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14
National Board of Review Magazine
without Smitty, without Drisc, but essentially always the same.
But there is a rare lot of characters aboard the Glencairn, and whatever end they come to it is their daily lives that give this picture its unusual c]uality. Down in the focsle, on wave-swept decks, wherever they are caught, there's color to them, and real blood in them. Thomas Mitchell, John Wayne, Ward Bond, and those three Irishmen Ford uses whenever he can, Fitzgerald Shields and Kerrigan — they're the right actor stuff for the rough but sentimental fellows that always come out so vividly under Ford's direction. Their fights and loyalties and tempers and easy tears fill up a day-to-day life that is vigorously human. Other people come in : the officers (and the Captain, done by Wilfred Lawson, is another staunchly acted character) ; the tropical women who point up briefly the woman-less world of these men at sea ; the sinister figures in the port, creeping out of
dark places to prey on the paid-off sailors. But it is the men of the focsle, whom we know only by nicknames, so different and so alike, who make the ship alive, and its voyage irteresting.
Ford always appears to like getting away from conventional stories, and every so often he does it by telling a story without any M'omen in it. There was Men Without Women, and Tlie Lost Patrol. In this kind of story he always goes back more noticeably to movie fundamentals : action to look at, supplemented wherever it is effective by sound but with never any more talk than the needs of plot or the expression of character require. For Ford learned his mastery before the sound-track came in, and when he does a picture for the love of it rather than as an assignment, he instinctively makes the camera the chief instrument of his picture-making.
Rated Exceptional J.S.H.
A draiiiotic iiioiiiciif in "They Kiiczi' What They Wanted'