The Sea God

Pink Barker (Richard Arlen) likes to gamble, so even though he's lost a lot of money to Big Schultz (Robert Gleckler), he wagers his ship and all its cargo for the man who makes it to port first. His big heart gets him into trouble though when he sacrifices winning the race to save a man floating aimlessly around the ocean in a raft. It pays off when the castaway informs him of an island inhabited by cannibals surrounded by oysters carrying large pearls. Fay Wray plays Daisy who loves Pink but hates his recklessness.

This is a fun adventure film which starts strong but peters out at the end. There are some great underwater scenes featuring an antiquated diving suit punctuated with laughable shots of dolls standing in for floating bodies.

Richard Arlen is the captain of a tramp merchant in the South Seas. Robert Glecker is his bete noir, a lesser sea man, but a lucky one. When both hear of a rich pearl bed in the Solomon Islands, it becomes a race. Between the two of them, with Fay Wray stowing away in Arlen's ship to give them something else to compete over.

It's a good although not outstanding, pulp fiction adventure yarn, with Archie Stout slipping some humorous shots into the proceedings past director George Abbott. Abbott is best remembered as a Broadway talent for many decades - he died in 1995 at the age of 107 - but he dabbled in films, most notably in the 1950s, transferring a couple of his stage hits to the screen. He was more active in the early sound era, when a lot of theatrical talent trooped to Hollywood, contributing to the screenplay of ALL QUIET ON THE WESTERN FRONT, and directing eight movies for Paramount.

With Eugene Palette and Willie Fung.

The Sea God is an early sound melodrama about two men vying for Fay Wray and wealth in the South Pacific. I bought this DVD in my unhealthy quest to see every Fay Wray film available, and I was pleasantly surprised that this was a fairly entertaining little film. Good locations, decent direction and photography (in spots), and a couple of twists made it well worth its short 75 minute running time. It's a bit creaky, and some of the acting doesn't hold up well, but overall not a bad effort. Fay looks great as the object of affection of the two men. There is even a scene where she is snatched from a boat by hostile dark skinned cannibals ala King Kong.

The final word is a good film, especially for Fay Wray fans like me.

Pretty standard seafaring story that breaks no new ground and has no emotional highs or lows to hold the interest. Good guy (Cabot) loses his boat to the Bad guy (Gleckler) in a race in which Cabot stopped to rescue a shipwrecked sailor. He also loses his girlfriend (Wray) in the process. He tries to aid the sailor, who relates his tale of an island loaded with pearl-bearing oysters.

In the ensuing quest to find the island, Cabot's crew are beset by cannibals who capture Wray while Cabot is diving. Predictable events ensue before the couple are reunited and Gleckler and his crew are relegated to runner-up status. As stated, the picture is unremarkable and not noteworthy, except to fans of Fay Wray, who looks lovely. She has little to do but show fright and exasperation with Cabot. "The Sea God" lends credence to the belief that Director Abbott's best and most famous successes were on Broadway rather than Hollywood.

After losing his boat and girlfriend "Daisy" (Fry Wray) due to his gambling habit, a frustrated sea captain named "Phillip 'Pink' Barker" (Richard Arlen) gets a chance to start over when he rescues a frail old man at sea who tells him where to find a treasure trove of pearls. The problem is that this location is next to an island inhabited by a tribe of cannibals. Additionally, his hated rival, "Big Schultz" (Robert Glecker), has discovered the pearls and plans to secretly follow in his ship to steal them. Furthermore, the fact that Daisy has smuggled herself aboard Pink's vessel provides him with even more incentive. Now, rather than revealing any more, I will just say that, even though this film is quite dated and lacks the technological features readily available to filmmakers today, it still managed to hold my attention for the most part, and I thoroughly enjoyed it. Again, it definitely shows its age here and there, but I still thought it was worth the time spent, and I have rated it accordingly.