Three vignettes of old Irish country life, based on a series of short stories. In "The Majesty of the Law," a police officer must arrest a very old-fashioned, traditional fellow for assault... See full summary »
Aboard the freighter Glencairn, the lives of the crew are lived out in fear, loneliness, suspicion and cameraderie. The men smuggle drink and women aboard, fight with each other, spy on each other, comfort each other as death approaches, and rescue each other from danger.Written by
Jim Beaver <firstname.lastname@example.org>
This is one of two dozen Walter Wanger/Harry Sherman/Cinema Guild productions, originally released by United Artists, re-released theatrically in 1948 by Masterpiece Productions and ultimately sold by them for television broadcast in 1950. It was initially telecast in Albuquerque Tuesday 20 June 1950 on KOB (Channel 4), in Detroit Sunday 9 July 1950 on WXYZ (Channel 7), in Phoenix Sunday 16 July 1950 on KPHO (Channel 5), in Chicago Monday 31 July 1950 on WENR (Channel 7), in Philadelphia Saturday 5 August 1950 on WFIL (Channel 6), in Los Angeles Sunday 27 August 1950 on KTLA (Channel 5), in Boston Sunday 1 October 1950 on WNAC (Channel 7), in Cincinnati Saturday 7 October 1950 on WKRC (Channel 11), in New York City Monday 9 October 1950 on WOR (Channel 9), in Pittsburgh Friday 19 January 1951 on WDTV (Channel 3), and in San Francisco Saturday 3 March 1951 on KGO (Channel 7). See more »
Wilfrid Lawson's name is spelled Wilfred in the opening credits, but is spelled correctly in the end credits. See more »
This film is all that a film should be for it dictates that the human condition is in itself dramatic and tragic enough without exaggerated theatrics. This sea tragedy needs no iceberg. What it does contain is excellent cinematography by Gregg Toland, superb direction by John Ford and a superior script based on the plays of Eugene O'Neill. The drama developes simply from a ship being in the war zone during World War Two with a full cargo of ammunition and no escort or weapon for protection--just a twenty-five percent bonus for the crew. The acting is about as good as acting can be: Arthur Shields (as Donkey Man) and Thomas Mitchell (as Aloysius Driscoll) never waver in the characters they portray. They are, without question, so realistic that they live beyond the movie. In effect, they are more than characters on film, they are universal humans trying to make order out of chaos, even if they must create chaos to do so. The main character is the "Glencairn" itself, the ship in the film. Like Greek tragedy, it is the chorus about which the dramatic action occurs. The long voyage home for some of the characters goes on and on, but the long voyage for the "Glencairn" continues like so many other rust buckets. In World War Two, constant danger and possible disaster waited just outside every harbor.
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