Le harpon

`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.

"They 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." - Psalm 107

In the whaling town of New Bedford, Massachusetts, pretty Marguerite Courtot (as Patience Morgan) plays with her dolls; an adult, she longs for her girlhood days with "the boy next door". Happily, her objectification, Raymond McKee (as Thomas Allan Dexter), returns, after some years in college. Soon, Mr. McKee opens a mill, and begins to court Ms. Courtot. McKee asks her father William Walcott (as William Morgan) for Courtot's hand in marriage. But Walcott, a strict Quaker, won't allow his obedient daughter to marry outside her religion. McKee offers to convert, but finds another challenge almost insurmountable:

"Patience is a whaleman's daughter," Walcott explains, "Unless thee has thrown a harpoon into a whale, take thy story of love elsewhere. It can never be -- never!" So, McKee goes directly to the next whaling ship, hoping to harpoon a whale; instead, he is abducted, and put to work aboard. Mixing it up in the waling ship is mischievous stowaway Clara Bow (as Dot Morgan), Walcott's grand-daughter; she has an eye for cabin boy James Turfler (as Jimmy). Meanwhile, Patrick Hartigan ( as Jake Finner) and Jack Baston (as Samuel Siggs) are plotting to steal both Walcott's ship, and his daughter's virtue…

The main story, and performances of the principals are thoroughly unconvincing; although McKee does well whaling, while Courtot, the film's feminine lead, sits at home playing with her dolls. There are disturbing religious and racial undertones in the plotting. Ms. Bow, in her second film, and Mr. Turfler easily steal the attention. The Elmer Clifton direction, and photography by A.G. Penrod with Paul H. Allen are outstanding, however; and, their seafaring scenes are thrilling.

******* Down to the Sea in Ships (11/22/22) Elmer Clifton ~ Raymond McKee, Marguerite Courtot, Clara Bow

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.

A domineering father has told patience Morgan that she cannot marry a man that is neither a Quaker nor a whaleman. Scenes in the Quaker meetinghouse explain that marriage outside the sect is punished by expulsion and ostracism. But she loves her childhood sweetheart Allan Dexter – recently returned from college. What is a girl to do?

Meanwhile, back in the office, villains plot to seize one of Father Morgan's ships and sail it to gold country. When one of the henchmen (Samuel Siggs) takes a liking to Patience, the fiends shanghai Allan and take him off to sea and never expect him to return. Siggs then masquerades as a Quaker and a whaleman and convinces Father Morgan to give his daughter's hand in marriage (`Make him a good wife').

The scenes in which Patience shows her love for Allan (by play acting with dolls) are sweet and show her capabilities to the fullest. Clara Bow has some good scenes early on but her small part appears to fade out as the film progresses.

There are some rather interesting scenes of life in New Bedford in the mid-19th Century. The town crier both spreads the news of a returning ship and the rumored departure of our hero to parts West. Life aboard the ship is not as harsh as portrayed by Dana in `Two Years Before the Mast' but is fraught with danger. Close ups of the crew as they mutiny are excellent. There are ample quotes from Melville and Dana to complement the story.

There are a couple of lengthy scenes that are better described as travelogues and not necessary for the story. The scenes with sharks and whales are probably real and not simulated. Dozens of pelicans diving to catch fish were probably a novelty to many viewers of the time. The storm at sea is probably about as technically advanced as it could be.

This is not a great movie, but if you are interested in sea stories or whaling, then you should watch it. It is the product of an independent film company (The Whaling Film Co.), was distributed by Wholesome Film Services, Inc., and had its debut in Providence, Rhode Island.

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.