Outward Bound

Many years ago, I happened to catch a 1944 film called "Between Two Worlds" on television. Knowing that this was a remake of the seldom shown "Outward Bound", I was eager to see it,and I wasn't disappointed. Unfortunately, I have seen that version only once, but I do remember that the plot was striking and that Sydney Greenstreet, in a rare sympathetic role, was utterly memorable and just about stole the film.

Just this past Monday, I managed to finally see the original "Outward Bound". It turns out to be a beautifully photographed (by the great Hal Mohr) film with a striking use of light to create both an eerie effect and,at one point, a breathtaking otherworldly effect, something that Mohr would later win an Oscar for in the 1935 "A Midsummer Night's Dream".

As for the script, it is by far the best-written, most eloquent dialogue I have ever heard in an early talkie, rising very nearly to the level of poetry at times.The sound quality of the print that I saw(on TCM) was also quite good, with every word clearly intelligible.

But what unfortunately, and perhaps unavoidably, ages this movie, is the acting. Some of it (from Alison Skipworth) is quite good, and Leslie Howard, as Tom Prior, is excellent, as long as he is being a charming rogue.

But, the minute the plot starts to gain in intensity, his performance starts to fall apart and become unintentionally funny (something I definitely don't remember happening in "Between Two Worlds", where John Garfield played Tom Prior). There is a climactic moment, at which Howard finally guesses the secret of the voyage, when we can almost sense a first-act curtain descending, because of the way that Howard delivers his lines and the fact that the camera lingers on him several seconds as he stands frozen, a demented, uninentionally hilarious, pop-eyed expression on his face.

Other actors are also hammy, though they don't all reach the level that Howard does when he goes momentarily berserk. The lovers, played by Douglas Fairbanks, Jr. and Helen Chandler, are actually worse, almost always wildly overacting, and Leslie Howard looks restrained compared to them. Montagu Love overdoes his pompous business tycoon,but he never quite gets to the point of being unbearable--he is actually supposed to be rather aggravating. Alec B.Francis is stilted and unremarkable as the ship's steward,and totally devoid of personality in comparison to the actor who would play his role in "Between Two Worlds"--Edmund Gwenn (Santa Claus himself in "Miracle on 34th Street").

The little-known Lyonel Watts is nearly unbearably unctuous and even whiny as a defrocked priest. But Dudley Digges, another member of the original cast, is quite good in the stern and mysterious role of Thompson,the Examiner--he seems to be one of the few early film actors who understood that acting for film and live theatre are different.

The film's direction has all the staginess of an early talkie---only a few imaginative camera movements, but those eerie lighting effects would have been difficult to duplicate on a stage in that era. There is no music except for the opening and closing credits, and this also dates the film, although it adds to the spooky atmosphere.

"Outward Bound" is certainly worth checking out, but despite what Leonard Maltin says, it is an unfortunately dated film, and its remake,"Between Two Worlds" seems more preferable.

One film is a mesmerising surreal experience whereas the other is an unbelievable overacted ridiculous compilation of cliches. Surprisingly it's OUTWARD BOUND that's the better film.

Despite what some people have said, OUTWARD BOUND is nothing like a filmed stage play. It is hampered by being made using Warner's cumbersome restrictive Vitaphone system but apart from that it has a fantastically atmospheric almost dreamlike quality which is exactly what such a story needs.

BETWEEN TWO WORLDS' style is just wrong for this type of picture. Yes it's filmed better, the story and characters are more fully developed but by trying to make it realistic, normal and natural, the premise comes across as ridiculous. For this to work, it can't be realistic, it can only be credible within a mysterious dreamworld where everyone is acting really weirdly - like they do in the original.

The acting in the older film is purposefully strange - after all they've just discovered that they're dead. Considering that it was his first film, Leslie Howard is superb and strangely believable as the tortured, troubled soul. John Garfield playing the same role in the remake however seems to think he's in a New York gangster flick and his cynical 1940s hard-boiled reporter is one of the most clichéd performances I've ever seen. That's the other problem with the 'new' version: everyone is a stereotypical caricature. The baddies are over the top nasty, the lovers are sickeningly sweet and as for the 'comedy vicar'! Worst of all is Sara Allgood as a dear little old Irish lady - I feel sorry for Garfield - eternity in the fires of hell almost seem preferable to having to live with her for ever.

It's understandable why the story had to be changed for the remake. Attitudes had changed hugely since the 1920s so it would not have made sense for the 1940s young couple to kill themselves for the same reason as their earlier incarnations. Being made in the middle of the Second World War again influenced that film's mood. Death then was a familiar visitor to us then so one can understand the over sentimental approach which was particularly appealing to a war ravaged world.

Although OUTWARD BOUND is more interesting with its moody, slightly stoned feel, the somewhat hammy remake has one significant advantage - the perpetually lacklustre Helen Chandler is replaced by Eleanor Parker. Not only is she a million times better as an actress, she is stunningly beautiful and a pretty face really does make an imperfect film more watchable.

The theme of ferrying the dead through the final judgment to the afterlife was actually done much better in the excellent BBC tv show, LIFE ON MARS / ASHES TO ASHES but nevertheless it's fascinating to see how such a theme was presented in the past.

The story of the man who wrote Outward Bound is probably more interesting than the play itself if that's possible. Sutton Vane was an actor who joined the army at the outbreak of World War I and was invalided out due to a bad case of shell-shock. The horrible memory of the war stayed with him even though he tried to go back to performing.

The play Outward Bound was written by Vane as a catharsis, his own message about how differently people view life at the moment of judgment. Vane could not interest any of the mainstream producers in London to back his play, he raised the money and produced it himself. It struck a chord with post World War I audiences in first the United Kingdom and then in America.

When Warner Brothers got the rights to the play they were lucky indeed to get several of the original cast from Broadway to repeat their roles for the screen. Leslie Howard, Lyonel Watts, Dudley Digges and Beryl Mercer did these parts on Broadway in 1924 when the play ran for 144 performances.

Several people find themselves on board a most mysterious ship which seems to be continually traveling in fog and only one crewman, a steward is on duty. It turns out that only a young couple, Douglas Fairbanks, Jr., and Helen Chandler, seem to know what's happening. They're all dead and the ship is heading towards a meeting with the Great Examiner who will determine their fates.

Why they and steward Alec B. Francis are the only ones of the passengers that knows what's happening and what happens to each one you'll have to see the film for. Outward Bound with a message that's less Christian centered might very well find an audience today. Unless you believe that their are similar ships carrying people from an Islamic, Jewish, Buddhist, etc. cultures to their fates which the author by no means excludes.

Though melodramatic in spots, Outward Bound is still a haunting film about people on the brink of eternity.

Massive stage hit was an early talkie starring Leslie Howard as a man who finds himself on a ship that is "outward bound." Stunning dialog and beautiful cinematography help this allegorical tale of passengers stranded onboard a mysterious ship. A huge stage hit in London and New York, Outward Bound was am ambitious talkie for 1930 and features some wonderful performances (a bit stagy, but wonderful) from Howard as well as the great and underrated Alison Skipworth. Also good are Douglas Fairbanks Jr., Beryl Mercer, Helen Chandler, Alec P. Francis, Dudley Digges, and Montagu Love. Lyonel Watts is a bit much as the vicar. This was remade in the late 40s as Between Two Worlds, starring John Garfield and Eleanor Parker.

Leslie Howard always seemed to be wasted in blah film roles and its nice to see him here in a worthy role. And Skipworth is a total delight in any film you can catch her in...... Here she plays a most unusual part, and plays it beautifully. All her little hmmms and gutteral sounds add fathoms to the dialog. And note her first name is misspelled in the opening credits.

After seeing "Between Two Worlds" the 1944 remake of this movie, it is safe to say that both have their own merits. This film, made early in the talkie era reflects the effects of transitioning to sound from silents. The acting is stagey, overdone and very overdramatic. The players seems ill at ease probably due to the presence of the microphone and also from the fact that some were stage actors where the exaggerated gesture was appropriate. The story, adapted from the stage play, looks like what it is....a stage play. But the cinematography is wonderful, light and dark clearly deliniated; shadows which give it a very eerie look. It has such a great story line....passengers on a ship going to Heaven or Hell without their knowledge....that it holds interest in spite of some of the emoting that takes place. Leslie Howard goes over the edge in the scene where he realizes what is happening and it borders on comedic. Frankly, he is just not very good in this part. John Garfield plays in much more realistically in the 1944 film. Montagu Love, as the business man of shady reputation can't hold a candle to the wonderful George Colouris who played that part in the remake. The less said about Doug Jr. and Helen Chandler as the young lovers the better. One has to remember that this is a very early movie and those of us who love early cinema are prepared for the mannered acting that was often seen during this time in movie history. It is worth seeing; in fact, see this one and then see the remake. You might like the remake better but give the original a chance. You may like it.