Porto de Fúrias

The final sequence of this film, of saving a ship in distress with very dangerous high explosive cargo, is very reminiscent of Powell-Pressburger's "A Matter of Life and Death" ten years earlier, where the final sequence was the dismantling of a booby-trap. It's the same supreme tension here, while here many lives are depending on getting the explosive cargo out of the ship, which is a very risky operation demanding very hard work under full storm. I always liked Stanley Baker's films, he always made them better than they really were, although he certainly was no dashing good-looking film star crushing any hearts but rather a grim silent tough die-hard with nothing attractive about him. Victor McLaglen gives a final bow here and makes a full brilliant show of it more often with bottles than without. Among the others you notice Robert Shaw offering some rivalry, Rupert Davies and a very young Barry Foster with no red hair, since this is in black-and-white. It's a magnificent adventure film with authentic north Spanish sceneries and exquisite guitar music all the way, but the best scene is when Victor McLaglen can't really hold back when his intended bride is changing clothes for something risqué. Especially in that scene McLaglen demonstrates the full scope of his uniquely personal art of acting.

Victor McLaglen's last feature film found him trying to romance Luciana Paluzzi. McLaglen's a salvage tug captain and he's going through an end life crisis romancing young Luciana Paluzzi who's young enough to be his granddaughter.

Seems that her father Roger Delgado, an innkeeper in a North Spain sea village, would like to get his daughter fixed up with a comfortable situation for both of them. He encourages her flirtations with McLaglen. But she's got eyes for Stanley Baker who's a member of McLaglen's crew.

What saves this film is the action sequences on the high seas, especially Stanley Baker risking life and limb to dump a steel drum of lethal sodium during a storm, on board a listing freighter. Reason enough to see this film. There's also a bit of rivalry between Baker and another member of McLaglen's crew, Robert Shaw.

Shaw and Baker both went on to solid careers as tough leading men. Baker never got quite the acclaim that Shaw did internationally, but he was good box office in Great Britain.

Roger Delgado was best known in the British TV series Doctor Who for originating the role of the Doctor's number one nemesis, the Master. Death in an automobile crash in 1973 cut short a very good career.

Watch it for the action sequences.

This film's sole claim to fame is as the last big screen appearance of veteran actor Victor McLaglen. His character, Bellew, is an aging tugboat captain working out of a Spanish port on the Bay of Biscay. His eye is taken - and who could blame him - by the beautiful young Josita (Lucianna Paluzzi). Her father - whom the value-system of her time and place tells her she must obey - wants her to encourage him. When she objects to the idea of marrying an old man he tells her that, because he's old, Bellew won't last long. When she inherits his wealth she can provide her father with a small pension, take the rest and go to live in Madrid or Barcelona and marry for love. Unsurprisingly Josita is more taken with Abel (Stanley Baker), a young sailor whom Bellew had taken under his wing. Much of the film is taken up with this unremarkable love/lust triangle. By far the best part is a well-done action sequence where the tugboat's crew try to salvage a ship carrying a dangerous cargo. A solid cast includes such future stars as Barry Foster, Robert Shaw, Rupert Davies.

The continuity announcer for 'London Live' said the star of this film was Stanley Baxter (what a film 'Zulu' would made with him in it!).

It's great claim to fame is that it marked the final film role of Victor McLaglen, predictibly cast as a drunken old curmudgeon (complete with walking stick) who comprises one corner of the screen's most unlikely triangle with Stanley Baker and Luciana Paluzzi.

The film finally lives up to it's title with the dramatic finale of Baker saving a ship in distress carrying drums of highly combustable sodium with a surprising appearance by a dazed-looking Dermot Walsh as the ship's seriously concussed captain.

Victor McLaglen, the captain of a tug boat service forms a misplaced affection for Luciana Paluzzi, her father (Delgado) happy to oblige for a significant dowry and ongoing prestige. Paluzzi, of course, at least thirty-something years McLaglen's junior, isn't so willing to be matrimonially arranged and finds mutual attraction with the newly hired mate, Stanley Baker. The ensuing tension creates friction between those loyal to the embattled skipper, and others swayed by Baker's courage and the prospect of a changing in the guard.

McLaglen's final film role is a great individual swansong, but he's better than the matinee grade material. Baker's loner character will draw parallels with that of "Hell Drivers" (another Endfield-Kruse collaboration), as the tough, uncompromising rogue, his professional and disciplined approach initially welcomed by McLaglen starts to wane when it becomes clear that Paluzzi is forming affections for the new first mate. The inevitable transition is made more dramatic by those loyal to the old captain (Shaw, being the most impacted by Baker's sudden arrival and elevation up the pecking order), opposing the vanguard.

The action sequences are competent, but Paluzzi's characterisation (whilst undeniably attractive) lacks the depth which perhaps a Sophia Loren or Pier Angeli would have found in the role. I'm a fan of Paluzzi although I just didn't think this was a role in which her acting talents were utilised beyond being an object of desire and wedge for the ensuing conflict between the male leads.

Quality British supporting cast (aforementioned Shaw and Delgado joined by DeWolff, Aslan and even Barry Foster in a minor role) are mostly spectators to the tepid love triangle and Endfield's direction is not as taut or narratively fluent as in "Hell Drivers" (the similarities with which are too obvious to deny and is possibly where "Sea Fury" suffers as a comparison). But for Baker's charisma and McLaglen's jealous-turn invoking equal amounts of scorn and sympathy accordingly, this would be a largely forgettable experience. A solid climax briefly elevates the picture, but not sufficiently to redeem the otherwise soap-operatic storyline from mediocre status. Fair, but far from memorable.