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The first thirty minutes or so of Wake Of The Red Witch has so many characters, and it's so hard to figure out what's happening, it may remind you of The Big Sleep. After two lengthy flashback sequences, told by two different characters, the waters of the plot were a little less muddy. Unfortunately, at that point the story slowed down and sagged a little. Nevertheless, this is a very exotic (as in strangely but appealingly different) and entertaining movie and a different direction for John Wayne, who plays one of the most sinister and cruelest characters of his career.

Republic Pictures was a studio with a reputation for making movies on the cheap without the final product looking cheap. Most of their output were programmers, but they liked to turn out one or two "quality productions" per year. It looks as if Wake Of The Red Witch with a budget of over $1,200,000 was the quality of 1948. The movie premiered in Houston, Texas in late 1948 but did not get a general release until March 1949, which probably indicates some re-editing and perhaps new scenes. It has a terrific cast, headed by Wayne and Gail Russell, excellently supported by Gig Young, Adelle Mara, Luther Adler, Henry Daniel, Eduard Franz, Paul Fix, and Grant Withers. Edward Ludwig's direction is sharp, especially considering the complex script handed him by screen writers Harry Brown and Kenneth Gamet. Cinematography by Reggie Lanning is up to the best standards of beautiful back and white era. Though there is some obvious back projection in places, the South Sea sets by John McCarthy, Jr. and George Milo are lush and convincing, and stock footage from other movies (one of Republic's favorite cost-cutters) is blended in flawlessly. On the other hand the fluid editing we take for granted in pictures from the 'forties is spoiled by too many abrupt, blackout scene changes. This may point to some radical re-editing between the premiere and the general release three months later.

Set in the 1860's Dutch East Indies and surrounding area, the story revolves around a bitter but respectful rivalry between sea captain Wayne and ship owner Adler. These two strong, morally challenged men are locked in a long-standing mutual hatred. But each grudging admires the other as the most ruthless and competent man he knows. Their rivalry eventually becomes the sole reason each has for living.

Wayne was coming off the release of the highly successful Red River, which had actually been filmed two years earlier, when Wake Of The Red Witch was made. There was a little of Tom Dunson, the cruel, tyrannical rancher he played in Red River in practically every movie John Wayne subsequently made. There is a lot of Dunson in his Captain Ralls in Wake Of The Red Witch. He is Dunson magnified. Wayne and Adler's intense character studies are what makes this movie really worth watching. As for the rest of the cast .... judging by this picture, it would seem that Gail Russel, in addition to wrecking her career with booze, just wasn't really much of an actress. Adele Mara should have had the female lead instead of the second lead. And Gig Young should have kept the mustache.

Wake Of The Red Witch is one of John Wayne's best performances, an entertaining, action-packed, and mysterious picture.

Log before "The Deep" there was "Wake of the Red Witch" A fury-filled adventure and a passionate love story with Gail Russell who says ...I can't be bought."

It is the 1860s in the South Pacific, Capt. Ralls (John Wayne,) is the skipper of the ship, Red Witch.

John pits himself up against a ruthless Dutch shipping magnate Mayrant Sidneyeand (Luther Adler), a giant (flimsy) octopus and (sturdy) Gail Russell to recover some pearls, even gold. And someone of course, is killed in the movie.

Be prepared for flash-backs, lots of them and a possible flash forward.

You get an early view of Gig Young as Sam Rosen who can be seen again in "Ask Any Girl" (1959).

All in all, it is a very watchable movie and you may be surprised that you are caught up in the story.

I enjoy most John Wayne films, notably his Westerns, and a long time ago read several books about him, but Wake of the Red Watch was all but unknown to me. (British TV frequently screens his better-known films butI can't recall "Wake" being shown before.)

It wasn't at all bad, if one overlooks some of the clichés and limited production values, and Wayne portrays a character more complex and less sympathetic than in any other of his films, even Red River and The Searchers.

Some of the plot twists were a bit hard to follow, and I'm still not sure about the relationship between Ralls and Sidneye - it seemed to mellow towards the end.

Before watching the film I hadn't bothered to note its date and, going on Wayne's youthful appearance and the unsophisticated aspects of filming and plotting, I guessed it was early 1940s. I was a little surprised to see that it was 1948, just as Wayne was about to film some of his greatest Westerns.

After John Wayne starred in Cecil B. DeMille's answer to "Gone With the Wind," an epic called "Reap the Wild Wind," the Duke wanted to make a similar themed film but with more complex characters. John Wayne made "Wake of the Red Witch," a terrific follow-up that remakes elements of the original film but creates completely new situations and characters, and explores the dark side of people. Both films open with John Wayne as a 19th Century sea captain who's ship is scuttled for the rich cargo. In both films John Wayne fights a big octopus and is involved in a love triangle with a beautiful woman and his boss. The period, style, and sets are similar but there are differences in story. DeMille's story was set in the south and revolved around a southern belle who played with the affections of two men. The characters were somewhat one-dimensional (John Wayne the unquestionable good guy, Ray Milland the unquestionable rich playboy, Paulette Goddard the unquestionable flirt). "Wake of the Red Witch," set in the South Pacific, is much more complex. John Wayne's character is sometimes cruel and dishonest. He is driven by drunken rages to beat men and his performance is perhaps the best in his career. As the camera closes in on his face there is true madness in his eyes and the strength and anger he possesses is truly frightening. In one scene where he has just punched out his crew and jumped ship, running violently through the jungle toward the woman he loves (Gail Russell), he is a monster. The entire story is told by a member of John Wayne's crew (Gig Young) and we are first introduced to John Wayne as a heartless and corrupt captain. As the story unfolds we see a much more complex mystery involving the captain's rich nemesis who respects the captain as a hero and worthy opponent and has driven John Wayne to madness. The end plays out as a haunting romance as the love between the captain and the woman he adores (and who has married his enemy) conquers all amongst all the tragedy. I would suggest you see Cecil B' DeMille's "Reap the Wild Wind" first as it is much less satisfying and might be disappointing compared to the complexity of "Wake of the Red Witch," though both films are terrific entertainment and showcase John Wayne at his non-western best. Note: In the film, The Red Witch (a sailing ship) is owned by a company called Batjac, a name the Duke would use as the name of his own film company.

Half of a good movie. John Wayne plays a sea captain set adrift on the waters after a falling out with natives on an island in the East Indies; he's soon picked up by another ship but butts heads (in a gentlemanly fashion) with that captain, a well-respected shipping magnate, especially after they return to the native island and both men fall in love with a beautiful white girl. Mostly told (rather unnecessarily) in flashback, there are two treasure dives--the first for pearls and then for gold--yet by the time we get around to the second pillage, all the wind has gone out of this movie's sails. At a certain point passed the first hour, the narrative flashes seven years ahead into the future--and then proceeds for more time!--leaving viewers far behind. Gail Russell is indeed lovely as the woman who comes between the two ego-fed men, but her role turns the film from a sea-faring adventure story into a star-crossed, doomed-lovers romance, and the results are all wet. The Duke is fun wrestling with an octopus, saving a native boy from the piercing clamp of a giant clam, or mouthing off to whomever is in charge; he's at his most robust and handsome here, but his performance doesn't bolster the wayward plotting and his final scene is a real let-down. ** from ****