John Wayne, German. It doesn't make sense on paper, nor does it on the screen. In The Sea Chase the All-American cowboy doesn't seem remotely European, but he is reliably heroic as a morally sturdy naval officer in this sturdy war drama. He even makes you buy that Lana Turner, as a glamorous spy, could fall for him.
Wayne is Karl Ehrlich (really), a naval captain stationed on a freighter called The Ergenstrasse in Australia at the start of World War II. Though he despises Hitler, he realizes he must consider his crew's right to choose where their allegiances rest. He sets sail, escaping internment by the British, and takes on the challenge of returning his men to their homeland.
Facing the threat of mutiny, a treacherous Nazi sympathizer on his crew, and being under hot pursuit by the Brits, Ehrlich's life is further complicated by the arrival of Elsa Keller (Turner), who is also on the run. As the only woman onboard she is another dangerous distraction as he scrambles to find more wood to fuel the drastically understocked ship.
Of course Wayne and Turner have to fall in love, even if you'd never put them together. As a couple, they don't sizzle; this isn't a hot movie romance, but it is intriguing. It's more that they express the exhaustion of people who have lived hard and are ready for the comfort of someone who understands them.
The love affair wouldn't have worked if Turner had landed in one of Wayne's westerns or he in one of her high-toned dramas, but the open seas is a fine middle ground. Their regard for each other is what makes them so touching together.
Turner slinks around in a tight, low-cut white dress, making the crew members drunk with lust. Wayne is scandalized; he knows she has driven a man to suicide. For her it is simply life, she causes a fuss as a matter of course; it has become background noise to her.
So has dressing to kill. There's no need for her to wear a jaunty red scarf with her tight white sweater while stuck on a freighter, but it's how she plays the game and perhaps the glamour cheers her up. Also, she is Lana Turner, movie star. Even when she has to resort to men's dungarees to have clean clothes, she works it.
The pair are supported by a solid cast, with reliable actors like Dick Davalos (East of Eden), Alan Hale and James Arness onboard. Tab Hunter also makes an early appearance as a crewman. At this point in his career he couldn't even shout "land ho!" convincingly, but he clearly has presence.
Though this isn't quite the pulse-pounding actioner it aims to be, the slow build tension can be effective. Director John Farrow provides some genre thrills while also capturing the despair and destruction of this mostly self-contained bit of World War II drama.
Many thanks to Warner Archive for providing a copy of the film for review. To order, visit The Warner Archive Collection.
Twelve people take a flight to Panama City, but as the title warns, Five Came Back. While there is great tension as to who makes that return journey, it is the interactions among a strong cast of characters, and economical, skillful direction by John Farrow that make this recent release from Warner Archives special.
The group is a tidy selection of types, among them a good-hearted prostitute (Lucille Ball), eloping socialites (Wendy Barrie and Patric Knowles), a kindly elderly couple (C. Aubrey Smith and Elizabeth Risdon) and a mob gunsel (Allen Jenkins) with some decent impulses, if not a heart of gold, with the young son (Casey Johnson) of a crime boss in his care.
They crash in the jungle, miles away from civilization, and it's a Hollywood-style crack-up all the way. No one appears to be injured, or even ruffled by the experience. Suits are unwrinkled and clean, Ball's hair remains perfectly curled, and even the little boy doesn't seem too fazed by the ordeal. Though the group appears to face near certain death, they collectively shrug their shoulders and make the best of it.
Still, it's an effectively made film, pulling at your emotions without dripping into sentiment. Though the RKO production had a lower budget than the studio's typical output, it never feels cramped or static. Farrow uses close-ups and sweeping shots of jungle foliage to give the proceedings texture, injecting enough life that it's hard to believe the actors are confined to a set. With so few settings that the film could easily be translated as a stage play the director makes you feel the danger lurking in the trees beyond their campfire.
The cast is fascinating as well. Rising star Lucille Ball is a standout as the tarnished but decent lady-of-the-night, while Chester Morris shows unusual depth as one of the pilots, just a couple of years away from his Boston Blackie series. John Carradine, Allen Jenkins and C. Aubrey Smith are always good to see in the credits, and they are reliably charismatic here. I thought Smith was particularly warm and sympathetic in his role, an interesting change from his typically more severe and elitist characters.
Child actor Casey Johnson is cute in a refreshingly natural way and Wendy Barrie and Kent Taylor are nicely nuanced in less showy roles. I was particularly impressed with Maltese actor Joseph Calleia as an anarchist on his way to be executed. I've seen him in several other films, but never has his intensity grabbed me as it does here. He demonstrates through his actions just why he got himself in trouble--and how he still might have more sense than any of the other passengers.
While I'm not claiming that Five Came Back is as good as Casablanca (1942), given the limited resources Farrow had I think it similarly ended up being much better than expected. If it hadn't been released in a year packed with instant classics, it might have gotten a bit more breathing room and the acclaim it deserves.
Farrow would remake his own film as Back from Eternity (1956), starring Anita Ekberg and Robert Ryan. While I don't think that more lavish version was as elegantly conceived, it is also a solid production and well worth checking out. It is currently available on the Warner Archive Instant streaming service.
Many thanks to Warner Archive for providing a copy of the film for review. This is a Manufacture on Demand (MOD) DVD. To order, visit The Warner Archive Collection.
