During the 1940s, social class conflict is depicted when a spoiled socialite, traveling on a freighter, calls the ship's head stoker a hairy ape, provoking him into stalking the rich woman once ashore in New York.
On trial for murdering his girlfriend, philandering stockbroker Larry Ballentine takes the stand to claim his innocence and describe the actual, but improbable sounding, sequence of events that led to her death.
Bo Gillis is running for Governor. Steve writes the speeches, Sylvester runs the campaign and Bo plays the guitar. Everything is going according to the plan until a hooker named Ada is ... See full summary »
Angie Evans, fast-rising nightclub singer, interrupts her career to marry struggling songwriter Ken Conway. When Ken lucks into a career as chart-topping radio crooner, Angie is forced into... See full summary »
Emily Blair is rich and deaf. Doctor Vance, who grew up poor in Blairtown, is working on a serum to cure deafness which he tries on Emily. It doesn't work. Her sister is carrying on an ... See full summary »
Eric Busch, a novelist/playwright, and his wife, Janet, go to New York where he arranges to have Matt Saxon, who has a reputation for ruthlessness, produce his play. Saxon insists on so ... See full summary »
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 <email@example.com>
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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