Jim Knight is the captain of a ship trading in the South Seas. He runs into trouble when he makes port at an island where crooks Malone and Ross hold the natives under their cruel ... See full summary »
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Jim Knight is the captain of a ship trading in the South Seas. He runs into trouble when he makes port at an island where crooks Malone and Ross hold the natives under their cruel domination while they seek a fortune in pearls. Knight and his crew are taken prisoners and he falls for native princess Mareva, and her non-plump charms are more than enough motivation for Knight to put an end to Malone and his henchmen, and also the the greedy police commissioner Lamoret. Written by
Les Adams <email@example.com>
1957's "Hell Ship Mutiny" has been described as looking like three TV pilots strung together, and with two directors listed its presence as a Republic release may just solidify that perception. Jon Hall, his acting career winding down (just two more features ahead), his TV series RAMAR OF THE JUNGLE long past, actually helped build up his father's acting career, as Swiss-born Felix Locher went on to do "Curse of the Faceless Man," "Frankenstein's Daughter," "House of the Damned," and STAR TREK's "The Deadly Years." Having opposed each other in "The Hurricane" and "The Invisible Man's Revenge," Hall and John Carradine are nearly the whole show in these poverty stricken circumstances, until Peter Lorre joins them in the third act, as a corrupt French judge whose interest in pearls almost equals Carradine's. Still looking fit and trim at 43, Jon Hall makes for a stolid hero, this vehicle designed to show off his underwater cinematography, but its shipboard intrigues remain claustrophobically studio bound, the final battle beneath the sea rendered an unwatchable bore (the multi expensive James Bond film "Thunderball" encountered the same problem). Lorre is underused but amusing, as usual, so it's up to the mustachioed Carradine to carry the perfunctory villainy; you can't be very effective if a tired Jon Hall can defeat you three times in the course of a 66 minute excuse for a feature. Carradine had previously crossed swords with Peter Coe in 1944's "House of Frankenstein," while going back to the old contract days at 20th Century-Fox with Peter Lorre, equally memorable as hobos in "I'll Give a Million" (together again even in Lorre's last film, 1964's "The Patsy").
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