I had the opportunity to view a beautifully crisp and clear 35mm print (from the camera negative) of this film at the Academy Film Archive in Hollywood. Unfortunately this particular print was missing the last reel, so the inevitable mutiny at sea was left to the imagination.
The story, adapted from a 1922 novel by Norman Springer, is a typical adventure yarn, populated by types instead of characters, with no deeper meaning than simply providing a summer afternoon's worth of entertainment. Eighty years after its release, the film still delivers on that front. Effectively directed by George Seitz, it exhibits some fine camera work in the ship scenes and even a bit of atmospheric lighting. Violence occurs frequently but not explicitly (the camera typically cuts away when the beatings and floggings begin).
What today's viewers will notice, however, are the very "un-PC" ethnic stereotypes delivered through the intertitles. "Swedish" and "black English" accents are conveyed through irregular orthography, allowing the viewer who can sound out these spellings to "hear" the characters. The film should also be of special interest to those tracing the Hollywood depiction of African Americans. Edgar "Blue" Washington, appearing here in one of his first films, plays a character called only "A Negro," but who has a significant role in the story. In fact, I would call him the outstanding performer of the film. While it is true that the story at first cannot seem to get past his race, he develops into a noble, loyal, and even *brave* character by the seventh reel. I wish I could comment on his role in the mutiny, but I have not yet seen the final reel.
The other players are competent in their roles. Hobart Bosworth, the ostensible star of the picture, is an old pro at playing salty sea types. James Walter, as his sadistic nemesis Captain Swope, provides the right amount of villainous snarl while avoiding camp. Richard Arlen looks rough-and-ready, but is saddled with the supporting role of the lovestruck boy instead of the strapping hero and therefore has little to do. The lovely Jacqueline Logan (whom 1927 audiences had recently seen as Mary Magdalene in Cecil B. DeMille's The King of Kings) fills the shoes of the token lone-girl-on-the-ship, who of course falls for Arlen's character, the best looking of the sea swabs.
Silent film fans familiar with Paramount's 1926 Old Ironsides may note similarities here. Considering Columbia Pictures' fledgling status in 1927 (essentially a Poverty Row studio), the end result is a more than adequate attempt to produce a picture worthy of comparison with that of the other big Hollywood studios of its day.
The story, adapted from a 1922 novel by Norman Springer, is a typical adventure yarn, populated by types instead of characters, with no deeper meaning than simply providing a summer afternoon's worth of entertainment. Eighty years after its release, the film still delivers on that front. Effectively directed by George Seitz, it exhibits some fine camera work in the ship scenes and even a bit of atmospheric lighting. Violence occurs frequently but not explicitly (the camera typically cuts away when the beatings and floggings begin).
What today's viewers will notice, however, are the very "un-PC" ethnic stereotypes delivered through the intertitles. "Swedish" and "black English" accents are conveyed through irregular orthography, allowing the viewer who can sound out these spellings to "hear" the characters. The film should also be of special interest to those tracing the Hollywood depiction of African Americans. Edgar "Blue" Washington, appearing here in one of his first films, plays a character called only "A Negro," but who has a significant role in the story. In fact, I would call him the outstanding performer of the film. While it is true that the story at first cannot seem to get past his race, he develops into a noble, loyal, and even *brave* character by the seventh reel. I wish I could comment on his role in the mutiny, but I have not yet seen the final reel.
The other players are competent in their roles. Hobart Bosworth, the ostensible star of the picture, is an old pro at playing salty sea types. James Walter, as his sadistic nemesis Captain Swope, provides the right amount of villainous snarl while avoiding camp. Richard Arlen looks rough-and-ready, but is saddled with the supporting role of the lovestruck boy instead of the strapping hero and therefore has little to do. The lovely Jacqueline Logan (whom 1927 audiences had recently seen as Mary Magdalene in Cecil B. DeMille's The King of Kings) fills the shoes of the token lone-girl-on-the-ship, who of course falls for Arlen's character, the best looking of the sea swabs.
Silent film fans familiar with Paramount's 1926 Old Ironsides may note similarities here. Considering Columbia Pictures' fledgling status in 1927 (essentially a Poverty Row studio), the end result is a more than adequate attempt to produce a picture worthy of comparison with that of the other big Hollywood studios of its day.
