Strong and Moving!

Pretty Good

Just perfect...

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

The opening 40 minutes or so of this film are fantastic. Cooper and Heston are excellent. The sets and special effects are extraordinarily good and exceptionally realistic for the era and everyone should be gripped by this point. We then move to the first and most crippling thorn in the side of this film, Richard Harris. His role is small but important and played with all the subtlety of a lead balloon. With an accent that varies from brummie to cockney to South African (but is defiantly never Irish), he dominates every scene in which he appears in a way that - thanks to his acting - his character somehow never quite manages. We then move to what should appear to be a gripping peak, Cooper's day in court. This is a critical part of the story, but minor sub-plots, instead of being used to build up or sustain the tension, instead provide distractions and disperse much of the energy. The court case which is deliberately anti-climactic should serve to drive the momentum of the story forward, but comes across as a sort of ineffectual interlude until we are allowed to return to the drama of the final reel. Here again all is fine and things begin to build up again until Harris is required to take the menace and terror up a further notch. He fails. There is drama, but it's nothing to what it might have been. The film closes with a nondescript scene tying up loose ends and includes the line "I think perhaps there will be serious charges against the owners in London". Well gosh, really!

***SPOILERS*** Seeing this cargo ship on fire and adrift in the stormy English Channel salvage tugboat Captain of the "Sea Witch" John Sands, Charlton Heston, decided to get on board and investigate to see if anyone is still alive on the boat. To his shock and amazement Sands is attacked, from out of nowhere, by this wild eyed and hysterical man who claims that he's the ship's only survivor! The what seemed like crazy man turned out to be the ship's third mate Gideon Patch, Cary Cooper,and the ship he's now in charge of is the "Mary Deare".Wih the "Mary Deare" taking on water and Sands stranded on it it's now up to Patch to steer it to the safely of the nearest French port. For some strange reason Patch beaches the "Mary Deare" on the treacherous Minquiers, or Minkies in English, coral reef off the Channel Islands! Patch is keeping what he knows about the "Mary Deare" secret planning to reveal what he knows at a naval court of inquiry. What's even more bizarre about Patch's actions he want's the totally ignorant Sands, who just went along for the ride, to play along with him! Even if by doing that would cost him his master ticket to be a ship captain! As we, and Sands, later find out there is a method to Patch's madness in his paranoia of what the purpose behind the "Mary Deare" string of accident that started when it left port in Rangoon Burma. ***SPOILERS***It secretly switched its cargo of jet aircraft engines to another cargo ship docked there. That ship just happened to belong to the Peoples Republic of Communist Red China!Patch knows that as long as the "Mary Deare" remains in tact he can prove that there was a plan by it's owner Grunderson, Peter Illing, to sell its cargo of airplane engines to the Communist Red Chinese and then have the ship sunk by a series of staged accidents by it's officer in charge Captain Taggart. The fact that Patch prevented that from happening has put him on the hot seat for being an incompetent sea captain as well as a possible accomplice, in Captain Taggart's mysterious death, to murder. The only way he can clear his name is have the ship-the "Mary Deare- checked for its cargo that which Patch, by having it stranded on the Minkies, has everyone thinking that it's at the bottom of the English Channel. By having the ship being investigated by a naval board of inquiry would prevent Grunderson's paid off goons lead by Higgins, Richard Harris, from making sure that it, and its missing cargo of jet engines, never get to see the light of day!P.S Even though at first intimidated by his co-star in the film Gary Cooper, whom he idolized, Charlton Heston held his own and in some scenes even eclipsed the legendary two time Academy Award winning actor. The movie turned out to be one of the last films the great Gary Cooper would ever make. Not knowing it at the time Gary Cooper was suffering from the early stages of terminal cancer that would eventually take his life two years later in May 1961 at the age of 60.

John Sands is the captain of a small rescue ship, one night he finds the Mary Deare drifting towards him. Sensing an opportunity for salvage rights, he boards her thinking the crew has long since gone. Yet the Mary Deare has one survivor, the enigmatic first officer Gideon Patch. Patch is acting strange and refuses to make sense when probed by Sands about the events on the ship, but as the two men steady the ship and come together, Sands agrees to keep quiet about the Mary Deare until the official investigation of the incident is heard on dry land.Gary Cooper (Patch) & Charlton Heston (Sands), two giants both in stature and iconic standing, come together here in a drama mystery that is awash with old fashioned values. Based on the Hammond Innes novel, The Wreck Of The Mary Deare fuses action and suspense and then cloaks it in a court room denouement. For practically the first hour of the piece we are left purely in the hands of Cooper and Heston, both men bouncing off each other with acting gravitas born out of sheer hard work, it really is a thrill to witness both men giving gusto.That this film is rarely mentioned in classic circles comes as surprise to me, I can only think that many feel that both the leads here deserved a better project? Maybe that this pairing should have produced a more memorable piece? Yet the film was a positive joy for me, a hark back to days when the effects masters had to graft and sweat for a desired effect, a time when men were men, a time when the likes of Gary Cooper got the job done in spite of illness. Also here a young fresh faced Richard Harris puts down his marker for the future, his Higgins is both arrogant and snide in equal measure. Although the accent is a bit bemusing to myself, it's a memorable turn that delivers all that's required. Emlyn Williams & Michael Redgrave flesh out the solid support, whilst Michael Anderson (The Dam Busters) directs with knowing and careful hands. The film feels as though it was released far earlier than 1959, but that is in no way a bad thing, in fact it's quite a pleasant surprise. 7.5/10

The night scenes are filmed very well but you must see them in wide-screen format or letter-boxed. For example, close scenes inside the ship at night are well filmed and staged, but literally won't make sense if not viewed letter-boxed. The outdoor sea scenes (almost all dark) are awesome, probably better than if they had been computer-generated. But again, the movements of the ships will not make sense if viewed other than letterbox. The story is largely told through movement- of ships, or of men moving around in the dark. I mention this to help any potential viewer.Cooper gives a compelling, desperate performance that makes you really want to watch what happens to his character, Capt. Patch. Also, this is probably the most believable performance by Heston as an ordinary, non-historical, non sci-fi character. I was pleasantly surprised by both Cooper's and Heston's performances. Both performances are essentially very modern-style screen acting, and are not dated after these many years.The supporting roles are undeveloped and one-dimensional, including the role so forcefully played by the young Richard Harris. Its a shame the great Virginia McKenna is so underused here. She could have made the film appeal to a broader-based audience. The other supporting actors (Alexander Knox at his most wooden) don't add to the film. Even if you don't like seafaring stories, watch this for the acting by the two stars, and for the marvelous night cinematography. Film students and buffs should look carefully at the night scenes inside the ship and on the docks. You will see true night cinema work, with perfectly set light meters and minimalist lighting. In other words: nighttime lighting and camera artistry, not gimmicks.