Captain Salvation

I was fortunate to be sent a copy of this movie after my plea. It was worth it as it was a far better movie than I had expected, it not being one of the most well known of silents. Everything about this movie was class and to top it all off, the soundtrack by Philip Carli was just perfect and the print was crystal clear. The direction by John Robertson was first class, again considering that he was not one of the more well known directors of the time and the photography was the usual high standard that we expect from William Daniels. The cast were all excellent, Lars Hanson was superb as the tormented title character Anson Campbell, he has been accused of over acting, but, Anson Campbell is a man who is losing his faith and heading for a mental breakdown to boot and Hanson portrays that with chilling clarity at times, though admittedly he was a little over wrought in some later sequences. Pauline Starke was absolutely amazing as Bess Morgan, she made you care so much about her and you truly believed in her character as a woman who has endured so much sadness and has hit rock bottom as a whore, but, is willing to seek redemption and change her life. Marceline Day was excellent as Mary Phillips, so much in love with Anson, but, still putting her faith ahead of her heart. This was a film that questioned the personal interpretation Christian charity in a manner that I found surprising for a film of that time All the cast was superb and the settings of a small New England harbour town was excellent, the shipwreck scene was very well done. All in all an excellent movie and if TCM show then I recommend it 100%. Special thanks to Paul, without whom I'd have never seen this treat. Hey TCM UK, when are you going to show more silent classics like you do on the other side of the pond?

In the Spring of 1840, tall, fair and handsome Lars Hanson (as Anson Campbell) returns from seminary studies, to his little New England town. A prayerful and seafaring man, Mr. Hanson is welcomed by the folks at home, especially virginal sweetheart Marceline Day (as Mary Phillips). The pair plan to become minister and wife, but drift apart when Hanson defends Boston prostitute Pauline Starke (as Bess Morgan) against the town's wrath. He is advised, "Get that trull out of here!" But, Hanson shocks puritanical villagers by taking in the shipwrecked woman, and nursing the "Waterfront Jezebel" back to health.

Ironically, Hanson's "Christian charity" threatens his ministry and engagement. Returning her ring, Ms. Day exclaims, the "scarlet woman is stealing your soul!" In a grand scene, Ms. Starke tells Day she should have stood by her man. Ostracized, Hanson and Starke join a ship supposedly headed for Rio. That the Captain of the "Panther" is frequently nasty Ernest Torrence should tell you smooth sailing is not in the offing. Helping Hanson find his faith is one of Starke's best roles, and she performs it beautifully. Director John Robertson, photographer William Daniels, and the crew make "Captain Salvation" exciting.

******* Captain Salvation (5/14/27) John S. Robertson ~ Lars Hanson, Pauline Starke, Marceline Day, Ernest Torrence

As excited as I was a couple of months ago to see this film on TCM's schedule--if for no other reason than that it isn't available anywhere and I love it when rare films get pulled out of the vaults--I was also prepared for it to be a snooze-inducer, since some of the contemporary reviews were lukewarm at best. I am so glad this didn't turn out to be the case! Although the TCM score by Mr. Carli was simply perfect (and a great score can make even a mediocre silent seem better than it is), this is a film so beautifully composed and structured that I think it would hold its own even without music. I really wasn't expecting much from director John Robinson, since his name hasn't come down as one of the seminal directors of the silent era, but he proved me wrong, too. From breathtaking ocean views to subtly-lit interiors and sets, this is a visually rich film (photography by the great William Daniels); the titles are also well done by John Colton (credited on-screen as the author of "Rain"--obviously the right man to recruit for a story of religious hypocrisy and a "scarlet" woman). Yes, Lars Hanson does overact the crucial dramatic scenes, but Pauline Starke does especially fine work, along with Marceline Day and Ernest Torrence as yet another sea-faring type. Overall, this is an enjoyable film--not quite as preachy as I expected, with some lighter moments as well.

"Captain Salvation" could have been a segment of "Intolerance." In 1840, faced with blind discrimination, unfounded gossip and strict religious judgment, Anson Campbell, a seminary student, retreats to the sea. There, through a series of unfortunate events, he is reborn to his faith, 'baptized' by the fallen woman who has enlightened him.

Most performances are standard, but Pauline Starke's work is excellent. George Fawcett's character, Zeke, provides some of the story transitions by being around when the transitions occur. It is a critical function in silent movies too often provided by title cards alone(in talkies, by a narrator or other dialog). Generally, this picture is very smoothly directed by John Robertson.

Cinematography by William Daniels helps this picture shine. The new orchestral score by Philip Carli (TCM induced, I think)is great.

This first-rate production from MGM, effectively evoking the Victorian atmosphere and attitudes of 1840s New England, is a fine film about the redemptive power of religion that isn't at all preachy or stereotypical.

Highlighted by sensitive performances from Lars Hansen as a divinity student, Marceline Day as his fiancée, and especially Pauline Starke as the prostitute who comes between them, this film is not a melodrama as some have described it, but treats seriously complex issues of rape and the Christian's moral duty to sinners, and shows to what desperate measures people may resort in order to achieve redemption. Without giving away too much, I will add that the way former prostitute Bess Morgan preserves her new-found virtue defies Christian orthodoxy yet defines her as a hero just the same, and demonstrates just how subtle these early non-talking films could be.