| Photos (See all 15 | slideshow) | Videos (see all 2) |
| Vivien Leigh | ... | Mary Treadwell | |
| Simone Signoret | ... | La Condesa | |
| José Ferrer | ... | Rieber (as Jose Ferrer) | |
| Lee Marvin | ... | Tenny | |
| Oskar Werner | ... | Dr. Schumann | |
| Elizabeth Ashley | ... | Jenny | |
| George Segal | ... | David | |
| José Greco | ... | Pepe (as Jose Greco) | |
| Michael Dunn | ... | Glocken | |
| Charles Korvin | ... | Capt. Thiele | |
| Heinz Rühmann | ... | Lowenthal (as Heinz Ruehmann) | |
| Lilia Skala | ... | Frau Hutten | |
| BarBara Luna | ... | Amparo (as Barbara Luna) | |
| Alf Kjellin | ... | Freytag | |
| Christiane Schmidtmer | ... | Lizzi | |
| Werner Klemperer | ... | Lt. Huebner | |
| John Wengraf | ... | Graf | |
| Olga Fabian | ... | Frau Schmitt | |
| Gila Golan | ... | Elsa | |
| Oscar Beregi Jr. | ... | Lutz (as Oscar Beregi) | |
| Stanley Adams | ... | Professor Hutten | |
| Kaaren Verne | ... | Frau Lutz (as Karen Verne) | |
| Charles De Vries | ... | Johann (as Charles de Vries) | |
| Henry Calvin | ... | Fat Man | |
| Peter Mamakos | ... | Religious Man | |
| Paul Daniel | ... | Carlos | |
| David Renard | ... | Woodcarver | |
| Lydia Torea | ... | Pastora | |
| Rudy Carrela | ... | Ric (as Rudy Carrella) | |
| Silvia Marino | ... | Rac | |
| Anthony Brand | ... | Guitarist | |
| rest of cast listed alphabetically: | |||
| John Alvar | ... | Student (uncredited) | |
| Antonio | ... | Gypsy Dancer (uncredited) | |
| Eddie Baker | ... | Prizak (uncredited) | |
| Vicki Cos | ... | Flamenco dance troupe child (uncredited) | |
| Walter Friedel | ... | Waiter (uncredited) | |
| Steven Geray | ... | Steward aboard Vera (uncredited) | |
| Charles H. Radilak | ... | Headwaiter (uncredited) | |
| Rosario | ... | Carmen - Gypsy Dancer (uncredited) | |
| Bert Rumsey | ... | Second Officer (uncredited) | |
Directed by | |||
| Stanley Kramer | |||
Writing credits | ||
| Katherine Anne Porter | (novel) | |
| Abby Mann | (screenplay) | |
Produced by | |||
| Stanley Kramer | .... | producer | |
Original Music by | |||
| Ernest Gold | |||
Cinematography by | |||
| Ernest Laszlo | |||
Film Editing by | |||
| Robert C. Jones | |||
Production Design by | |||
| Robert Clatworthy | |||
Set Decoration by | |||
| Joseph Kish | |||
Costume Design by | |||
| Bill Thomas | |||
Makeup Department | |||
| Virginia Jones | .... | hair stylist | |
| Ben Lane | .... | makeup supervisor | |
Production Management | |||
| Ivan Volkman | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| John Veitch | .... | assistant director | |
Art Department | |||
| Ernest Graber | .... | property master | |
| Bud Pine | .... | construction coordinator | |
| Harold Michelson | .... | illustrator (uncredited) | |
Sound Department | |||
| James Z. Flaster | .... | sound | |
| Clem Portman | .... | sound re-recordist | |
| Charles J. Rice | .... | sound supervisor | |
| James Richard | .... | sound effects | |
Special Effects by | |||
| John Burke | .... | special effects | |
Visual Effects by | |||
| Farciot Edouart | .... | process photography | |
| Albert Whitlock | .... | special photographic effects | |
Stunts | |||
| Bob Herron | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Dick Johnson | .... | camera operator (as Richard Johnson) | |
| Martin Kashuk | .... | company grip (as Marty Kaschuk) | |
| Seldon White | .... | chief electrician | |
Costume and Wardrobe Department | |||
| Joe King | .... | costume supervisor | |
| Jean Louis | .... | designer: Ms. Leigh's clothes | |
Music Department | |||
| Ned Washington | .... | lyrics | |
| Maury Winetrobe | .... | music editor | |
Other crew | |||
| Marshall Schlom | .... | script supervisor | |
| Boyd Cabeen | .... | stand-in (uncredited) | |
| Michelle Triola | .... | stand-in (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
One of my favorite indulges over the years has been "Ship of Fools," a 1965 glossy, episodic entertainment done strictly grand scale. Based on Katherine Anne Porter's epic novel, the Oscar-nominated "Best Picture" centers on a sundry group of travelers circa 1933 who clash "Grand Hotel" style on a German ocean liner bound, via Mexico, for Germany (and impending doom it would seem) just as strong Nazi sentiment was breeding. The ship becomes a microcosm of pre-WWII life and mores, with a plethora of subplots alternately swelling and ebbing throughout - situations that alter the course of some of its passengers and crew members, for better or worse.
From the clever opening collage of credits (don't miss this part) set to a catchy, flavorful Latin score to its fascinating all-star disembarkation at the end, it's smooth sailing for most of this trip, guided with an assured hand by the always capable Stanley ("Judgment at Nuremberg") Kramer, with certain cast members (Simone Signoret, Oskar Werner, Vivien Leigh, Lee Marvin, Michael Dunn) coming off better than others (José Ferrer, Elizabeth Ashley, George Segal).
A number of compelling vignettes acted out by the choice, eclectic ensemble make up for the sometimes turgid melodramatics that occur on board as our "ship of fools" are forced to examine their own pride and prejudice while victimized by others. Who can forget the tormented Simone Signoret and Oskar Werner (both Oscar-nominated) as the morphine-addicted political prisoner and dutiful ship's physician who provide the film with its most poignant and tragic shipboard romance. Their clandestine encounters are exquisitely written and beautifully realized. Or Vivien Leigh's coy, aging elitist, Mary Treadwell, who delivers a brilliantly despairing monologue in front of a makeup mirror that, in turn, sets up a wildly climactic shoe-bashing scene with Lee Marvin's besotted baseballer when he viciously assaults, then profusely apologizes to the now-humiliated matron after mistaking her in the dark for a cooch dancer. Or José Greco & company's steamy, frenetic flamenco sequence during a raucous, after-hours party. Or dwarf actor Michael Dunn's sublime Greek Chorus that effectively bookends the movie (the Oscar-nominated Dunn subsequently played evil Dr. Loveless on TV's "Wild, Wild West" series). These glorious scenes and more help to balance out the less serviceable ones, particularly those involving Jose Ferrer's boisterous, irritating Nazi bigot who borders on caricature, and Elizabeth Ashley and George Segal's turbulent lovers who come off dull and forced.
Ernest Laszlo's lustrous black-and-white cinematography was suitably Oscar awarded, while the whole look, feel and tone of the movie is decidedly old-style theatre at its best. This movie has remained one of my all-time favorite wallows.