Le voyage des damnés

Nazi atrocities hang over the heads of some 937 Jewish refugees who are allowed to board the S.S. St. Louis in Hamburg, Germany, bound for Havana in 1939, but corrupt Cuban dignitaries (and apathetic other countries) manage to find unjust legalities which prevent the ocean-liner from docking. Dramatized true account with a star-studded cast filling the roles of the passengers (professors, lawyers, teachers, one rabbi, a Nazi spy, at least two children, a Christian ship's captain, and Faye Dunaway, looking wonderfully turned-out as the wife of a frustrated doctor). With anti-Semitism making a wave through Havana, nobody there is anxious to take on the Jews (they are looked on as charity cases), but the personalities in these excursions are static at best, with Ben Gazzara playing a globe-trotting businessman attempting to bargain on behalf of the voyagers (he seems to come from a different film altogether). Produced (or, one may say, packaged) by '70s tycoon Sir Lew Grade, the proceedings verge on the edge of disaster-movie clichés (with the appearance and the pacing of a television mini-series). The material warrants attention, but the melodrama inherent in the situation continually falters--gummed up with ungainly issues, overdrawn hysteria (Sam Wanamaker's suicide attempt), flagrant sentiment (Katharine Ross' Havana prostitute), and thuggish violence (it's bad enough that the two male teachers--scrawny and with their heads shaved--have been through hell, this narrative gives them more of the same, which is about as entertaining as watching victims at a firing squad). Dunaway, coolly regal and ice-pack gorgeous, approaches her part like visiting royalty, and gives the film a little goose. **1/2 from ****

There is such a thing as too much of a good thing--but nobody seemed to realize this when overloading the ship with star names and then giving them little to do. Although based on a true incident, VOYAGE OF THE DAMNED gives the subject a sprawling Hollywood treatment and does what "Ship of Fools" did to Katherine Anne Porter's intriguing novel.

At least MAX VON SYDOW gets to be dynamic as the captain and has the appropriate amount of star footage, but others--like JAMES MASON, JULIE HARRIS and WENDY HILLER--are gone before they can do much.

However, the film's chief fault is the running time--well over two hours without ever building up the tension when the fate of the passengers should be pumping up audience interest in the outcome. The story takes a dramatic turn when the Jewish passengers are denied entry into Cuba and must return to their homeland unless the captain can come up with a better plan.

FAYE DUNAWAY makes a stunning impression and LEE GRANT got an Oscar nomination for her strong supporting role, but others in the large cast come and go in an indifferent manner--except for OSKAR WERNER, who seems to be doing a repeat of his role in "Ship of Fools" as the ship's doctor and is as earnest as ever.

Too bad the storyline couldn't have been trimmed to give the film a tighter length. As it is, it just seems to make its point of man's inhumanity to man without subtlety.

Just misses being a more significant film.

...as the studio had floated this one as their big Oscar-bait of the year before it pretty much dropped off the face of the earth, and it's easy to see why--For the first hour, in the story of a thousand 1939 German refugees relocated to Cuba as a propaganda stunt, we get so many of the standard "Wartime passengers of destiny" subplots, those who didn't know their history would think it was a rewritten Titanic epic, and the ship was going to sink. The story, of course, is that a corrupt, bureaucratic Cuba didn't want them, a 30's isolationist US wouldn't take them, and the doomed passengers might ultimately be sent back to Germany. That should be drama but it's oddly uninvolving--Compared to the less realistic Wartime Passengers of Destiny in Robert Wise's The Hindenburg that same year, that one had a better feel for prewar tensions hiding in luxury class..."Hindenburg" made you dream of traveling on luxury zeppelin, "Voyage" just makes you feel like you're on a long trip with a rude staff.

Director Stuart Rosenberg plays the Jewish-history angle too subjectively, since he acts as if the audience is already on his side from the beginning, like "Schindler's List Goes to Havana". 70's-era Faye Dunaway plays her usual ruthless hysterics, Max Von Sydow is the sympathetic ship captain, and Ben Gazzara gets the noble speeches as the government representative, but most of it falls apart in the over-the-top climaxes. Malcolm McDowell looks a bit confused at having to play a good character as a teen steward who finds romance (when he helps foil a German-intelligence ploy, watch the Alex deLarge bad-boy come back out again) . Orson Welles shows up as a Cuban bureaucrat, but with his strange 70's-Welles delivery, you're genuinely not sure whether he's trying for "casual raconteur", or whether he's befuddled by his own lines because he was at the career point where he couldn't remember them anymore.

This film details a very dark chapter in U.S. (in fact, World) history. As a propaganda tactic, to attempt to dismiss the notion that they were committing genocide, WWII Germany fills a cruise ship with Jewish citizens and sends them off to Cuba, purportedly so that they can be free. Unfortunately, Cuba will not allow the passengers to disembark, nor will the United States and so the ship must turn back, thus becoming the voyage of the damned. The cast is jam packed with stars of the day and most of them are great. Among the standouts are Von Sydow as the Captain--a pawn in the political game, McDowell as a sympathetic crewman, Dunaway as an aloof, glamorous German married to a Jew (Werner), Wanamaker as a desperate, concerned victim of circumstance and Ross (in one of her most heartfelt roles) as the daughter of two of the passengers. Most notable are Pryce & Koslo, unforgettably vulnerable as concentration camp escapees and Grant as the emotionally stunned wife of Wanamaker. Dunaway and Oscar-nominated Grant share the film's most memorable scene as Grant becomes unhinged by the events around her. The film has a sense of cruelty and dread, even if one is not aware of the outcome, and it can be painful to behold, but this is a story that needs to be told and the drama is, at times, quite compelling. Certainly the cast of familiar faces makes it easy to take. Bloated, cue-card-reading Welles is one drawback, but fortunately, he is not on screen long.

Despite the fact that this film had three Oscar nominations, and several Golden Globe nominations with one win (Katharine Ross), and a boatload of stars, it is not worth watching so much for it's quality (marginal) but for the story of how we knew what was happening to the Jews before World War II and did little to stop it.

This is the story of 937 Jews that were put on a boat to Havana with useless documents, as the German government had no intention of letting them off the ship. They were denied entry into Cuba, and the US also denied them entry before they finally were saved by a social service agency and allowed to land in Belgium. Of course, that would prove ultimately fatal for two-thirds of them as the war started just two months later.

Why would Germany do this? Simple. By sending a ship of Jews to the America's and having them turned away, they negated any right the US would have to complain when they started exterminating Jews. Clever of them, and our government fell right into their trap. Our support for Israel is not so much that we love the Jews, but a massive guilt for our participation in their extermination.

There were some great performances in this otherwise mediocre film: Lee Grant and Katherine Ross; some good performances: Ben Gazzara, Faye Dunaway; and the film debut of Jonathan Pryce (POTC 1. 2. & 3, Tomorrow Never Dies).

Check it out.