In pre-revolution China an American gunboat (The San Pablo) is sent down the Yangzi river to protect American interests in the area.
One of those films that can viewed in two different ways: As a message picture (mixed race relationships, being on the sharp end of gesture politics, trying to help people that don't want to be helped) or as a simple adventure yarn. The fact that Vietnam was at its height at the time of its release cannot be ignored, but only director Robert Wise can tell us how much it influenced the project.
Steve McQueen puts in his only Oscar-nominated performance as a stoker with a troubled past. He is the voice of reason and valour throughout, believing that the Oriental "coolies" (the locals that do the donkey work) should be given fair treatment. He even gets to like them, resulting in heartbreaking decisions along the way.
Captain of the ship (Richard Creena) is quite excellent too. It would have been easy to have him as the villain of the piece, but he is a man of honour who does the best he can under orders from above. He is prepared to put his own life at risk just as quickly as anybody else's.
Richard Attenborough's performance as Frenchie (who falls in love with a local) is quite the most touching in the picture. Sadly this unbalances it, because it makes the rest of the ship's crew look like cartoons by comparison. The guy is plump, short and his hair is on its last legs, but boy can he move people with his intensity. If he had been given cinematic good looks he could have been one of all time romantic greats!
An impossibly young Candice Bergman puts in appearance as a Missionary and is the one character that doesn't appear on screen too long. While doing little part from mouth her words, the camera takes advantage of her flawless skin, blonde hair, slim model build and high cheekbones. What McQueen sees in her after spending months on end in a dirty ships boiler room, surrounded only by sweaty grunts, is beyond me...
Robert Wise (most famous for the Sound of Music) learnt his trade under the studio system (starting with B's) as opposed to today: where directors learn their trade by waving video cameras at pop stars. Boy does it show.
You go overboard to put all the money on the screen: When you build an expensive set, you make sure it is seen, and if possible, returned to. Angry mobs of (cheap) extras are poised ready to appear at every appropriate/inappropriate moment. When places are real locations you let the camera linger until the word "real location" is registered with the slowest wit in the audience.
You make everything as clear and obvious as you can and you light the set as if it was your prize Rembrant painting - even if its is supposed to be a back street dive!
Naturally not everyone appreciates this film-convenience world. Certainly it makes this film go on too long and passages drag and repeat. We know the crew don't consider the locals equals - now lets move on shall we? But the film does speed up towards the end to an exciting climax that cements the main characters as men of dignity, intelligence and honour.
If you are a fan of Steve McQueen it would be silly not have witnessed his best screen work; although the film does outstay its welcome by at least half an hour...
One of those films that can viewed in two different ways: As a message picture (mixed race relationships, being on the sharp end of gesture politics, trying to help people that don't want to be helped) or as a simple adventure yarn. The fact that Vietnam was at its height at the time of its release cannot be ignored, but only director Robert Wise can tell us how much it influenced the project.
Steve McQueen puts in his only Oscar-nominated performance as a stoker with a troubled past. He is the voice of reason and valour throughout, believing that the Oriental "coolies" (the locals that do the donkey work) should be given fair treatment. He even gets to like them, resulting in heartbreaking decisions along the way.
Captain of the ship (Richard Creena) is quite excellent too. It would have been easy to have him as the villain of the piece, but he is a man of honour who does the best he can under orders from above. He is prepared to put his own life at risk just as quickly as anybody else's.
Richard Attenborough's performance as Frenchie (who falls in love with a local) is quite the most touching in the picture. Sadly this unbalances it, because it makes the rest of the ship's crew look like cartoons by comparison. The guy is plump, short and his hair is on its last legs, but boy can he move people with his intensity. If he had been given cinematic good looks he could have been one of all time romantic greats!
An impossibly young Candice Bergman puts in appearance as a Missionary and is the one character that doesn't appear on screen too long. While doing little part from mouth her words, the camera takes advantage of her flawless skin, blonde hair, slim model build and high cheekbones. What McQueen sees in her after spending months on end in a dirty ships boiler room, surrounded only by sweaty grunts, is beyond me...
Robert Wise (most famous for the Sound of Music) learnt his trade under the studio system (starting with B's) as opposed to today: where directors learn their trade by waving video cameras at pop stars. Boy does it show.
You go overboard to put all the money on the screen: When you build an expensive set, you make sure it is seen, and if possible, returned to. Angry mobs of (cheap) extras are poised ready to appear at every appropriate/inappropriate moment. When places are real locations you let the camera linger until the word "real location" is registered with the slowest wit in the audience.
You make everything as clear and obvious as you can and you light the set as if it was your prize Rembrant painting - even if its is supposed to be a back street dive!
Naturally not everyone appreciates this film-convenience world. Certainly it makes this film go on too long and passages drag and repeat. We know the crew don't consider the locals equals - now lets move on shall we? But the film does speed up towards the end to an exciting climax that cements the main characters as men of dignity, intelligence and honour.
If you are a fan of Steve McQueen it would be silly not have witnessed his best screen work; although the film does outstay its welcome by at least half an hour...