Une fille dans chaque port

An early directorial effort by Howard Hawks and one of the Hollywood pictures Louise Brooks starred in before becoming a movie legend by acting in two German, G. W. Pabst films, "A Girl in Every Port" also stars in the main roles a young Robert Armstrong (later a regular character actor, perhaps best known for playing the Jack Black role in the original "King Kong" (1933)) and a young Victor McLaglen, who somehow was the only one of the bunch to go onto to win a competitive Oscar ("The Informer" (1935)). Nuanced, McLaglen is not. Don't get me wrong, I love his later supporting roles in John Ford and John Wayne movies, especially "The Quiet Man" (1952), and, for the most part, "A Girl in Every Port" is just his kind of role. It's a "buddy" movie, or "bromance," with lots and lots of guys punching each other, and the way he approaches women like a Looney Tunes cartoon is kind of amusing in an eye-rolling sort of way. But, when the film's final act calls upon him for a couple scenes of dramatic acting, he tried, but it just wasn't in his repertoire.

Unfortunately, McLaglen's character is the protagonist, and much of the film follows him from port to port chasing women, only to discover that another sailor had already had them. Apparently, it's OK for women to share him, but not for other men to share the women he visits only whenever he's in town. Instead of sleeping with any of these women, he, instead, bumps into and gets into physical confrontations with other men. Eventually, McLaglen runs into this other sailor (Armstrong) and, of course, fists are thrown... and thrown some more. Through this male-bonding ritual, they become best pals. Perhaps the most interesting thing about this film is how homoerotic it is, while simultaneously being misogynistic, as well as jingoistic. In one scene, Armstrong's character repeatedly calls McLaglen away from a girl he's putting the moves on so that McLaglen will help him knock around other guys and to yank on Armstrong's fingers, which become disjoined, you know, from all the pounding. (Odd how Armstrong's character has supposedly had so many women, yet the film never shows him trying to seduce one.) The two also walk around on more than one occasion with their arms locked together.

After sailing together for some time, McLaglen decides he's made enough money to settle down. While his buddy is laid up with a toothache, McLaglen goes on land to discover Louise Brooks in a bathing suit. Naturally, he proposes on their first date that they settle down together. Little does he know, however-although we do from the moment Brooks' manager points the cash-heavy sap out to her-that she's a vamp. Brooks does well to steal a couple scenes, and, reportedly, she had enough presence here to gain the attention of filmmakers overseas. But, it's a rather cliched and thankless role, as she's eventually, literally tossed aside in favor of the film's central bromance.

It never ceases to amaze how, excepting rare instances, silent films often manage to be delightfully charming even if they don't immediately make a major impression. It helps the case of this one to be an early picture of iconic filmmaker Howard Hawks, one of the few surviving works of silent legend Louise Brooks, and moreover, a Fox Films production that wasn't consumed in the tragic vault fire of 1937. Setting aside the participants this may not be a feature that entirely stands out on its own - yet while perhaps not an absolute revelation, it's very ably made and solidly enjoyable, and a fine credit to all involved. 'A girl in every port' may not be a total must-see, but it's a fantastic classic on its own merits, and well worth checking out if one has the chance.

The writers give us a cheeky story of a womanizing lout cruising through various ports, coming into conflict with a fellow seaman who has the same habits, and ultimately finding brotherhood with him and further adventures. For all the social issues and other more serious notions that one could drum up as related points of discussion, the scenario is strictly played for comedy, and that pure intent makes it a good deal of fun from start to finish. The underlying story is solid and engaging in and of itself, but even more important in this case I think is the strong scene writing that gives us flavorful humor and apt guidelines for the actors, marked all the while with just the right measure of heart to help it to stick. Victor McLaglen and Robert Armstrong lead the cast with terrific performances of glad mirth and commendable expressiveness, and it's honestly a joy just to see them play around. One is rather inclined to think they didn't really need any instruction from Hawks to achieve such gay frivolity (and tinges of sincerity), but let there be no doubt that the man's direction is also wholly superb. Every shot and scene is orchestrated with a buzzing energy, not to mention frolicsome vitality, that squeezes every possible ounce of merriment out of every small moment. In fact, while I can hardly claim as of yet to have seen everything the director made, as far as I'm concerned this easily stands shoulder to shoulder with some of his best.

That excellence absolutely extends to cinematographers Rudolph J. Bergquist and L. William O'Connell, whose contributions reflect an active, dynamic mindfulness exceeding what one broadly associates with the silent era. Some shots in 'A girl in every port' are downright brilliant, for that matter, reflecting not just the gay spirit of the proceedings but an artistry that can't be said of all like fare. Those stunts and effects that are employed come off great, and even details like costume design, hair, and makeup are lovely. The production design and at direction, too, are just dandy, lending to the chipper tenor of the title and further demonstrating just how much skill, intelligence, and care went into it. And I hardly even need say how pleased I am to see Brooks here; she was a performer who was ahead of her time in some ways, particularly in the delicate nuance of her acting, and every opportunity to see her on the Silver Screen is a blessing.

There arguably comes a point in the latter half where the tone somewhat shifts, and the revels are traded in for more story-driven beats in a manner that feels imbalanced; as a consequence the picture might be uneven to some degree. More distinctly irksome, perhaps, is how the ending is a tad too neat and tidy, coming off a bit as Movie Magic more than earnest storytelling. But even at that, at large it's so tremendously smart in its craft, in every capacity - writing, direction, acting, all the work of those behind the scenes - that it forges ahead through the marginal roughness and is all-around stupendously entertaining. To the extent that this is less than perfect, the imperfections are minor.

Flawless it is not, yet while I certainly anticipated liking this when I sat to watch, still I'm taken with just how good it is. Every last trace of the feature conjured and assembled with welcome wit and thoughtfulness, and with a mind only for giving audiences a good time. That goal was very capably met, and between Hawks, McLaglen, and Armstrong, let alone Brooks or anyone else on hand, I don't know who deserves the most credit for its success. One way or another this remains an admirable slice of cinema past, and though as a matter of personal preference it may not appeal equally to all, I'd have no qualms recommending it to just about anyone. Suggested especially for fans of the era, or of those involved, 'A girl in every port' holds up well even more than ninety years later, and is well worth the time it takes to watch.

A Girl In Every Port is a nice comedy equiped with laughs, betrayal, lust and fighting. It is about two sailors and their adventures with women. As one character finds his girls being stolen leaving the infamous heart and anchor on all of his women. Love interest in this movie is Mam'selle Godiva/ Tessie, played by Louise Brooks. A circus diver she enters the film late in the movie. She fiens interest in one of the friends, trying to seduce the other. A predatory character, Tessie is a nice addition to this film. Which without could have become just another non-convincing comedy. I enjoyed this film mainly because of Brooks. All in all a nice movie.

Victor McLaglen and Robert Armstrong become best buddies after trying to beat the brains out of one another in this solid but unremarkable comedy from Howard Hawks. The delectable Louise Brooks is the scheming woman who threatens to come between them. Pabst hired Brooks for Pandora's Box and Diary of a Lost Girl after seeing her in this movie, and got so much more from her than Hawks does here.

The only reason this fllm seems to garner attention is due to Louise Brooks in the final segment. She is attractive enough but displaying little dramatic talent, just a show piece that any woman, actress or not, could have provided the film makers.

I am among those who just 'don't get" Louise Brooks, and I guess I will die unchanged. Nothing special at all in my book. She just had a "look," but no talent.

A buddy movie, that could be termed gay "but without any sex," just camaraderie devoid of the influence of the female.