumpled Wallace Beery as the First Mate & spunky Mickey Rooney as a disillusioned cabin boy are a great acting team and tremendous fun to watch. Beery was an actor who could steal a scene from anyone (except the late Marie Dressler), but he almost meets his match in Rooney. The Kid shows the vivacity & talent which would soon catapult him to Hollywood's top box office star.

Joseph Schildkraut scores in a flamboyant role as a foreign slave trader. Jane Darwell is funny in her few moments as Miss Allan's tough old mother. George Sanders plays a sophisticated mutineer & Edwin Maxwell is a nervous auctioneer. The massive Jane Jones is striking - literally - as a Virginia saloonkeeper who refuses to take nonsense from anyone.

In unbilled roles, movie mavens should recognize Lon Chaney, Jr. as a most unfortunate dock worker, and young Matthew `Stymie' Beard, of OUR GANG fame, as a boy on the wharf.

It is ironic, even with the film's sentiment for decent behavior towards Blacks, that 1930's Hollywood was still utterly racist and did not promote equal treatment for African-American performers (Asian actors fared little better). The Studios were still very segregated, Black & White stars rarely socialized on an equal footing, and racial stereotypes abounded in the movie plots. Only occasionally did Black performers' names appear in the credits and then usually at the bottom of the list. SLAVE SHIP preaches a good sermon, but the Hollywood congregation still needed to wake up & deal with its own intolerant behavior.

William Faulkner must have envisioned "Slave Ship" as a dark commentary on the curse of slavery(the "cursed ship" element is abandoned early on) and the studio tried to turn it into a typical adventure yarn. The results are strangely tasteless, unsettling, and facinating.

This is a bad movie, but one I highly recommend. The movie seems to be saying "these people veiwed things in a different way, but the best of them rose above slavery." We feel almost as much distance to movie makers, as Wallace Berry is mostly viewed as a roughish but likeable scoundrel; though we learn early on he is a genocidal mass murderer.

Though only seen in short glimpses, the inhumanity of slavery is fairly well expressed. It's the fairly casual context of subject that is allmost chilling. But see it for yourself and decide.

My grandmother Gladys Lehman and her partner Sam Hellman were brought in to rework the script as WF was notoriously drunk and not getting it done- they finished their work and sent the script to Zanuck for final approval- the note they got back was " Can we make this movie without the Negroes?" DZ

Gladys Lehman was born on January 24, 1892 in Gates, Oregon, USA as Gladys Collins. She was a writer, known for Meet Joe Black (1998), Death Takes a Holiday (1934) and Mexicali Rose (1929). She was married to Benjamin H. Lehman Jr. She died on April 7, 1993 in Newport Beach, California, USA.