Captain Lovett ordered his first mate Thompson to get rid of his slave-trading crew and get a more respectable bunch for standard shipping, but when he brings his new bride Nancy aboard he ...
See full summary »
One More Spring is a 1935 film about three people (Janet Gaynor, Warner Baxter, and Walter Woolf King) living together in the maintenance shed at Central Park as an alternative to living on... See full summary »
Walter Woolf King
Blake is in love with an aristocratic woman whose husband seriously injures him. Blake's friendship with Lord Nelson provides the basis for Blake's part in the growth of Lloyd's insurance ... See full summary »
In the border town of Nogales, Arizona, a wealthy attorney and rancher is solicited by his escaped convict brother in aiding him to cross the border into Mexico where his wife and children are living in poverty.
English nurse Edith Cavell is matron in a small private hospital in German-occupied Brussels during WWI. When the son of a recently deceased patient escapes from a German prisoner-of-war ... See full summary »
Edna May Oliver,
Captain Lovett ordered his first mate Thompson to get rid of his slave-trading crew and get a more respectable bunch for standard shipping, but when he brings his new bride Nancy aboard he finds the same old setup, including slave trade.Written by
Ed Stephan <email@example.com>
Wallace Beery was notoriously abusive to the juvenile performers he worked with. For one scene in "Slave Ship" he had to slap his 16 year-old co-star Mickey Rooney in the face. Beery didn't fake the action and, without warning, slapped Rooney so hard he was knocked to the floor, spoiling the take and causing outrage among the crew. Director Tay Garnett took Beery aside and told him that everyone on the set loved Rooney, and that it would be most unfortunate if some lighting equipment were to "accidentally" fall on Beery's head. Beery got the message and behaved himself for the rest of the shoot. Interestingly, Rooney was one of the very few actors to work with Beery who later expressed no resentment towards him. He said, "Not everyone loved him the way I did." See more »
In 1860, a mutinous crew forces the captain of a former SLAVE SHIP to return to Africa for another highly profitable human cargo.
Sadly neglected, this is a film with some very good elements indeed. Stirring action, a little romance, a dose of humor and a social conscious are among its strengths. Although the opening shipyard scenes have a rather lean feel to their production values - with the sparse crowd of extras and the rear projection - once the plot moves to shipboard & Africa the film's quality kicks into high gear. The climax, with its gunplay & explosions, is especially exciting. The tying of the slaves to the anchor chain - a horrendous scene - anticipates AMISTAD by about 60 years.
The acting is quite good. Warner Baxter nicely underplays his role as the slaver captain who reforms upon marrying lovely Elizabeth Allan. Rumpled Wallace Beery as the First Mate & spunky Mickey Rooney as a disillusioned cabin boy are a great acting team and tremendous fun to watch. Beery was an actor who could steal a scene from anyone (except the late Marie Dressler), but he almost meets his match in Rooney. The Kid shows the vivacity & talent which would soon catapult him to Hollywood's top box office star.
Joseph Schildkraut scores in a flamboyant role as a foreign slave trader. Jane Darwell is funny in her few moments as Miss Allan's tough old mother. George Sanders plays a sophisticated mutineer & Edwin Maxwell is a nervous auctioneer. The massive Jane Jones is striking - literally - as a Virginia saloonkeeper who refuses to take nonsense from anyone.
In unbilled roles, movie mavens should recognize Lon Chaney, Jr. as a most unfortunate dock worker, and young Matthew `Stymie' Beard, of OUR GANG fame, as a boy on the wharf.
It is ironic, even with the film's sentiment for decent behavior towards Blacks, that 1930's Hollywood was still utterly racist and did not promote equal treatment for African-American performers (Asian actors fared little better). The Studios were still very segregated, Black & White stars rarely socialized on an equal footing, and racial stereotypes abounded in the movie plots. Only occasionally did Black performers' names appear in the credits and then usually at the bottom of the list. SLAVE SHIP preaches a good sermon, but the Hollywood congregation still needed to wake up & deal with its own intolerant behavior.
15 of 18 people found this review helpful.
Was this review helpful to you?
| Report this