Sail Away: John Wayne in John Ford’s THE LONG VOYAGE HOME (United Artists 1940)

This is my third year participating in the TCM Summer Under the Stars blogathon hosted by Kristen at Journeys in Classic Film , and second entry spotlighting Big John Wayne . The Duke and director John Ford made eleven films together, from 1939’s STAGECOACH to 1963’s DONOVAN’S REEF.  Wayne’s role in the first as The Ringo Kid established him as a star presence to be reckoned with, and the iconic actor always gave credit to his mentor Ford for his screen success. I recently viewed their second collaboration, 1940’s THE LONG VOYAGE HOME, a complete departure for Wayne as a Swedish sailor on a tramp steamer, based on four short plays by Eugene O’Neill, and was amazed at both the actor’s performance and the technical brilliance of Ford and his cinematographer Gregg Toland  , the man behind the camera for Welles’ CITIZEN KANE.

THE LONG VOYAGE HOME is a seafaring saga detailing the lives of merchant marines aboard the ship Glencairn  on the cusp of World War II. The film is episodic in nature, as screenwriter Dudley Nichols wove the four one-act plays into a cohesive narrative. Duke is ‘Ole’ Olsen (no relation to the great vaudevillian), a sweet-natured young buck longing to return to his homeland and his elderly mother. Ole is a gentle giant of a man, whom the hardened sailors look out for, treating him as a kid brother. The naïve Ole has been out at sea ten years, trapped as the others are in a cycle of time on the ocean followed by spending all their dough on liquor and women when they hit port, forcing them to return to their cruel master the sea. This time around, they’re determined to make sure Ole gets back to his farm in Sweden, to break free of the lifestyle they are all caught in by fate and misfortune.

Wayne’s much-maligned Swedish accent isn’t all that bad, as some critics have harped on. Duke was nervous about doing the part justice, and had Danish actress Osa Massen (A WOMAN’S FACE, YOU’LL NEVER GET RICH) coach him with the rhythm and cadence of the language. His big scene at the bar, where he’s being set up to be shanghaied by the ship Amindra’s salty crew, shows Wayne’s accent was more than passable, and once again proves to the audience he could do more than just sit tall in the saddle and throw a mean punch at the bad guys. John Wayne, when the occasion called for it, could act.

Due to the structure of the screenplay however, Wayne doesn’t have to carry the film on his broad shoulders. Though ‘Ole’ is the glue that holds the film together, the rest of the ensemble all take their turns in the spotlight. The standout here is Thomas Mitchell , winner of the previous year’s Best Supporting Actor Oscar for STAGECOACH, as the boisterous veteran seaman Driscoll, a two-fisted Irishman whose sad fate at film’s end will haunt you. Ian Hunter, an underappreciated actor, plays the role of Smitty, whom the others suspect of being a Nazi spy, but instead harbors another dark secret. Ward Bond , the rowdy Yank, is given a solemn death bed scene, and gets a chance to show off his own acting chops. Barry Fitzgerald seems to be preparing for his role as Micheleen in THE QUIET MAN as Cocky. Fitzgerald’s brother Arthur Shields is the philosophical Donkeyman, who never leaves the ship for fear of triggering his alcoholism. Mildred Natwick makes her film debut as the prostitute Freda, charged with the task of seducing Ole before he’s shanghaied. John Qualen does his own inimitable Swedish part as Axel, mentor and protector to Ole. Familiar Faces Billy Bevan, Danny Borzage, James Flavin, J.M. Kerrigan, Wifred Lawson, Cyril McLaglen (brother of Victor), Jack Pennick, and Joe Sawyer round out the rugged cast; most were members in good standing of Ford’s stock company.

The real star of THE LONG VOYAGE HOME is Gregg Toland, who Ford had compete trust in to create the film’s visual mood. Toland’s experimental deep-focus style, utilizing back projection, makes the film an illusion of reality, his heavy shadows and dramatic lighting schemes a definite precursor to what would become the film noir style. John Ford was no stranger to making art films, and together with Toland certainly achieves success. Orson Welles once said he watched STAGECOACH over 40 times before filming CITIZEN KANE; there’s no doubt in my mind he did the same with THE LONG VOYAGE HOME.

While it’s not the type of film one would normally associate with the John Wayne/John Ford canon, THE LONG VOYAGE HOME should be watched by fans of both men’s work. The somber mood is laced with black humor, the cast is superb, Toland’s influential camerawork is a marvel to behold, and it’s a chance to see a different side of John Wayne. Sandwiched between STAGECOACH and THE GRAPES OF WRATH, THE LONG VOYAGE HOME doesn’t get the attention the other two attract, but deserves a place in the pantheon of John Ford’s masterful film classics.

Halloween Havoc!: Peter Lorre in MAD LOVE (MGM 1935)

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I mentioned in my review of Body Parts that it was a variation of THE HANDS OF ORLAC, a 1920 novel by French author Maurice Renard. The book was first adapted to film in a 1920 silent starring Conrad Veidt. The story has been retold many times, in many different ways, but none have surpassed the 1935 adaptation MAD LOVE. This film really doesn’t get its due as one of the top horrors of the 1930s. Director Karl Freund (THE MUMMY) uses his background in German expressionism and, together with cinematographer Gregg Toland, gives us a Grand Guignol thriller that’s hard to resist.

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Peter Lorre makes his American film debut as Dr. Gogol, a brilliant surgeon obsessed with beautiful actress Yvonne Orlac. Yvonne is married to concert pianist Stephen Orlac, and rebuffs the strange looking doctor. Returning to Paris via train, Orlac sees the convicted knife-throwing murderer Rollo board, heading for the guillotine. The train is derailed, and Orlac’s hands are crushed in the wreckage. Yvonne pleads with Gogol to restore her husband’s hands. The doctor says he can do nothing at first, then has an idea. He grafts the hands of killer Rollo onto Orlac. The operation is successful, but Orlac cannot play piano the wat he once did. He has, however, gained a peculiar proficiency in knife throwing.madlove3

American reporter Reagan is trying to get a story about Rollo. Gogol was given the body, but won’t let Reagan or anyone else see it. You see, the doctor hasn’t told Orlac his hands once belonged to Rollo. Gogol then devises as scheme to drive Orlac mad by “power of suggestion”. He kills Orlac’s step-father, then tries to convince the pianist he did the deed himself. Gogol costumes himself as Rollo, telling Orlac his head was grafted back on, like Orlac’s hands. Orlac is arrested, but Reagan suspects Gogol’s up to no good. The ending finds mad Doctor Gogol about to strangle Yvonne when Orlac throws a fateful knife and saves his wife from certain death.

Lorre is wonderful as Gogol. With his shaved head, bulging eyes, and fur collar, Gogol is second only to Hans Beckert in 1931’s M as Lorre’s creepiest character. Whether reading poetry to a wax effigy of Yvonne, or dressing as a man with a head transplant. Lorre gives a rich portrayal of a man driven mad by unrequited love. He’s particularly effective in the end scene, laughing hysterically at his misdeeds, believing Yvonne’s statue has come to life (“My Galatea!”), and finally striking out to kill what he loves most. Out of all Lorre’s long career, Gogol is surely his most frightening portrayal.

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Colin Clive is sympathetic as Orlac. Clive is best known to horror buffs as Dr. Frankenstein in Universal’s classic film and its sequel, THE BRIDE OF FRANKENSTEIN. Frances Drake is also familiar to horror fans for her role in THE INVISIBLE RAY, with Karloff and Lugosi. Ted Healey, former Three Stooges boss, is the comic relief as reporter Reagan. Killer Rollo is familiar heavy Edward Brophy. Other supporting stars are Charlie Chan’s Number One Son, Keye Luke, Sara Hayden, Billy Gilbert, and Ian Wolfe.

Freund’s artistry gives MAD LOVE that expressionistic look and feel. Freund was cinematographer on 1920’s THE GOLEM and the Fritz Lang gem METROPOLIS. He was behind the cameras for 1931’s DRACULA and 1932’s MURDERS IN THE RUE MORGUE. Winning an Oscar for 1937’s THE GOOD EARTH, Freund continued to work his magic on pictures like GOLDEN BOY, UNDERCURRENT, and KEY LARGO. Making the switch to television in its infancy, Freund was a pioneer of the 3-camera set-up, filming most episodes of I LOVE LUCY. Gregg Toland was a fine cinematographer in his own right. Besides MAD LOVE, Toland was behind the camera for such classics as DEAD END, CITIZEN KANE, THE GRAPES OF WRATH, and THE BEST YEARS OF OUR LIVES, winning his own Oscar for 1939’s WUTHERING HEIGHTS. MAD LOVE is a true classic of horror cinema, with a chilling performance by Peter Lorre as the deranged Dr. Gogol. Add this one to your Halloween watch list!