IslandGuru Who payed the critics

Comwayon A Disappointing Continuation

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Robert J. Maxwell It has its dull moments. The crew of an American Q ship, a secretly armed three-masted schooner, try to lure a German U-boat within range during World War I. (Kids, that's the one that came before World War II.) Like Gaul, the movie is divided into three parts: (1) The introduction to the characters and the mission; (2) The longish interlude at a port in the Canary Islands where the crew meet the ladies they're not supposed to fraternize with, and the officers of the German U-boat that's tracking them. Each side knows who the other is, but all the conversations are sarcastically polite. The American captain (O'Brien) unwittingly falls for a pretty German spy (Lessing). (3) The final shoot out between the American sailing ship (aided by an American submarine) and the U-boat. Guess who wins.Actually, of course, it's more complicated that that. The pretty German spy's brother commands the U-boat, and she's apparently in love with an officer aboard the boat (Loder, speaking fine German). We get to know some of the American sailors, mostly used for comic relief.It's splendidly photographed in the Channel Islands by Joe August, who was a Hollywood craftsman and one of the best. The production design is impressive. A ship chandler's shop is filled with exactly the kind of junk you'd expect -- irregular piles of cork floats, anchors, and the like. And it seems evident that whatever could be shot at sea WAS shot at sea. Watch a stunt man do a swan dive from an impossible height.Too many of the performances are below par, especially Marion Lessing's, and she has an important part. It isn't that they don't try. It's that they try too hard, as if it were a silent film directed by Cecile B. De Mille. There are roles (and nick names) that would become part of Ford's repertoire. Sometimes, even the actors themselves were carried over into films like "They Were Expendable." The editor, Frank Hull, should be spanked. Several plot developments blindside the viewer. Yes, we see O'Brien giving instructions to the fake "panic party" but, until the shoot out, we didn't know there were TWO panic parties. And the preparations for the final shoot out go on far beyond the point at which we grasp what's happening. Too many shots of O'Brien crouching on the deck, shouting, "Keep your heads down, men!", while the sea begins to wash around their knees.I don't think the friendship between Ford and O'Brien lasted much beyond this film. Sometime in the 30s, they took a tour of Southeast Asia together. Ford was swept up in one of his periodic binges for days and O'Brien was compelled to leave him behind in some port. End of friendship. O'Brien had to wait until "Fort Apache" and "She Wore a Yellow Ribbon" before being rehabilitated, fifteen or twenty years, which was the usual period for someone in the director's dog house.It seems long for what it has to say and most of the gags fall flat, but, saints preserve us, it carries you along with the flow.

MartinHafer While there are a few small signs that this film might have been directed by the great John Ford, for the most part there is little about this B-movie that would seem great or inspired. Now I do cut the film SOME slack since it's an early talkie, but compared to the average film of the day, it's still a sub-par film.Most of the problem is the story--it's just written so poorly and the characters are just so gosh-darn stupid that it's hard to enjoy. You KNOW this ain't the brightest ship in the US Navy when BOTH Warren Hymer AND Nat Pendleton serve on it--to actors who specialized in playing thick-headed galoots. In fact, the rest of the crew is amazingly stupid as well--making me feel that the writers sure didn't try very hard for realism. The story is about an old fashion wooden sailing ship that appears to be a merchant ship but really hides a deck gun designed to sink German subs during the waning months of WWI. But the American crew, as I said above, is dumber than a sack of door knobs and I got frustrated at the writing. A great example is when the Captain told them all they were on a top secret mission, so when they go on shore leave, no fraternizing and no liquor--at which point they all went out chasing women and getting drunk. What part of "top secret mission" or "no fraternizing or drinking" didn't they understand?! Then, when tops of German-accented sailors started walking about, no one seemed to even notice!! The writing was strictly B-movie (or worse) and there were so many loose plot threads that I had a hard time watching the film. The only positive thing I noticed about the film is the nice cinematography. Otherwise...yuck.My advice is that if you MUST see it because you are a die-hard Ford fan, then do so by all means. Otherwise, you'd be best to find another--ANY other Ford film.

jsnoddy I've been working my way through Ford at Fox, and found this to be the most entertaining of Ford's early talkies. After the joy of watching such silents as The Iorn Horse, 3 Bad Men, Four Sons and the Hangman's House, watching such talkies as Up The River and Born Reckless felt like I was paying my dues as a Ford fan.Seas Beneath was a real breath of fresh air. It plays out like the grand old silents where everything is staged for real. No models, no process shots. Want to shoot a scene at sea? Pack up the gear and go to sea.While the story has many of the hokey elements of early film melodramas, the scenes at sea are very real and very effective. You won't see better footage of a German submarine until Das Boot. And the scene where they unload the lifeboat onto the American ship: that was no water tank shot.While Seas Beneath pales in companion to Ford's great films from the 1930's, there is still much to admire in it.

mgmax I suspect that the poster from Oklahoma hasn't seen many other films from the early talkie era, because the pace and acting aren't bad for the times. What's most striking about this early Ford talkie is the location (shipboard) filming-- few films from the studio era make such a point of actually filming at sea instead of on a set in front of a sky backdrop. The vivid realism of these scenes is the most striking thing about the film today.