I morituri

The highlight of this movie set on a German cargo ship during the Second World War are the superb performances offered by Marlon Brando and Yul Brynner. Brando plays a German expatriate (disguised as a Swiss national) who's living in British ruled India in 1942. He ends up being drafted (very much against his will) by the British to go undercover as SS agent Keil to divert the cargo ship (which is carrying a very valuable - to both sides - cargo of rubber) into American hands. Brynner plays Mueller - the ship's captain - a man with a drinking problem trying to regain his reputation after having a ship torpedoed out from under him while he was drunk, but a man who's also no fanatical Nazi.

Both are very believable in their roles. There's also a strong performance from Martin Benrath as First Officer Kruse - who is a fanatical Nazi, who doesn't trust his captain, and who's as happy to have an SS officer on board as the captain is unhappy about it.

The movie is always interesting. It's not an action movie in the modern sense of the word, but it's increasingly tense as suspicion grows about Keil, and as the ship awaits a report from Berlin about him. As good as Brando and Brynner and even Benrath are, though - and as tense as the movie becomes about whether Keil's real identity will be uncovered - the most powerful part of the movie might have come in a scene featuring Janet Margolin. She played a Jewish medical worker who was taken prisoner along with a number of American sailors when their ship is sunk by a U- boat. Speaking with Keil as he tries to convince her that he's on her side, his SS identity notwithstanding, she recounts - in surprisingly and uncomfortably (even for today, and so shockingly so in 1965) graphic detail - her abuse at the hands of the Gestapo. Without going into detail, the words "hour after hour after hour" are haunting. It was a truly sobering scene. You can't watch it and not find yourself in sympathy with a character who otherwise really isn't that central to the overall story.

This is, overall, a very good movie with a very strong cast. (8/10)

Morituri (1965)

I had no expectation here. The name was odd. And the description was odd--a WWII film from the point of view of the enemy. Sort of. And so I didn't really think I'd be fully captive.

And I was. This is a special film war film. For one thing it has Marlon Brando being his arrogant best, and Yul Brynner, too. It presents an odd dramatic situation, a tension between strong willed characters who don't quite know what the other is up to. Here I mean Brando playing a German plant on this ship going from Japan to Europe, and Brynner, the captain, a disgruntled German with some experience both with the wheel and the bottle.

The ship is a modern (1942) Japanese ship, and among the crew are a bunch of political prisoners, who of course can't be totally trusted. The cargo is rubber, the most sought after material in the early war (later it would be uranium, I suppose).

Cinematographer Connie Hall is quite aggressive and brilliant with his photography, keeping the angles and movement nearly constant. The light is dramatic, the sharpness clean. And he got nominated for an Oscar for his work. The interior of the ship is large and filled with strange turns, great heights, lots of interior and exterior spaces that take you by surprise. Beautiful stuff.

The plot moves more quickly than you'd expect, too, with little surprises and turns, like finding a burning American ship at night and rescuing survivors. One of these is a young woman who was born in Berlin and they question her--why is a German on an enemy ship? And she says she is not German. And they ask what is she? You expect here that she might say she was American, but even better she says, "I am anti-German."

The script is tight and believable. The scenario, which is not formed from fact as far as I could discover (it's based on a novel), seems reasonable. And it ends up being more subtle than you'd expect. Yes, there are aspects that are obvious dramatic additions--the one woman who appears, for example, happens to be Jewish--but these end up being ways of showing people's characters. Ultimately that's what this movie is about.

I stumbled across MORITURI in a Virginia Blockbuster; I've never seen it for rent anywhere else. I noticed that it had Marlon Brando and Yul Brynner, so I thought it had to be worth a try. And so I saw what turned out to be one of the top 20 World War II movies I've ever seen. That's right, up there with PATTON, THE YOUNG LIONS, and the like.

Brando plays Robert Crain, who is assigned to go undercover on board a German freighter transporting a cargo of rubber to the war zone. He must impersonate a Nazi to do this, and must face some hard choices as to how cruel he can be to appear realistic. Brynner is Muller, the captain of the freighter who has accepted the job as his last chance to save his career in the German merchant marine. He is fair and compassionate and must rein in the fanatical Nazi second-in-command that his superiors have appointed for him. En route, the freighter picks up the survivors of a U-boat, including Esther (Janet Margolin) a beautiful young concentration camp survivor who is so brimming with hatred and vengefulness that she can no longer even accept human compassion.

Brando is very good in his role, but he is completely upstaged by Brynner, who gives the performance of a lifetime. His conflict, between his patriotism and self-preservation on the one side and the vileness of what the Nazis are doing to him and to his country on the other, is marvelously realized. The movie also features a beautiful exchange between Brando and one of the passengers - "I was a political prisoner." "Falsely accused, of course." "No. Not falsely accused." (smiles). I have a soft spot for movies where adversaries come to respect each other, and MORITURI is one of the best of that type.

Good luck finding this movie. It's a true diamond in the rough.

Rating: ***1/2 out of ****.

Back in April 2001, I saw Last Tango In Paris and I've been on a Marlon Brando kick ever since. I read Peter Manso's Brando biography, which states that the film was panned and I really don't understand why.

The film boasts two commanding performances by Brando and Yul Brynner.

Brando plays a German man who's blackmailed by British Intelligence to pose as a NAZI officer on a German ship commanded by Brynner. Brando's German accent was full on the whole way through. And after seeing various Brando films, it was really cool to see Brando play a double agent that was light on his feet, sneaking in and out of rooms on a German ship, in an attempt to sabatoge the ship. The supporting performances are solid all the way around. Trevor Howard has a nice cameo at the beginning of the film as a British Intelligence man.

I've always known about Yul Brynner, but this is the first time I see one of his performances. I can see why he's a legendary actor. The guy has tons of personality and has the acting ability to go with his charisma. And watching him work with Brando was an absolute pleasure. Now I definitely have to go and rent more of Brynner's stuff.

Brando's career presumably took a dive in the 60s, but Morituri is definitely a good movie with excellent performances by its two leads and it boasts some of the best camera work I've ever seen.

On a scale from 1-10, I'd give the film at least an 8.

One of the many things this great (but at the time overlooked) movie did was to indirectly dispel some of the mislaid blame laid on Brando for the excesses of "Mutiny on the Bounty". Here he is again working with Trevor Howard (Bligh in "Mutiny")whom the press said loathed Brando (although Howard himself came to Brando's defense during the "Mutiny" blame game. Also, here is Brando again working with Aaron Rosenburg (also from "Mutiny") whom the press clippings claimed would never work with Brando again. By all accounts, all associated with Morituri got along famously and were all on their best professional behavior. This is one of Marlon's better works during the 1960's and it is sad that the Critic's were so eager to pounce upon it. It is one of those rare films that has grown better with age. Thankfully it is out now on DVD and given the treatment it deserves.