Ship of Fools (1965)

Director:

Stanley Kramer

Writers:

Katherine Anne Porter (novel)
Abby Mann (screenplay)

Release Date:

October 1965 (Austria)

Genre:

Drama | Romance | War

Tagline:

EXPLORER, MISTRESS, VAGRANT, LOAFER, ARTIST, TRAMP ... THEY ARE ALL AT THE CAPTAIN'S TABLE!

Plot:

Passengers on a ship traveling from Mexico to Europe in the 1930s represent society at large in that era...

Plot Keywords:

Traveling | Ship | Ship's Doctor | 1930s | Racism

Awards:

Won 2 Oscars. Another 2 wins & 13 nominations

Cast

Vivien Leigh	...	Mary Treadwell
Simone Signoret	...	La Condesa
José Ferrer	...	Rieber (as Jose Ferrer)
Lee Marvin	...	Tenny
Oskar Werner	...	Dr. Schumann
Elizabeth Ashley	...	Jenny
George Segal	...	David
José Greco	...	Pepe (as Jose Greco)
Michael Dunn	...	Glocken
Charles Korvin	...	Capt. Thiele
Heinz Rühmann	...	Lowenthal (as Heinz Ruehmann)
Lilia Skala	...	Frau Hutten
Barbara Luna	...	Amparo
Alf Kjellin	...	Freytag
Christiane Schmidtmer	...	Lizzi

Runtime:

149 min

Country:

USA

Language:

English | German | Spanish

Color:

Black and White

Sound Mix:

Stereo

Certification:

Canada:PG (Ontario) | UK:12 (2007) | UK:A (1965) | Finland:K-16 | Sweden:15 | Spain:7

Company:

Stanley Kramer Productions

Trivia:

Vivien Leigh's last film.

Goofs:

Continuity: As the passengers disembark at the end, Johann pauses on the steps to watch Amparo walk by, when Tenny appears walking down the steps behind Johann. Immediately the film cuts to a shot of the gangplank above, where Tenny is seen just leaving the ship.

Quotes:

Jenny Brown: I think that David thinks a woman should follow three paces behind with slippers.
Mary Treadwell: Men usually do.

Movie Connections:

Referenced in "The Nanny: Ship of Fran's (#3.26)" (1996)

Soundtrack:

Heute abend geh'n wir bummeln auf der reeperbahn

A grand, glossy excursion, with a flavorful international cast keeping the weighty boat afloat.

One of my favorite indulges over the years has been "Ship of Fools," a 1965 glossy, episodic entertainment done strictly grand scale. Based on Katherine Anne Porter's epic novel, the Oscar-nominated "Best Picture" centers on a sundry group of travelers circa 1933 who clash "Grand Hotel" style on a German ocean liner bound, via Mexico, for Germany (and impending doom it would seem) just as strong Nazi sentiment was breeding. The ship becomes a microcosm of pre-WWII life and mores, with a plethora of subplots alternately swelling and ebbing throughout - situations that alter the course of some of its passengers and crew members, for better or worse.

From the clever opening collage of credits (don't miss this part) set to a catchy, flavorful Latin score to its fascinating all-star disembarkation at the end, it's smooth sailing for most of this trip, guided with an assured hand by the always capable Stanley ("Judgment at Nuremberg") Kramer, with certain cast members (Simone Signoret, Oskar Werner, Vivien Leigh, Lee Marvin, Michael Dunn) coming off better than others (José Ferrer, Elizabeth Ashley, George Segal).

A number of compelling vignettes acted out by the choice, eclectic ensemble make up for the sometimes turgid melodramatics that occur on board as our "ship of fools" are forced to examine their own pride and prejudice while victimized by others. Who can forget the tormented Simone Signoret and Oskar Werner (both Oscar-nominated) as the morphine-addicted political prisoner and dutiful ship's physician who provide the film with its most poignant and tragic shipboard romance. Their clandestine encounters are exquisitely written and beautifully realized. Or Vivien Leigh's coy, aging elitist, Mary Treadwell, who delivers a brilliantly despairing monologue in front of a makeup mirror that, in turn, sets up a wildly climactic shoe-bashing scene with Lee Marvin's besotted baseballer when he viciously assaults, then profusely apologizes to the now-humiliated matron after mistaking her in the dark for a cooch dancer. Or José Greco & company's steamy, frenetic flamenco sequence during a raucous, after-hours party. Or dwarf actor Michael Dunn's sublime Greek Chorus that effectively bookends the movie (the Oscar-nominated Dunn subsequently played evil Dr. Loveless on TV's "Wild, Wild West" series). These glorious scenes and more help to balance out the less serviceable ones, particularly those involving Jose Ferrer's boisterous, irritating Nazi bigot who borders on caricature, and Elizabeth Ashley and George Segal's turbulent lovers who come off dull and forced.

Ernest Laszlo's lustrous black-and-white cinematography was suitably Oscar awarded, while the whole look, feel and tone of the movie is decidedly old-style theatre at its best. This movie has remained one of my all-time favorite wallows.