Hank Smith, a brutish stoker on board a freighter, is appalled when Mildred Douglas, a society girl forced by circumstance to travel as a passenger, visits the stokehold and recoils at the ... See full summary »
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The Andrews Sisters
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Hank Smith, a brutish stoker on board a freighter, is appalled when Mildred Douglas, a society girl forced by circumstance to travel as a passenger, visits the stokehold and recoils at the filthy, sweating Hank. A powerhouse of a man with a primitive confidence, Hank has never been looked down on before nor suffered the insult "hairy ape" flung at him by the rich girl. At first he seeks vengeance for the insult, but broods over it until more than anything, he desires to understand it. When the ship reaches port, he seeks her out in her upper class surroundings, determined to grasp the meaning of the encounter. Written by
Jim Beaver <firstname.lastname@example.org>
The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »
Dames, huh? That's a lot of tripe. They'll double cross you for a nickel or even nothing. Treat 'em rough - that's me, the whole bunch of 'em. They don't belong. They don't amount to nothing. Who makes the old tub go? It's us guys. Me! Me! I make her go.
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Eugene O'Neill's play is used only as a frame for this production, with even the name of the eponymous lead being changed, and the action brought forward in time into the Second World (U-Boat) War period, wherein are added additional sub-plots, characters and dialogue not even remotely descended from the original. It is notable, therefore, that O'Neill's powerful brand of Expressionism is incorporated within the making of this work, by director Alfred Santell, displaying the strongest creative impulses in his career, by the splendid cinematographer Lucien Andriot, as well as production and art designer James Sullivan, and others. The result is a cultural hybrid, geared partially to please wartime audiences, but marked by the finest performance in the career of William Bendix; a singularly consistent and vicious interpretation by Susan Hayward; and by fine work from always reliable Dorothy Comingore and Roman Bohnen - the few scenes that Bendix and Hayward share are incandescent and directed brilliantly by Santell.
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