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This film is about whaling - so immediately there is a problem for contemporary audiences who find the practice abhorrent. But once you get beyond that you have to appreciate the bravery of the whalers, and of the actor Raymond McKee and the camera crew! The climactic whaling sequence appears to be completely genuine - with the star in the thick of the action. If there is any trick photography here it is well ahead of its time, because nothing looks phony at all. You really feel you are there on that little boat being pulled along by a giant sperm whale. How the shots were achieved I cannot imagine - the story of the making of this film must be fascinating.

Less spectacular is the love story that provides the plot framework for the whaling sequences. Marguerite Courtet, as the tragic Quaker heroine is completely up-staged by the frenetic energy of the 17 year old Clara Bow in her film debut. Clara is a delight - and reveals the charisma that would soon make her a legend. Raymond McKee is good in the lead and very handsome - and, as I said before, really put his life at risk.

The entire film, both on sea and land, is magnificently photographed, with great use of light and shadow, and very advanced camera movement. Elmer Clifton directs with a sure hand, and the result is a hugely entertaining and often spectacular epic.

`Those that go DOWN TO THE SEA IN SHIPS, that do business in great waters; these see the works of the Lord, and His wonders in the deep.' Psalms 107: 23, 24

Filmed on location in and around the old sailing center of New Bedford, Massachusetts, here is a silent film with exciting drama & action. The production values are excellent and the necessary romantic elements do not intrude on the swift flow of the plot. With kidnapping & murder, mutiny at sea & hungry sharks, the pace never slackens.

Marguerite Courtot is the pretty heroine who pines at home after her lover, sturdy Raymond McKee, is abducted and spirited off in a whaler. She is given little to do except play with her dolls and fend off a lecherous knave, but Mr. McKee is plunked right into the thick of things, engaged in all the most dangerous tasks which a whaleman must accomplish - and it is obvious that the actor is placed in some jeopardy as well.

(Beautiful Miss Courtot & handsome Mr. McKee were both popular players during silent days. They married a year after the release of DOWN TO THE SEA IN SHIPS. She ended her film career in 1923, while his did not survive the coming of talkies. They remained married for 61 years, until his death in 1984 at the age of 91. She died in 1986, aged 88.)

The film is also notable as providing the breakout role for 16-year old Clara Bow, playing the spunky niece of Miss Courtot, who becomes a stowaway on the whaler in order to be near the young cabin boy on whom she dotes. Clara is feisty and full of fight & fun and it's easy to see how this film helped make her a star. (She would enliven the rest of the silent era, but her movie career would be over before her 30th birthday. She died in 1965 at the age of 60.)

Patrick Hartigan, as a bestial seaman and J. Thornton Baston, as a half-caste Asian disguised as a Quaker, make very fine villains.

The film offers interesting insight into the lives of the New England Quakers of the 19th Century. There is also much to be learned about whaling operations and the authentic footage of the capture and dissection of a sperm whale will either fascinate or repulse the viewer. The film's opening credits give special commendation to the brave cameramen who risked their lives to photograph the thrilling footage at sea.

It's worth observing at the top that this is a film where some aspects have not aged well. Not that there's any scale to such things, yet that there's some needless racist language employed, which is rather dumbfounding in the moment, might be one of the least bothersome facets. There's no missing the prominent title card in the first moments that proudly declares "Produced in New Bedford, Massachusetts by The Whaling Film Corporation"; shilling for corporations, and dressing the propaganda of repugnant values in more palatable vestiges, has clearly been a part of cinema from its earliest years. That's to say nothing of how the glorification of whaling, written into the story itself, comes off very differently one hundred years later. Moreover, even if we accept that the expression of further antiquated values is a reflection of the story's setting in the mid-nineteenth century and not the world of the 1920s, the picture leans awfully hard into affirmation of an excruciating patriarchal worldview: men choosing what women can or cannot do, or who they can marry, regardless of their wishes; bluntly valuing male children over girls; infantilizing and patronizing women. Even recognizing that for better or worse such fare of more dubious elements is a part of revisiting the silent era, there were also choices made in the construction of the feature - including some moments that were inessential to the whole - that surely mark this as nothing to change the mind of those who have difficulty engaging with older movies.

In fairness, with all this having been said, by and large 'Down to the sea in ships' is overall well done. Paul H. Allen and A. G. Penrod's cinematography is plainly admirable, especially in those lengthy sequences shot at sea. Though swimming in familiar waters, the broad strokes of the narrative are duly compelling and enjoyable. Though ill-gotten, I can't say the resources at the production's disposal weren't appreciable, for the spotlighted ship is gorgeous in and of itself, and the sets and costume design are lovely. Those stunts and effects that are employed look fantastic, and along with Elmer Clifton's vivid orchestration of scenes, an earnest sense of adventure is thusly infused into this drama. The cast give strong performances, with Marguerite Courtot standing out most as beleaguered Patience, and Raymond McKee not far behind as male love interest Allan; the picture is also noteworthy as only the second ever role of screen icon Clara Bow. Clifton also at times illustrates a keen eye for shot composition that adds a slight sense of artistry to it all. In fact, though the unsavory components here must be discussed, the strength of the film-making and storytelling is such that I think the title is better and more worthwhile than not. It may not be anything particularly special among its kin, but in general the excellence of the craft is never in question. The viewing experience is one to which an asterisk must necessarily be attached, yet for those who love what the silent era has to offer and who can abide the difficulties on hand, it still stands fairly well on its own merits.

True, even the most stout of cinephiles may be sidelined by one other glaring flaw on hand. A central whaling sequence drags on so long, far beyond the needs of the script, that I genuinely fell asleep in the middle of it (albeit with the foresight to pause). I can't help but think of the ten-minute sandstorm sequence in 'Hercules against the moon men,' mercilessly mocked in 'Mystery Science Theater 3000' as "DEEP HURTING," for sure enough the noted scene here is right about ten minutes long, too - a considerable fraction of the runtime. This sequence could have been trimmed quite a bit while losing nothing, and it goes without saying that strictly speaking the brunt of the tale would have been left intact even if some of the less welcome aspects had been altered to a small degree. That one can readily see room for improvement shows the limitations of the feature, and its weaknesses. Still, when all is said and done, 'Down to the sea in ships' remains a surviving silent film that deserves remembrance - for that survival alone, for what it does well, and definitely for what it does not. It bears repeating that this is suggested only for those who are already enamored of the era, but at that, if one happens to come across it, it's ably entertaining and also interesting as a study of where it fits into contemporary culture. Don't go out of your way for it, but one way or another it's worth a look.

This creaky old warhorse of a film is still eminently watchable more than 80 years after it was made.

Yes, it's a silent film of the 20's with all the ills they were heir to. The comic posturing of the actors, the overly dramatic piano accompaniment, and the simplistic plot twists necessitated by title cards. Still the basic story holds up well and the film is interesting through out. Yet with a certain amount of `willing suspension of disbelief' you find yourself caring about the characters more than you would expect.

There are some elements that make a modern audience squeamish, the whole brutal process of whaling, the slaughter of a dolphin as food, and the almost formulaic use of blacks and Native Americans in demeaning roles but those were different times. In some ways these add to the reasons that one should watch this film today, not so much as an entertainment vehicle, but as a time capsule.

Finally, this film is worth watching, as it was the first film to feature Clara Bow. The camera loves her and she adds an element of naturalness to the otherwise overly stilted acting and has moments of brilliance that would make you feel that she'd be right at home in a present day movie.

This DVD double feature of Clara Bow at the beginning and during the thick of her career gives us a fascinating glimpse of one of the most popular silent stars. DOWN TO THE SEA IN SHIPS (1922) was shot when Clara was only 16 by D. W. Griffith protege' Elmer Clifton. Her part is only a supporting one but you can clearly see the star potential there. The main focus of this film is not the romance between the two leads but rather the detailed scenes of New Bedford whalers plying their trade. This makes the film a fascinating historical document which is not for the squeamish as it contains actual and graphic footage of the killing and dismembering of whales. What you see is MOBY DICK for real. This print taken from the Killiam Collection is in good shape although it seems a little fast at times. It is much better than the old VHS version put out by Critic"s Choice some years back.

PARISIAN LOVE (1925) was made only 3 years later but what a difference in Clara's appearance. Here she is the star and fully displays the vivacious charm and charisma that made her so popular. The story of French Apache lovers and their benefactor is a little hard to follow probably due to some missing footage and features some rather curious interplay between the male leads. The sets of Parisian garrets are marvelous and Lillian Leighton steals the show as a Marie Dressler like matriarch at a swanky party. This DVD copy was taken from the only surviving print which was discovered in 1998 and restored by the UCLA Film and Television Archive. All in all an interesting combination of 1920's style romance with rugged documentary style footage and the chance to see Clara Bow develop from a Mary Pickford like tomboy into a full fledged star. Yet another fine job from Kino International in their ongoing series of silent film presentations on DVD...For more reviews visit The Capsule Critic.