Le vaisseau fantôme

Jack London's novel "The Sea Wolf" is one of those old chestnuts that seemingly won't go away. It has served as an subject for movies almost since they began being made, including Italian and Russian versions. This 1941 Warner version remains the definitive screen adaptation, however, in spite of numerous alterations to the plot of the original novel.

In the book, Wolf Larson is a giant Norwegian sea captain who rules his ship by virtue of his strength and brutality. He is the embodiment of the old joke which runs: "Yea though I walk through the valley of the shadow of death I shall fear no evil, because I am the meanest, toughest son of a b--- in the valley!" One would ordinarily think that the five foot six inches tall Edward G. Robinson would be a poor choice to play such a character. However, Robinson is a good enough actor, and a forceful enough screen personality, to carry it off.

John Garfield is equally perfect as a chip-on-the-shoulder working class seaman who dares to oppose Larson. He's a perfect foil for Robinson, and it's great fun watching the two of them snarl at each other like a couple of wild dogs.

Ida Lupino and Alexander Knox do some of their best work as the two castaways rescued by Larson's vessel. Lupino plays a female ex-convict trying to conceal her past, and Knox is an effete writer whom Larson decides to educate in what he considers the ways of the real world.

Gene Lockhart and Barry Fitzgerald are equally good in supporting roles as the ship's drunken and degraded doctor, and the thoroughly corrupt cook. It is particularly refreshing to see Fitzgerald play a really unpleasant character for a change, and one can only wonder why he didn't get more parts like this. In The Sea Wolf, Fitzgerald plays an individual so slimy that one almost expects to see him leave a trail behind him, like a slug.

Director Michael Curtiz managed to impart a dank and foggy atmosphere to The Sea Wolf that seems to suit the story perfectly, and that feeling is enhanced by Erich Korngold's moody score. The first view of the schooner "Ghost", looming out of the fog like a real ghost, is particularly memorable.

Granted, the ending differs radically from that of the book. This film's ending seems rather more satisfying than London's was, however. London was virtually forced to end the novel the way he did because it is presented in narrative form and the writer, Van Wyden, is the one actually telling the story. Warner Brothers could change the ending because, as a movie, the story was no longer restricted to Van Wyden's point of view.

This is probably the best remembered version of the Jack London tale. A ruthless and savvy sea captain(Edward G. Robinson)reluctantly rescues a shipwreck and puts his unplanned passengers to work on his ship. Soon he is forced to deal with an enraged, rebellious crew. Directed expertly by Michael Curtiz.

Robinson is great as the meglomaniacal master of the ship. Outstanding performances from Ida Lupino and John Garfield. Also in supporting roles are Howard Da Silva, Barry Fitzgerald and Alexander Knox. Watch this in tandem with another Curtiz swashbuckler SEA HAWK(1940)along with popcorn shrimp and dramamine...talk about adventure.

Good film that combines action and psychology and film noir. Edward G. Robinson stars as Larson, the cruel captain of the Ghost, a ship no one wants to sail on. John Garfield and Ida Lupino are people running away from their pasts, and Alexander Knox is an unlucky writer. These three people end up on the Ghost through coincidence. Also onboard are Gene Lockhart as a boozy doctor and Barry Fitzgerald as a psychotic cook. All 5 stars are great in this neat little film that bears little resemblance to the Jack London novel, but who cares. Beautifully filmed with lots of fog and terrific closeups. Garfield and Lupino make a great couple and match each other angst for angst. Knox is best remembered for his starring role in Wilson but is very effective here as well. Robinson seemingly could play any role. He must stand as the most underrated actor of the 30s and 40s. Never Oscar nominated, Robinson nevertheless had a career that spanned decades and never gave a bad performance. The Sea Wolf is a definite nominee for anyone's "must see" list.

One of the great classics Directed by the gifted tyrant Micheal Curtiz. Every performance is excellent with Edward G. giving one of his best. Curtiz did not make boring films, this speeds along at under 90 minutes without a dull moment. The miniature work is even good, note the scene near the beginning with the row boat in the bay. That is a miniature in a tank but pretty damn convincing. Flawless and gripping.

The London classic has been filmed many times, but never better than here. It's Warner Bros. operating on all 8 cylinders, from casting, to directing, to art department and special effects. So who better to play the maniacal captain than Edward G, Robinson at his snarling prime, or the rebellious ex-con than John Garfield at his defiant prime, or the downtrodden girl than Ida Lupino at her soulful prime. Together they're a dynamite cast, and even the snobbish Alexander Knox manages his literary role in fairly sympathetic fashion. It's atmospheric the whole way with the aptly named Ghost slipping through one fog bank after another.

The Robert Rossen adaptation is less philosophical than others. Robinson's Wolf Larson acts more out of psychological compulsion than philosophical principle. His battle of wits with Knox's Humphrey van Weyden is more about Freudian ego than the merits of a Nietschean superman. Larson desires power to prove his own self and not to prove a larger point about ruthlessness and the struggle to survive. I suspect that had the movie been made a few years later, Hitlerian comparisons would have been drawn. Then too, when there's talk of the ship's "downtrodden" crew being freed at last, it's likely the leftish Rossen has more than a ship's crew in mind. Too bad that the commanding Howard deSilva doesn't have a larger role which would have made the outlaw ship even more hellish.

Note the informal wedding vows exchanged between Lupino and Garfield at movie's end. The lines are rather clumsy and out-of-step with the rest of the script. I suspect the censors required some such vows before the couple were allowed to live together on a deserted island after leaving the ship. Even though this seems a reach, I gather censorship concerns could indeed reach to such an implied level. Be that as it may, the Robinson performance is powerfully riveting and not to be missed. All in all, the movie remains a fine example of ensemble film-making and a tribute to Hollywood's old studio system.