just watch it!

A Brilliant Conflict

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

This film was made when all the cast were truly at their peak. I simply love it. The stars all look so young and glamorous, Paulette Goddard was for me the stand out actress. In my humble opinion Paulette has been overlooked by so many people, she was a beautiful gorgeous star. When they released this movie I think it was a real shame they didn't promote her name on the sleeve. They chose to put Susan Hayward's name instead and she didn't even have a big part to play! To be honest it wasn't the first time they put Paulette's name last. Paulette was the star of the movie. She was such a gifted actress who could turn herself to comedy or drama as the need arises.

These were easy times for Cecil B. DeMille. The lavish epic was once more acceptable Hollywood fare, although still rare enough to minimise competition, and there was also a good crop of bankable stars – action men and shrewish tomboys – who fitted into DeMille's world. For a short time, DeMille could just churn them out and rake in the profits. It's a pity. He was so much better when there was a bit of pressure on him.This is not to say that DeMille was doing his own job badly. He always was a superb director, although he is rarely recognised as one. In another age DeMille might have been a great painter, most likely in the romanticist style of the early 19th century. With the nautical theme of Reap the Wild Wind his shots are appropriately reminiscent of the works of Turner and Gericault, with storm clouds, ropes and derelict sailors in dynamic tableaux. He also finds room for more delicate compositions, such as those in the sumptuous riverboat scenes. A particular favourite of mine is the one of Susan Hayward trying on the green shawl in the hold of the Southern Cross. The mass of cargo is all dull browns and greys, but Hayward shines like a jewel in a tiny corner of the screen. As well as being a gorgeous shot this is also a functional one, as it's important we remember this moment. DeMille's long-time collaborator Victor Milner deserves an honourable mention for his cinematography, which completes the painterly feel of the arrangements.DeMille's real problem is that he had a bunch of incompetents in the screen writing department. The men behind Reap the Wild Wind are usual suspects Alan Le May, Charles Bennett and Jesse Lasky Jr., and their story is pure B-Movie twaddle, with dull characters and feeble dialogue. Ray Milland's dog ventriloquism act is one of the oddest and least effective attempts to make a character likable I have ever seen. At least John Wayne is likable because he's John Wayne, as there is nothing in the screenplay to make him appealing. The action sequences have an almost cartoonish quality to them – for example a bunch of baddies having a big net dropped on them.But at least this is a good cast… isn't it? Well yes, but DeMille had this uncanny knack of making good casts look mediocre. Ray Milland gives an exceptionally bland performance, and it's almost impossible to believe he is the same man who won an Oscar in The Lost Weekend. Paulette Godard is reduced to a mere stereotype of herself. Thankfully John Wayne manages to find something in his character that wasn't in the script, and gives a reasonably tortured performance. Susan Hayward looks like she might have been quite good but we don't really see enough of her to find out for sure. The only other player of note is Robert Preston, who does a fine job getting all red-faced and emotional in the courtroom scene.As ever, DeMille was the shrewd businessman, and the secret of his success was largely chasing public interest. Here you can see him going after the Errol Flynn/Tyrone Power swashbuckling vote. There are also some fairly obvious attempts to cash in on Gone with the Wind-fever, with the antebellum south setting and Louise Beavers as a rather unimaginative rip-off of Hattie McDaniel's Mammy. But more than ever it looks as if DeMille is doing a desperate knock-off rather than leading the pack. Reap the Wild Wind can be enjoyed as a series of beautiful images, but has little else of salvageable value.

I don't know of any other Wayne film before the forgettable '47 "Tycoon" that was filmed in color. After his epic B&W western "Union Pacific", DeMille had the clout to insist all his future works be filmed in Technicolor: a rare luxury treatment in the early and mid'40s. Color films didn't become dominate until competition from TV forced Hollywood to provide more reasons for people to watch films in theaters instead of on TV, as color TVs didn't become common until the '60s. This film is perhaps my favorite Wayne flick(if we can consider it a Wayne film, as he didn't get top billing). I've seen it several times. The Technicolor treatment is certainly one reason, but I'm also hooked on DeMille's better films(In spite of several other fine '39 westerns, "Union Pacific" is my clear favorite for that year). The general style of the present film apes that of "Gone with the Wind", to which it is often disparagingly compared. I've never been a big fan of the latter. If given a choice, I would see DeMille's film again. It is also commonly compared to Wayne's latter film,"The Wake of the Red Witch", which I have not seen, but is said to be largely a reworked version of the present film.Considering the age of this film, I thought the DVD transfer quality excellent, with vivid colors. From the included background extras, we learn that much of the shooting took place on location in Charleston and the Key West area. However, the under water scenes were done in a huge tank. Both Paulette Goddard and Susan Hayward tried out for the role of Scarlett in "Gone with the Wind". It is speculated that Ms. Goddard lost out partly because of her uncertain official relationship with her lover of recent years, Charlie Chaplin. By the time the present film was begun, this relationship was over.There are many complexities to this film and so many interesting, if sometimes stock, characters. I thought all the main characters and most of the supporting characters were well cast. Captain Jack and Steve Tolliver seemed destined to be at each other's throats throughout the story. Yet, occasionally they fought together against a common enemy and helped the other in a desperate situation. Captain Jack is a tragic character, sometimes in hot water through no fault of his own, yet performing a dastardly deed to help win his love that precipitates the demise of many of the main characters. Raymond Massey sheds his Lincoln and John Brown images to become an engaging masterful villain. I found his performance in the courtroom, as Captain Jack's lawyer, riveting. In fact, the whole courtroom scene was masterfully done. In one of the many convoluted relationships, Susan Hayward's character falls for Massey's handsome younger brother, who lives in his brother's shadow as a marginal villain. This romance, on the sneak, will become central to the tragic and redemptive events near the end of the story. I thought the talking dog and mischievous pet capuchin served well to provide some comic relief. I also enjoyed Lynne Overman's portrayal of Captain Phil, a classic old salt and grandfatherly figure. My main gripe is I didn't like the ending: the parting scene specifically. It just didn't ring plausible or just.

I was eight years old when I first saw this movie on the big screen in 1942. It was my first color movie and the scenes with the giant octopus gave me nightmares for a long time after. Today I still enjoy the film for its beautiful color photography, exciting sea scenes and fine performances from Ray Milland and John Wayne. Wayne is unjustly accused of causing his ship to sink for profit. The story unfolds as he tries to clear his name .Paulette Goddard provides the love interest. The film never drags,whether on land or at sea where some of the most exciting action takes place.The underwater scenes,especially the finale ,are memorable. Supporting cast, score and special effects are all top notch.DeMille directs in his usual showman style. A fine effort from all concerned.