Le corsaire de l'Atlantique

In the oeuvre of John Ford his late silents are ahead of his early talkies in artistic aesthetics because of two important factors: actors and dialogue. While he is most known for his sagacious later period films like The Searchers or The Quiet Man (and many others) he has several excellent 20s films like 3 Bad Men and Four Sons (I still have not seen Iron Horse which I will have to rectify soon). Those silents work quite well on a visual level and have a surprising amount of movement sometimes analogous to a Murnau film. When sound became prominent many producers felt forced to exploit this aspect which slowed down movement, placed people in specific positions due to microphones and forced the focus to be more on verbal acting ability. The latter was the rub in Ford's early talkies.

The biggest strength of this film is the look and feel of the settings and several nice shots of the camera. One of the biggest surprises is that most of this film is shot on location. There are beautiful shots on ships, on the sea and even some quick underwater shots (the earliest in a film I can think of) which show a submarine breaking the surface of the sea. John had the American naval at his disposal and it really showed. Given there is a possible anachronism of some of the equipment since this movie was supposed to take place during WWI.

Then there is the rub. The sound is typical of early 30s with very little music, stifled acting with hammy delivery and a general slow plot.

During WWI, a navel command is sending out a three-masted schooner in Spanish waters as a decoy (with a big hidden gun) to lure a famous U-Boat out of the water so it can possibly be torpedoed by a hidden American sub. When the navy personnel go ashore as merchants the captain falls in love with a double agent, while another personnel gets Mickeyed (sleeping potion) and left behind when the personnel cannot find him. The plot is mostly straightforward and the ending is obvious though still exciting. The Germans are treated (like in Grand Illusion) as humans so I do not think this played much in the 1940s.

An interesting movie that will be fun for people who enjoy 1930s films as long as they can handle some of the flaws of plot and acting. John Ford's use of camera is quite evident but does not quite handle the plot and characters as well as in his later films.

This movie can be found in the huge Fox at Ford box set.

I suspect that the poster from Oklahoma hasn't seen many other films from the early talkie era, because the pace and acting aren't bad for the times. What's most striking about this early Ford talkie is the location (shipboard) filming-- few films from the studio era make such a point of actually filming at sea instead of on a set in front of a sky backdrop. The vivid realism of these scenes is the most striking thing about the film today.

From the beginning of the sound era until he won his Oscar for The Informer John Ford turned in an interesting body of work. Some of his films are good, others less so. It seemed to me it took him a bit longer than some of his peers to master the technique of sound on film.

Case in point is this World War I naval story Seas Beneath. An interesting and fine war film, it's hampered a great deal by a rather unrealistic romance between the sister of a U-Boat commander Marion Lessing and George O'Brien the American captain of the mystery ship.

O'Brien is in command of the so-called mystery ship which has a pair of big guns camouflaged on board. The object is to look like a harmless American schooner and play decoy until the U-Boat comes in range and then cut loose. When the schooner puts into the Canary Islands for provisioning and to pick up any loose information, the Germans have the same thing in mind. In fact a female spy played by Mona Maris seduces young officer Steve Pendleton and finds out he's a lieutenant. Pendleton redeems himself in a most spectacular incident.

The battles at sea are staged very well. Surprising that other than star George O'Brien none of the known regulars from the Ford stock company are here. Walter C. Kelly plays the CPO of the ship and he's kind of a poor man's Victor McLaglen.

John Ford completists will like the film and it's all right, but nothing more.

I've been working my way through Ford at Fox, and found this to be the most entertaining of Ford's early talkies. After the joy of watching such silents as The Iorn Horse, 3 Bad Men, Four Sons and the Hangman's House, watching such talkies as Up The River and Born Reckless felt like I was paying my dues as a Ford fan.

Seas Beneath was a real breath of fresh air. It plays out like the grand old silents where everything is staged for real. No models, no process shots. Want to shoot a scene at sea? Pack up the gear and go to sea.

While the story has many of the hokey elements of early film melodramas, the scenes at sea are very real and very effective. You won't see better footage of a German submarine until Das Boot. And the scene where they unload the lifeboat onto the American ship: that was no water tank shot.

While Seas Beneath pales in companion to Ford's great films from the 1930's, there is still much to admire in it.

Rarely have I seen such stilted, hammy, and just plain bad acting. There didn't appear to be a professional performer in the whole picture. And the dialogue! Gad! The skipper of the allied vessel came off more like a cheerleader than a leader of men. I still enjoyed the film; even with all the cornball humor from the brainless naval crew. If their collective brains could be rendered into gasoline, there wouldn't be enough to run a termite's chainsaw. Fairly good action yarn for such an old picture.