Movie Review: The Ghost Ship (1943)

The Ghost Ship (1943) directed by Mark Robson

Fresh from school, Tom Merriam (Russell Wade) signs on as third officer on the Altair, a cargo ship. The captain, Will Stone (Richard Dix), takes an immediate liking to Tom, seeing him as a younger version of himself. Both are popular with the crew, though most of the crew are new. Captain Stone shares some odd theories about authority, especially his wide-ranging authority as ship's captain. Tom starts to worry as small events reveal the crumbling sanity of the captain. The situation gets worse when Tom confronts the captain, who shows his true nature. The rest of the crew don't know all the details that Tom does, so they side with the captain. Tom becomes more isolated and vulnerable as the ship sails on. Soon enough, he is fearing for his life.

The movie is particularly effective because of Dix's performance as the captain and how well-written his character is. At first, he seems reasonable and genial, with only hints of oddness. And he does at times try to fight against going crazy, but it's a losing fight. Tom's slow realization is rational and makes sense to viewers. The crew's isolation of Tom also makes sense due to their lack of information that Tom has. The only odd element is the title, which hints at a supernatural presence that is just not there. Famously, producer Val Lewton was often given a title and then expected to come up with a movie based on that. This movie not only had the random title, but also a hand-me-down set from RKO's big-budget feature Pacific Liner. Lewton makes good use of the sets if not the title.

Recommended.

Movie Review: The Seventh Victim (1943)

The Seventh Victim (1943) directed by Mark Robson

Boarding school student Mary (Kim Hunter) is called into the office for trouble. Her tuition hasn't been paid in six months. Her sister Jacqueline (Jean Brooks) lives in New York City and owns a cosmetics company. But she hasn't paid the tuition or been in contact for the six months. Mary decides to go to New York to look for her sister. She makes a lot of surprising discoveries--her sister sold the company, got married, and was involved in a Greenwich Village cult! The cult turns out to be Satan worshippers, though they are hardly costumed, chanting, raving lunatics. They look very mundane but they are after Jacqueline, the titular seventh victim of their cult.

The story moves in fits and starts with lots of strange events. The terror slowly builds as more information comes in and the awfulness of the situation grows worse and worse. Weirdly, Dr. Judd (Tom Conway) from Cat People is in the movie, so this must be set earlier, though it is hardly a prequel. Conway gives a good performance and his character is smarmy as ever. Brooks also gives a great performance as a world-weary and frightened woman. The movie looks great, with lots of stylish direction and fascinating locations--film noir galore. The understated performances give realism to the story. The theme is rather bleak and pessimistic, all the way to the end. I don't agree with the world view presented here but I appreciate the well-crafted work.

Recommended.

Movie Review: Bedlam (1946)

Bedlam (1946) co-written and directed by Mark Robson

In 1761, the infamous mental hospital St. Mary's of Bethlehem Asylum is known as Bedlam. It's run by Sims (Boris Karloff), a toadying, frustrated man who sucks up to the nobility (his benefactors, including the easily manipulated Lord Mortimer (Billy House)). By contrast, he is harsh and cruel to the inmates. He faces a big challenge when Lord Mortimer's protege, Nell Bowman (Anna Lee), finds him a bit repulsive and decides to visit the asylum. Her sassy and mocking tone changes when she sees the conditions of the inmates. She is even more repulsed. Nell convinces Mortimer to provide funds for reforms, like decent food and actual beds for the inmates. She convinces Mortimer until Sims catches his ear and convinces Mortimer that the expense will cut into his cosy lifestyle. Sims's cruelty doesn't end there--he convinces Mortimer to strip her of his patronage and eventually commit her to Bedlam. Her haughtiness gives way to her better nature as she tries to help out the inmates even as she is one of them.

The movie is a fascinating study in contrasts. Both Sims and Nell are sharp-witted and given to disdain for others. But Sims is fully committed to securing his own position while Nell learns to help out others in any way she can. She's inspired by a Quaker stonemason who wants to do some work at the asylum. He too is horrified by the conditions but is true to his faith and refuses to disdain others or participate in the corruption of Bedlam. He pushes Nell in the right direction and provides minor support throughout the film (and eventually winds up as a sort of love interest for her, though that is very minimal and feels tagged on to meet Hollywood expectations). Nell's influence on the other inmates inspires them to stand up for themselves in a critical moment. She makes a great heroine against Karloff's evil scheming.

The acting is very good. Anna Lee holds her own in scenes with Karloff, which is no small accomplishment. The other actors give fine performances, not going too over-the-top as the "loonies" or too detached from reality as the aristocratic class.

The sets mimic the Hogarth paintings (a set known as "The Rake's Progress) from which the story is inspired. The DVD has an interesting commentary by a film historian, including details about Hogarth, Karloff, Lee, director Mark Robson, and producer Val Lewton.

Recommended.

The movie is available as a horror double-feature in the Val Lewton collection along with Isle of the Dead.