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Aboard the freighter Glencairn, the lives of the crew are lived out in fear, loneliness, suspicion and cameraderie. The men smuggle drink and women aboard, fight with each other, spy on each other, comfort each other as death approaches, and rescue each other from danger. Written by
Jim Beaver <firstname.lastname@example.org>
It's strange that the best performance John Wayne ever gave on film was one that was not in a western, where he was not in the lead, and where he did not play, essentially, himself. Ask someone what Wayne's best work as an actor was; they look at you strangely, shrug, and walk away. Whenever he tried an accent or a bunch of makeup, he flopped. Here, though, as the Swede sailor Ole, he fits perfectly. His tired face becomes poignant, his tall, forceful presence paints him as a gentle giant, rather than as the salt-of-the-earth cowboy he is best known for.
If the opening shots -- the haunting island music, the wind making everything sway in the night air, the island women flirting with the sailors, the sailors flirting back -- doesn't hook you through the sheer force of ambiance alone, you probably won't like "The Long Voyage Home." If you're expecting an exciting sea adventure with the joe average John Ford job of direction, you'll be disappointed. If you're in the mood for something of a nautical mood piece; the adventures of merchant sailors from bar to bar, the tragedy of being affiliated with the wrong ship, naval warfare in the early twentieth century, etc., check this out.
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