In 1933, an ocean liner belonging to a second-rate German company is making a 26-day voyage from Veracruz, Mexico to Bremerhaven, Germany. Along the way it will stop in Cuba to pick up a large group of Spanish farm laborers who are being shipped home and will be housed like cattle in steerage. It will also pick up La Condesa, a Spanish countess. It will stop in Tenerife, where the farm workers will disembark and La Condesa will be sent to a German-run prison for her "traitorous" activities in Cuba. This voyage will be the last of three for the ship's doctor, Willi Schumann, who has a serious heart ailment and thought he could find some meaning to his life through this job. Willi and La Condesa fall in love, but the ship's Captain Thiele, Willi's closest friend on board, believes that drug-addicted La Condesa is only using him to get her fixes. Willi and La Condesa must figure out if they have a future after the voyage, as Willi has a wife and sons back in Bremerhaven. The other passengers include: Mary Treadwell, a middle-aged American divorcée who is trying to recapture her youth; Tenny, a middle-aged American ex-baseball player who laments that he never made it big in the game; young American couple David and Jenny, who are in love but must overcome differences in social standing and life outlooks; Rieber, a middle-aged German Nazi sympathizer who is traveling with a young female companion and lords his beliefs over the other German passengers, who are either absorbed in their own lives or just don't care to notice what's happening in Germany with the Nazis; and Lowenthal and Glocken, a German Jew and a German dwarf who are "paired" as the outsiders among those in first class. Their encounters, plus those with a rambunctious pair of children, two German teenagers who are coming into their sexual being but having problems overcoming issues they face, and a troupe of gypsy entertainers whose women are pimped out by their leader, make for an interesting voyage
149 min | Drama, Romance, War | 1965 | Color
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An Imperfect Gem
A grim long voyage with an earnest script by the remarkable Abby Mann and a respectful Stanley Kramer at the helm. Assorted desperate characters makes the sailing a gripping one. When the extraordinary Simone Signoret, Oskar Werner and Vivien Leigh are on, we're there with them one hundred per cent. Simone Signoret's addicted Countess and Vivien Leigh's bitter and disillusioned middle age Southern woman touch and dominate the highest, most powerful moments. Their stories have an immediate resonance and their faces, wonderful, beautiful faces, carry a truth that is as pungent as it is undeniable. Painful yes, very painful but, as it happens with the best kind of drama, entertaining, compelling, cinematic. Jose Ferrer's German bore, George Segal and Elizabeth Ashley and even the wonderful Michael Dunn will make you sea sick at times but I will recommend it nonetheless just to admire and enjoy Vivien Leigh's Charleston or Simone Signoret looking at Oskar Werner with a mixture of love, lust, compassion and need. For collectors of imperfect gems.
A grand, glossy excursion, with a flavorful international cast keeping the weighty boat afloat.
One of my favorite indulges over the years has been "Ship of Fools," a 1965 glossy, episodic entertainment done strictly grand scale. Based on Katherine Anne Porter's epic novel, the Oscar-nominated "Best Picture" centers on a sundry group of travelers circa 1933 who clash "Grand Hotel" style on a German ocean liner bound, via Mexico, for Germany (and impending doom it would seem) just as strong Nazi sentiment was breeding. The ship becomes a microcosm of pre-WWII life and mores, with a plethora of subplots alternately swelling and ebbing throughout - situations that alter the course of some of its passengers and crew members, for better or worse.
From the clever opening collage of credits (don't miss this part) set to a catchy, flavorful Latin score to its fascinating all-star disembarkation at the end, it's smooth sailing for most of this trip, guided with an assured hand by the always capable Stanley ("Judgment at Nuremberg") Kramer, with certain cast members (Simone Signoret, Oskar Werner, Vivien Leigh, Lee Marvin, Michael Dunn) coming off better than others (José Ferrer, Elizabeth Ashley, George Segal).
A number of compelling vignettes acted out by the choice, eclectic ensemble make up for the sometimes turgid melodramatics that occur on board as our "ship of fools" are forced to examine their own pride and prejudice while victimized by others. Who can forget the tormented Simone Signoret and Oskar Werner (both Oscar-nominated) as the morphine-addicted political prisoner and dutiful ship's physician who provide the film with its most poignant and tragic shipboard romance. Their clandestine encounters are exquisitely written and beautifully realized. Or Vivien Leigh's coy, aging elitist, Mary Treadwell, who delivers a brilliantly despairing monologue in front of a makeup mirror that, in turn, sets up a wildly climactic shoe-bashing scene with Lee Marvin's besotted baseballer when he viciously assaults, then profusely apologizes to the now-humiliated matron after mistaking her in the dark for a cooch dancer. Or José Greco & company's steamy, frenetic flamenco sequence during a raucous, after-hours party. Or dwarf actor Michael Dunn's sublime Greek Chorus that effectively bookends the movie (the Oscar-nominated Dunn subsequently played evil Dr. Loveless on TV's "Wild, Wild West" series). These glorious scenes and more help to balance out the less serviceable ones, particularly those involving Jose Ferrer's boisterous, irritating Nazi bigot who borders on caricature, and Elizabeth Ashley and George Segal's turbulent lovers who come off dull and forced.
Ernest Laszlo's lustrous black-and-white cinematography was suitably Oscar awarded, while the whole look, feel and tone of the movie is decidedly old-style theatre at its best. This movie has remained one of my all-time favorite wallows.
