Reap The Wild Wind (1942)

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    There are 86 replies in this Thread. The last Post () by lasbugas.

    • Reap The Wild Wind (1942)



      Photo with the courtesy of lasbugas


      Plot Summary
      Clipper ships taking the shortest route between the Mississippi and the Atlantic
      often end up on the shoals of Key West in the 1840s.
      Salvaging the ships' cargos has become a lucrative business for two companies --
      one headed by a feisty young woman.
      Then she falls in love with the captain of a wrecked ship while he recuperates at her home.
      She travels to Charleston and is charming to the man most likely to be head of the captain's company,
      thinking she will be able to get the captain the position he wants on the company's first steam ship.
      Summary written by Dale O'Connor

      Full Cast
      Ray Milland .... Mr. Stephen 'Steve' Tolliver
      John Wayne .... Captain Jack Stuart
      Paulette Goddard .... Loxi Claiborne
      Raymond Massey .... King Cutler
      Robert Preston .... Dan Cutler
      Lynne Overman .... Capt. Phillip 'Phil' Philpott
      Susan Hayward .... Cousin Drusilla Alston
      Charles Bickford .... Bully Brown (mate of the Tyfib)
      Walter Hampden .... Cmmdre. Devereaux
      Louise Beavers .... Maum Maria, the Claiborne Maid
      Martha O'Driscoll .... Ivy Devereaux
      Elisabeth Risdon .... Mrs. Claiborne
      Hedda Hopper .... Aunt Henrietta Beresford
      Victor Kilian .... Mathias Widgeon
      Oscar Polk .... Salt Meat
      Janet Beecher .... Mrs. Mottram
      Ben Carter .... Chinkapin
      William 'Wee Willie' Davis .... The Lamb (as William Davis)
      Lane Chandler .... Sam
      Davison Clark .... Judge Will Marvin
      Louis Merrill .... Captain of 'Pelican' (as Lou Merrill)
      Frank M. Thomas .... Dr. Jepson
      Keith Richards .... Capt. Carruthers
      Victor Varconi .... Lubbock (Cutler henchman)
      J. Farrell MacDonald .... Port Captain
      Harry Woods .... Mace, Cutler Henchman
      Raymond Hatton .... Master Shipwright
      Milburn Stone .... Lt. Farragut
      Dave Wengren .... 'Claiborne' lookout
      Tony Paton .... Cadge
      Barbara Britton .... Charleston Lady
      Julia Faye .... Charleston Lady
      Ameda Lambert .... Charleston Lady
      D'Arcy Miller .... Charleston beau
      Bruce Warren .... Charleston beau
      Eric Alden .... Slim ('Falcon' crewman) (uncredited)
      Richard Alexander .... Stoker Boss (uncredited)
      C.E. Anderson .... Juror (uncredited)
      George Anderson .... Jailer (uncredited)
      James O. Anderson .... Call boy in cafe (uncredited)
      Stanley Andrews .... Turnkey (uncredited)
      Sam Appel .... Juror (uncredited)
      Gertrude Astor .... Woman (uncredited)
      George Barton .... Joe, 'Falcon' Crewman (uncredited)
      Colin Blair .... Guest in Ballroom (uncredited)
      Monte Blue .... Officer at Tea (uncredited)
      Sven Hugo Borg .... Blackie, 'Falcon' Crewman (uncredited)
      Edward Brady .... 'Pelican' Crewman (uncredited)
      Al Bridge .... Cutler Man in Barrel Room (uncredited)
      George Bruggeman .... Gus, 'Claiborne' Crewman (uncredited)
      Stella Mary Burgess .... Guest in Ballroom (uncredited)
      William Cabanne .... Guest at Ball (uncredited)
      Wheaton Chambers .... Lawyer (uncredited)
      Jack Chapin .... Clem, 'Claiborne' Pump Man (uncredited)
      Tom Chatterton .... Parson (uncredited)
      Jack Clifford .... 'Pelican' Crewman (uncredited)
      David Clyde .... Old Director (uncredited)
      Tom Conlon .... Man in Ballroom (uncredited)
      Maurice Costello .... (uncredited) (unconfirmed)
      Mary Currier .... Waltzing Dowager in Ballroom (uncredited)
      Max Davidson .... Juror (uncredited)
      Harry Dean .... Juror (uncredited)
      Cecil B. DeMille .... Prologue Speaker (voice) (uncredited)
      Richard de Mille .... Man (uncredited) (unconfirmed)
      Jerome DeNuccio .... George, 'Falcon' Crewman (uncredited)
      Helen Dickson .... Woman in Ballroom (uncredited)
      Jack Dixon .... Guest in Ballroom (uncredited)
      Laurie Douglas .... Guest at Ball (uncredited)
      Jimmie Dundee .... Galley Growler (uncredited)
      Ralph Dunn .... 'Jubilee' Lookout (uncredited)
      Sarah Edwards .... Dowager at Tea (uncredited)
      William Elmer .... Juror (uncredited)
      Richard Elmore .... 'Claiborne' Cabin Boy (uncredited)
      Hassan Ezzat .... Cuban on Charleston Packet (uncredited)
      William D. Faralla .... Cliff, 'Falcon' Crewman (uncredited)
      Al Ferguson .... Cutler Man in Barrel Room (uncredited)
      Frank Ferguson .... Snaith, Co-Counsel (uncredited)
      James Flavin .... Father of Girl (uncredited)
      Sam Flint .... Surgeon (uncredited)
      Byron Foulger .... Bixby, Devereaux Courier (uncredited)
      Christian J. Frank .... Juror (uncredited)
      Jerry Franks Jr. .... Pedro, 'Falcon' Crewman (uncredited)
      Kenneth Gibson .... 30-Year Old Devereaux Clerk (uncredited)
      James Gillette .... Ivy's Waltzing Partner (uncredited)
      Fred Graham .... Jake, on Spongeboat (uncredited)
      George Guhl .... Man on Street (uncredited)
      William Haade .... Second Mate of 'Jubilee' (uncredited)
      Frank Hagney .... Cutler Man in Barrell Room (uncredited)
      Chuck Hamilton .... Bosco, 'Tyfib' Bosun (uncredited)
      Mildred Harris .... Dancing Lady (uncredited)
      Oscar 'Dutch' Hendrian .... Second Mate of Charleston Packet (uncredited)
      Robert Homans .... Captain in Cafe (uncredited)
      Bob Ireland .... Roger, 'Falcon' Crewman (uncredited)
      Eugene Jackson .... Dr. Jepson's Black Servant (uncredited)
      Clarke Jennings .... Ed, 'Falcon' Crewman (uncredited)
      Carmencita Johnson .... Girl with Oilskins (uncredited)
      Jack W. Johnston .... Devereaux Clerk (uncredited)
      Emmett King .... Old Gentleman in Ballroom (uncredited)
      Stubby Kruger .... Pat, 'Claiborne' Crewman (uncredited)
      Frank Lackteen .... Cutler Man in Barrel Room (uncredited)
      Ethan Laidlaw .... Tony, 'Falcon' Crewman (uncredited)
      Hope Landin .... Dowager in Ballroom (uncredited)
      Louise La Planche .... Guest at Ball (uncredited)
      Larry Lawson .... Frank, 'Claiborne' Crewman (uncredited)
      Laura Lee .... Southern Belle (uncredited)
      Elmo Lincoln .... Man (uncredited)
      Leota Lorraine .... Woman in Ballroom (uncredited)
      Jack Luden .... Southern Gentleman at Tea (uncredited)
      George Magrill .... Mike, 'Claiborne' Crewman (uncredited)
      Tony Martelli .... Juror (uncredited)
      Jim Mason .... 'Pelican' Crewman (uncredited)
      Carl Mathews .... Stevedore (uncredited)
      Claire McDowell .... Ettie, in Ballroom (uncredited)
      Cyril McLaglen .... Srevedore (uncredited)
      George Melford .... Devereaux Banker (uncredited)
      John Merkyl .... Southern Gentleman (uncredited)
      John Merton .... 'Pelican' Crewman (uncredited)
      Robert Milasch .... Juror (uncredited)
      King Mojave .... Art, 'Falcon' Crewman (uncredited)
      Richard Neill .... Old Gentleman at Tea (uncredited)
      Ottola Nesmith .... Dowager at Tea (uncredited)
      Wally O'Connor .... Hugh, 'Falcon' Crewman (uncredited)
      Nestor Paiva .... Man with Suspenders (uncredited)
      Emory Parnell .... Jailer (uncredited)
      Edward Peil Sr. .... Bailiff (uncredited)
      Buddy Pepper .... Call Boy in Cafe (uncredited)
      Gil Perkins .... Southern Cross Leadsman (uncredited)
      John Power .... Juror (uncredited)
      Lee Prather .... Court Clerk (uncredited)
      Houghton Ralph .... Buck, 'Falcon' Crewman (uncredited)
      George Reed .... Black Servant at Tea (uncredited)
      Frank Richards .... Cutler Man in Barrel Room (uncredited)
      Constantine Romanoff .... Pete, on Sponge Boat (uncredited)
      Mel Ruick .... Man in Ballroom (uncredited)
      Ynez Seabury .... Woman in Ballroom (uncredited)
      Dorothy Sebastian .... Woman in Ballroom (uncredited)
      Allen D. Sewall .... Juror (uncredited)
      Frank Shannon .... Captain in Cafe (uncredited)
      Mildred Shay .... Girl in Match Sequence (uncredited)
      Ray Spiker .... Stan, 'Falcon' Crewman (uncredited)
      Will Stanton .... Rat-Faced Man (uncredited)
      Jack Sterling .... Lars, 'Claiborne' Crewman (uncredited)
      Hayden Stevenson .... Lawyer (uncredited)
      John St. Polis .... Devereaux Foreign Agent (uncredited)
      Leo Sulky .... Juror (uncredited)
      Akim Tamiroff .... Voice of Chinkapin (voice) (uncredited)
      Forrest Taylor .... Devereaux Treasurer (uncredited)
      Mary Thomas .... Guest in Ballroom (uncredited)
      Guy Usher .... Jailer (uncredited)
      Dale Van Sickel .... Roy, 'Falcon' Cewman (uncredited)
      Gohr Van Vleck .... First Mate of Charleston Packet (uncredited)
      Catherine Wallace .... Woman in Ballroom (uncredited)
      Joyce Walsh .... Guest in Ballroom (uncredited)
      Harry Warren .... Boston, 'Falcon' Crewman (uncredited)
      Stanhope Wheatcroft .... Devereaux Secretary (uncredited)
      Lloyd Whitlock .... Southern Gentleman (uncredited)
      Don Zelaya .... Cafe Bartender (uncredited)
      Fred Zendar .... Spike, 'Claiborne' Crewman (uncredited)
      Carl Zwolsman .... Nate, 'Falcon' Crewman (uncredited)

      Writing Credits
      Thelma Strabel (story)
      Alan Le May (screenplay) (as Alan LeMay) &
      Charles Bennett (screenplay) and
      Jesse Lasky Jr. (screenplay)
      Jeanie Macpherson contributing writer (uncredited)
      Thelma Strabel treatment (uncredited)

      Cecil B. DeMille .... producer (as Cecil B. De Mille)
      William H. Pine .... associate producer
      Buddy G. DeSylva .... executive producer (uncredited)

      Original Music
      Victor Young

      Victor Milner (director of photography)
      William V. Skall

      For the 1954 theatrical re-release, John Wayne was given top billing in the posters because of his increased star status, and Susan Hayward, who had since 1942 become a major star instead of a supporting player, was misleadingly billed second. Formerly top-billed Ray Milland got third billing in the new posters, while leading lady Paulette Goddard was demoted to fourth billing.

      The world premiere was held on 18 March 1942 at the at the newly renovated El Capitan Theater on Hollywood Blvd. in Los Angeles, California, USA. In conjunction with the premiere was a celebration of Paramount's 30th year in business and Cecil B. DeMille's 30th year in films. It was attended by about 3,000 people with the proceeds going to the Navy Relief Fund.

      The underwater 'Southern Cross' scenes took two months to film.

      This was the last film in which Hedda Hopper appeared as a character other than herself.

      During the filming of a fight scene with John Wayne, an accident cost actor 'Victor Kilian (I)' the use of one eye.

      The giant rubber squid used in the underwater battle was donated by the studio to the war effort in 1942. The Japanese had conquered Malaya and Indochina, source of most of the world's rubber.

      A song, "Reap the Wild Wind" (1942), music by Lew Pollack and lyrics by Ned Washington, was published to promote the film.

      One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since.

      Although John Wayne was pleased to have been cast in such an important movie, he was unhappy with his part and once complained he was only there to make Ray Milland look like a "real man".

      Cecil B. DeMille had wanted Errol Flynn to play Captain Jack Stuart, but Jack L. Warner refused to loan him out.

      "Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on March 8, 1943 with Paulette Goddard and Ray Milland reprising their film roles.

      John Wayne sustained an ear injury during this movie that prevented him from serving in the military during WWII.

      The world premiere was held on 18 March 1942 at the newly renovated El Capitan Theater on Hollywood Blvd. in Los Angeles, California, USA. In conjunction with the premiere was a celebration of Paramount's 30th year in business and Cecil B. DeMille's 30th year in films. It was attended by about 3,000 people with the proceeds going to the Navy Relief Fund.

      The shots of the squid wrapping its tentacles around the actors was done by wrapping the actors in the tentacles, then unwrapping them and showing the film in reverse.

      John Wayne did not like Cecil B. DeMille. He felt the director had passed him over for the role of Wild Bill Hickok in The Plainsman (1936), which Wayne had felt certain would make him a star.

      One of over 700 Paramount productions, filmed between 1929-49, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since.

      A song, "Reap the Wild Wind" (1942), music by Lew Pollack and lyrics by Ned Washington, was published to promote the film.

      The voice of the character "The Lamb", played by former wrestler 'William 'Wee Willie' Davis' (fqv), was dubbed by Paramount contract player Akim Tamiroff, who had previously acted for Cecil B. DeMille in North West Mounted Police (1940).

      This was John Wayne's biggest ticket seller as lead actor, grossing in 2010 terms roughly $240 million in the US alone.

      According to Penny Stallings in her book "Flesh and Fantasy", studio hairdressers and their primitive electric hair rollers were responsible for Ray Milland's subsequent baldness.

      Incorrectly regarded as a goof: John Wayne's reference to Mother Carey's Chickens has nothing to do with Kate Douglas Wiggins 1911 novel. It is a seafaring name for the Storm Petrel, so-called because the birds appear before a storm. Mother Carey is a corruption of Mater Cara (Dear Mother), an epithet of the Virgin Mary, to whom Portuguese and Spanish sailors used to pray before a storm.

      Jack makes a reference to "Mother Carey's Chickens", although the movie is set in the 1840s and Kate Douglas Wiggin's novel wasn't published until 1911.

      Character error
      The character Salt Meat is introduced as a Barbados sailor, but he speaks with an American Southern accent.

      The first time Loxi talks to Jack, her hat ribbon repeatedly changes position around her neck, between shots.

      The second time Loxi talks to Jack, she points at him with the index finger of her left hand. In the next shot it is her right hand.

      Factual errors
      The song "'Tis But A Little Faded Flower", was published in 1860, but sung in the film, which is set in the 1840s.

      Revealing mistakes
      Hinge lines can be seen in the arms of the squid on two occasions (1:50.30 and 1:52.06).

      Memorable Quotes

      Filming Locations
      20th Century Fox Studios - 10201 Pico Blvd., Century City, Los Angeles, California, USA
      ("Little Old New York" set)
      Charleston, South Carolina, USA
      Coast, Florida, USA
      Columbia/Warner Bros. Ranch - 411 North Hollywood Way, Burbank, California, USA
      Key West, Florida Keys, Florida, USA
      New Iberia, Florida, USA
      South Carolina, USA
      Tank, Pan Pacific Marine Museum, Santa Monica, California, USA
      Underwater, Santa Catalina Island, Channel Islands, California, USA
      United Artists Studios - 7200 Santa Monica Boulevard, Hollywood, Los Angeles, California, USA
      (ship sequences)

      Watch this Clip

      Best Wishes
      London- England

      The post was edited 9 times, last by ethanedwards ().

    • Reap the Wild Wind is a serialized story
      written by Thelma Strabel in 1940 for The Saturday Evening Post,
      which was the basis for the 1942 film starring Ray Milland, John Wayne,
      Paulette Goddard, Robert Preston
      and Susan Hayward, and directed by Cecil B. DeMille,
      his second picture to be filmed in color.
      The movie, released shortly after the United States' entry into World War II,
      was a swashbuckling adventure set in the 1840s along the Florida coast,
      and was wildly successful, proving to be just the ticket to take the minds
      of the American movie-going public off the war for two hours.

      While he based his film on Strabel's story, DeMille took liberties with details
      such as sibling relationships and sub-plots,
      while staying true to the spirit of the story, which centers on a headstrong,
      independent woman portrayed by Paulette Goddard.

      Reap the Wild Wind was a $2 million Technicolor epic,
      and was Paramount's biggest picture of 1941
      It was Duke's most expensive film since The Big Trail
      Duke at this time was not billed first!
      (although, due to Duke's, gaining popluarity,this was reversed,some years later)
      Ray Milland, was favoured as he was under contract at the studios.

      Paulette Goddard , also billed above Duke, was his leading lady.
      Susan Hayward, was also cast in support.
      The real star of the show, was however, a Giant Squid!!!
      Duke feared, he would end up in a supporting role,

      Duke told De Mille,
      The only reason, you're calling me over here, is to make Ray Milland, look like a man.

      The director asked Duke to trust him, telling him that he had considered,
      Errol Flynn, Fred MacMurray, and George Brent.,
      but had decided on Duke, after seeing Dark Command.

      Duke's performance was excellent, and did much
      to to establish the actors appeal, to a wider, middle class audience.
      Duke was grateful, to work in such an important film, with a distinguished cast.

      Later, Duke wrote to DeMille,
      My appearance in Reap the Wild Wind, was the highlight of my career.

      The preview cards, stated, that Duke had given the strongest performance.
      The climatic fight with the star of the picture, the Giant Squid,
      was filmed well, and cost a fortune to shoot.
      The picture had mystery, drama, power and romance,
      and was entertainment, in the greatest escapist, tradition.

      User Review
      Author: Michael O'Keefe from Muskogee OK

      Produced and directed by the legendary Cecil B. DeMille.
      A rough and ready sea drama with very good special effects.
      Salvagers compete for the cargo of ships wrecked in the reef off the coast of Georgia.
      Some of the ships go down not by nature, but by the hand of greedy men.
      An extraordinary finale with an attack of a giant squid. A star studded cast sustains the interest in this stormy and mobile movie.
      Notable cast members: Raymond Massey, Paulette Goddard, Ray Milland,
      Susan Hayward, Robert Preston and a bland John Wayne. Yep, the "Duke" has an important role,
      but does not headline or carry this film.
      I've seen this at least six times since childhood and I still think it is great. See for yourself.
      Best Wishes
      London- England

      The post was edited 12 times, last by ethanedwards ().

    • I have been researching all the threads, back to the start of the JWMB,
      looking for previous discussion, relating to this movie.
      I have found the following, comments, and have copied them here,
      so that they are now under one forum:-

      Previous Discussion:-

      Reap The Wild Wind

      Reap The Wild Wind, Doesn't stand the test of time.
      post Jan 30 2005, 10:54 PM

      A recent topic by Roland with regards to Wake of the Red Witch mentioned similarities with Reap the wild wind. I have yet to see Witch as I am saving it for a later date as I've heard it very good so I decided to watch Reap as I have only watched it twice before.
      On the outset this should be a good movie its got a decent cast with Duke and Milland and the story of ship wreckers in the 1840's is quite interesting however I feel the movie fails on almost every level and is a major disappointment.
      Firstly and not wanting to sound sexist I feel the movie centres too much on the female characters mainly Hayward who is terrible in her role. The scene with her singing while playing the piano made me wish the ground would open up a swallow me. Her reaction to Drusillas death(her on-screen sister) is passive and why her and John Wayne fall in love so quickly is left unexplained.
      As a John Wayne movie this commits the ultimate sin in that it is extremely boring it takes a long time for the main story to unravel and in the meantime there are endless scenes of Hayward and her servant to endure.
      Cutler is way to old to have such a young brother and the way widget suddenly turns informer for Milland lacks all credibility.
      The film does seem to have quite a good budget but I think too much must have been spent on lavish outfits for the females as we constantly see Hayward parading around in expensive outfits.
      As for John Wayne I was not impressed with his character at all, the way he so easily turns from good guy to ship destroyer lacks realism and why he would just show up at Cutlers door after finding Widget is the deceiver was a little stupid. His speeches to Hayward are ott and his acting changes from good to poor the only scene he shines in is the big fight between him and the pirates the attack with the squid at the end isnt bad either. Its a bit difficult to comprehend that Dukes characters is in fact the bad guy responsible for the death of Drusilla although the director feeds us a spoonful of sugar at the end by having Duke coming back to rescue Milland. Dukes death in this movie was poorly done we dont actually see it and in the end nobody on the boat really seems to care about him which is quite pathetic.
      There is a pretty lame shootout on the boat at the end if you are still awake to see it and then to my complete relief the movie ended.
      Two interesting scenes in the movie are when Duke discovers to his horror that Drusilla was on the ship and the scene in which his face mask is put in is quite haunting as we realise Dukes character is doomed.
      I apologise if my review is a little one sided but I feel this movie is rightly a forgotten one for John Wayne fans.

      post Jan 31 2005, 09:09 AM

      Hi Robbie
      Sorry to hear you didn't think much of Reap the Wild Wind' but thats the great thing about personal choice.
      This film marked Cecil B deMilles' thirtieth Anniversary in Motion Pictures and like all things De Mille he went for the spectacular and longevity, I can't think of a de Mille film that was known for its brevity.
      It was also the first and only time that Wayne ever worked for the director as before there had been a great deal of ill feeling between the two men after first de Mille turned Wayne down for the scouts role in the Plainsman, and second Wayne had refused the second lead in deMille's North West Mounted Police ,(which if you haven't seen it, and if I remember rightly wasn't a bad film).
      As it turned out once on the set, the two men worked cordially together but only once. As far as i am aware deMille never asked for Wayne again, and Wayne never offered.
      You share your dislike of the film with James Francis Crow - The film critic of the Hollywood Citizen

      Who wrote on March 19th 1942:
      'The Film is overlong, overly involved, and erratic. It is almost never believable; it rarely creates the illusion that a good film ought to have.... and thus it sometimes excites titters when intense dramatic excitement was intended'
      But he was out on his own in his condemnation Every other paper raved about the picture, including Louella Parsons, but then she would.
      I think it should be remembered that Wayne was second lead in the film, it was always intended that it would be Ray Millands picture and it would therefore be natural that as Milland was known as a romantic actor rather than a dynamic adventurer that the films emphasis would be on the romance between Tulliver and Loxi, and as the leading man Milland, had to get the girl in the end leaving Wayne with nowwhere to go but to a heroic death.
      As to your comment about not seeing Duke's death, f I remember rightly as his air pipe is cut his mask fills up with water leaving the audience in no doubt that he is drowning.
      Only one other thing I think when you refer to Hayward you mean Paulette Goddard, Susan Hayward played Drucilla and Goddard played Loxi. Paulett Goddard was one of deMilles favourite actresses and he used her in a number of pictures including North West Mounted Police (but that's another story).

      post Jan 31 2005, 12:50 PM

      When you look at it today, of course all eyes are on Wayne. But in the year of its release, Ray Milland was one of the brightest stars, about to win the Academy Award only some years after that. So the story really revolves around him. Wayne knew it and told C.B: You just want me in this to make Milland look like a man! Interesting enough, when Reap was re-released in the Fifites, it was Wayne's and Hayward's names over the ones of Milland and Goddard who lost some of their box-office power.
      The moment of the death of one diver is not one of Wayne's heroic on-screen deaths, rather the moment is used (very well, I thought) for suspense. You never saw which man was killed - just one rope was cut, and then there is the long moment when they bring one diver up. And the public, at that moment, must decide for themselves who they would like to see alive.
      In my opinion, Reap stands for some of the greatest traditions of Hollywood's golden age, and presents what C.B. DeMille - the Steven Spielberg of its time - meant to the public in those years.

      post Jan 31 2005, 01:54 PM

      Some interesting points of view.
      Arther yes I did get Hayward and Goddard mixed up on my original post.
      I do like Ray Milland I've seen him in the terrific Lost weekend, he was very good in 'A man Alone and he played his role in 'Dial M for murder' well. I just felt in this film as the main actor he didn't carry it enough and I don't buy Goddard falling in love with him at the end how she just could change her emotion is beyond me. There are of course positives in this movie the action is quite good and the courtroom scene is well enough done and I like the idea of Drusilla being onboard the ship and everyone finding out about it in the courtroom. The one scene that stuck in my mind long after the movie ended was that in which the faceplate is put on John Wayne. Watch this scene as it is done the scene becomes very haunting as we realise theres no way out for the Duke.
      I didn't buy dukes death simply because it was down to him that the ship sunk and Drusilla was dead and his heroism at the end was unsatifactory.
      Why did De Mille go to such lengths to make Dukes character stupid was it simply to make Milland stand out?
      Finally as I said in my previous post some of the romantic horseplay at the start was a little hard to watch.
      But I'm glad that others seem to like this movie that is the great thing about personal choice.

      post Jan 31 2005, 02:30 PM

      I really enjoy 'Reap The Wild Wind', and just viewed it recently, so I can add some comments to this thread:
      "The scene with her singing while playing the piano made me wish the ground would open up a swallow me."
      On the contrary, I though the scene where Goddard signs "Aboard The Nellie Bee" was a very humorous song, especially seeing the reactions of South Carolina's upper class set.
      "As a John Wayne movie this commits the ultimate sin in that it is extremely boring it takes a long time for the main story to unravel."
      I didn't feel any of the movie was boring. The actors were first rate, and the story moved along at a nice pace. But, like someone else stated, movies are all a matter of personal tastes.
      "I just felt in this film as the main actor Milland didn't carry it enough and I don't buy Goddard falling in love with him at the end how she just could change her emotion is beyond me."
      Goddard was actually in love with both men during the film. It was love-at-first-sight with Wayne, while she grew to admire Milland's character as the movie progressed. She quickly fell out of love with Wayne, when she realized she had put all her trust in him, and he turned out not to be the man she thought he was.
      "Why did De Mille go to such lengths to make Dukes character stupid...was it simply to make Milland stand out?"
      Not really. Duke's character had some basic human flaws, that were exposed by his association with King Culter.
      Like I mentioned, I enjoy this film a great deal. No, Duke doesn't play his normal good-guy hero, but you never feel his is totally responsible for his actions against the Southern Cross. If there was one thing I didn't find believable, it was when Duke and Goddard find the letter in Milland's pocket, giving him the command of the Southern Cross. Goddard wants to know when Milland was going to let Duke know, and he says "In my own good time". Naturally, this had an upsetting reaction on Duke's volatile character.

      post Feb 1 2005, 01:54 PM
      Hi falc
      Thanks for your point of view, regarding the scene when Duke discovers the letter I don't think it really had a negative impact on Dukes character but the next scene in which he talks to Cutler did.
      I guess I didn't like seeing Duke as such a weak character although this could be a movie that Stumpy may refer to when he talks about Duke being guilty of bad acting.
      I like the line Duke came out with Demille that Roland mentioned but again I think De mille went over the top in making Milland look good at Dukes expense.

      post Feb 1 2005, 02:42 PM

      When reviewing Reap today, one must not forget the year in which it was made:
      During war-time movies had only two duties for the home-front:
      1. Escapism
      2. Boost Morale.
      Even movies that did not deal with the war directly, made sure they dealt with the right messages (enforced by the Production Code office and the War departement which saw to it that only movies that were fit to deliver the "right" messages about the US state of mind could get an export ticket to foreign markets).
      The number one message in those days was: SACRIFICE. No matter what, you had to sacrifice: Maybe your life when in the service. Sacrifice privilege when at home. The Wayne-character in Reap does just that: Sacrifice for 1. truth, 2. to fight evil, 3. friendship.
      So the film delivers in both points.
      Best Wishes
      London- England

      The post was edited 1 time, last by ethanedwards ().

    • Originally posted by itdo@ Jan 31 2005, 12:50 PM
      In my opinion, Reap stands for some of the greatest traditions of Hollywood's golden age, and presents what C.B. DeMille - the Steven Spielberg of its time - meant to the public in those years.

      I definitely agree with itdo, and the other positive comments on this movie. It is in the top 20 of my favorite JW movies.

      Deep Discount DVD has the DVD, and also 2 movie posters. The DVD sells for less than $10.

      Amazon has both DVD and VHS, although only the DVD, at $12.99, is eligible for free shipping (if it is in an ordering totaling at least $25 of eligible merchandise).

      It sure seems the prices have been coming down on these, making them more available, from a monetary standpoint, to us average folks. :rolleyes:

      Chester :newyear:

    • Saw this for the first time, as I know now - I've always been a little unsure if I haven't seen it, because of purposely wrecked ships and a giant octopus just like in the Red Witch. I think Wayne's performance is great, his character is interesting and it's refreshing to see him as a not so good guy. I wish he had done more roles like that (and at least once a real bad guy!) , because while he is very believable as the good and righteous, the depth he adds to more complex characters is intriguing. Except capt. Jack, the only other interesting person is King Cutler. As a whole the movie is entertaining enough, although a little uneven and so very melodramatic, of course. The octopus is brilliant, in spite of being obviously not alive.
      I don't believe in surrenders.
    • Originally posted by etsija@Apr 9 2006, 04:37 PM
      Saw this for the first time, as I know now - I've always been a little unsure if I haven't seen it, because of purposely wrecked ships and a giant octopus just like in the Red Witch. I think Wayne's performance is great, his character is interesting and it's refreshing to see him as a not so good guy. I wish he had done more roles like that (and at least once a real bad guy!) , because while he is very believable as the good and righteous, the depth he adds to more complex characters is intriguing. Except capt. Jack, the only other interesting person is King Cutler. As a whole the movie is entertaining enough, although a little uneven and so very melodramatic, of course. The octopus is brilliant, in spite of being obviously not alive.

      Hi Etsija,
      I saw this movie for the first time in these days too. It is a part of a big UK collection of Duke films. I like the film very much too and Duke performance of course. May be The Wake of the Red Wich is some kind of replica of Reap the Wild Wind, and I even read the opinion that Duke made the Wake because he loved Reap the Wild Wind and his carecter. May be it is partly truth, but I think he wanted to change something in the charecter of capt.Jack, make him more strong person.
      What film you mean were he played bad character, the early one that somehow was also with DeMIlle. I know that Duke didn't like him and it was hard to get him to play capt.Jack.
    • Re: Reap The Wild Wind (1942)


      Iv'e just been doing some research on this film regarding the final scene added for additional information.


      [/B]In 1940 the authoress Thelma Strabel completed the second and possibly best known of the three stories she would ultimately write and be remembered for posterity. Subsequently serialised in The ‘Saturday Evening Post‘, the story was titled ‘Reap The Wild Wind’ and told a tale of swashbuckling adventure and skulduggery on the high seas off the Florida Keys during the mid 1830’s. Paramount later purchased the film rights and set about turning the story into a film.
      The story moves forward. Approximately one year later and the scene is set.
      In the lee of Santa Catalina Island a sixty foot schooner rigged yacht lies moored, aboard six men struggle to bring Thelma Strabel’s story to the screen. The yacht was the ‘Seaward’ owned by the director Cecil B de Mille, also onboard was screenwriter Jesse L Lasky jr who had worked in collaboration with de Mille previously on films such as ‘Union Pacific’, ’Unconquered’ and ‘North West Mounted Police’ and would do so again on ’Samson and Deliah’ ‘The Buccaneer’ and ’The Ten Commandments’ and Alan LeMay who had previously been a short story writer for Colliers Magazine and ‘The Saturday Evening Post’ and who had been brought in by de Mille to work with Jesse Lasky on ’The North West Mounted Police’ but would probably become most famous for the short story that later John Ford would make into one of the greatest westerns ever made ’The Searchers’. Both men were well aware of the directors vicious mood swings and also of de Mille’s dictatorial attitude. The third screen writer Charles Bennett was a suave debonair Englishman, born in Shoreham Sussex in 1899, he had both acted and directed, and began writing in 1911, after seeing service in the British Army in France during the First World War he had come to the fore writing plays including his most famous work ’Blackmail’ in 1929 which introduced him to Alfred Hitchcock and which was later turned into a film by that director. When Hitchcock left England and moved to Hollywood in the 1930s Bennett had accompanied him. Among his personal staff on board the yacht de Mille also included his field secretary Bernice Mosk whose job was to make copious notes and produce drafts that would aid the screen writers in their efforts. The complement was made up by Captain Fred Ellis acting as technical advisor for the picture. DeMille, himself a keen sailor, had invited the screenwriters aboard the yacht in order that they might get the flavour of life at sea. For their part initially, the screenwriters were in a dilemma, Thelma Strabels’ novel appeared to have everything and all that was required was a tightening of the dialogue and descriptive scenes. De Mille however, had other ideas. In his view all that the author had furnished was ‘pretty pictures of sails and seas and sunsets shining through a ladies auburn hair’1. the director had a clear picture of what he visualised. ‘What I want in this subject are storms and sinkings and salvage. I want to smell the brine and hear the creak of rigging. I want to feel the bite of hurricanes. I want the birth of America’s lifeline on the seas - and to see it threatened by the toughest tribe of murderous pirate wreckers that ever gutted a ship to steal a cargo’2.
      Standing with his hands on the ships wheel with his eyes narrowing as he viewed the horizon de Mille showed the three men his concept of the way ahead. Laying down the guidelines, he continued - ‘I want to see the teeth of a reef bite though a ships bottom - photographed from underwater and brushing aside all protest of the technical difficulties of photographing such a scene, continued. ‘I want broken skulls and skulduggery! I want it to contrast with the tinkle of tea cups in Charleston drawing rooms. And I want two love stories. The first - ending in death and drowning. The second - a man and a woman finding and losing, and finding each other again. Through hell to heaven!’3.
      Of the three screenwriters aboard without doubt the most extravagant was Charles Bennett. In his book ‘Whatever Happened To Hollywood’, Lasky describes him thus:-
      ‘The newly arrived Charles Bennett would appear wreathed in scarves, draped in a dashing blazer, or dustily booted fresh from a polo match. He flew planes, rode like a Cossack, and could on occasions come dangerously near stealing scenes from the Boss, who had always been second to none in ‘office performances’.
      Charles would swagger and glower in an impersonation of the heavy to be played by Raymond Massey. Then Charles would mince out a delicious imitation of Paulette Goddard’ Florida belle. He’d ape Ray Milland’s effete aristocrat, or the heavy-shouldered jaw jutting challenge of John Wayne’s first mate. But too often his office performances were better than the scenes themselves. The written word missed the swaggering, struttings, eye rollings of our spell binding Charles. deMille would complain that we hadn’t got it on paper, quite ignoring the fact that this would have been next to impossible.’4.
      For days the three man laboured under the task, ever mindful of the fact that they were always under the glare of de Mille, when the slightest tap on the typewriter would bring the director down upon them, ever aware that they were no nearer solving the problem of bringing about a spectacular conclusion to the picture than they were when they started and ever aware that they knew that de Mille also knew of their situation.
      Finally de Mille could stand it no longer, sitting in his directors chair he began talking:-
      ‘”I couldn’t sleep last night,” he intoned sadly.
      ………”I kept asking myself the question. What, in Reap The Wild Wind, would galvanise head hunters in an Amazon jungle?”
      “What”, he continued, “would fascinate Eskimos in their igloos, harness harassed housewifes, rivet restless children? What can we offer to match…….. Our great waterfall escape in ‘Northwest Mounted‘, or our train wreck in ‘Union Pacific’? The opening of the Red Sea in my silent picture ‘The Ten Commandments?’ Because until we’ve got that, gentlemen, we just haven’t got a moving picture. 5.
      De Milles’ sadistic streak was now in full flow, he had asked the question knowing that his three screenwriters didn’t have the answer, but now he had to lead and prompt as well as gloat.
      ‘..”I refer to the situation at the end of your script,” he said ominously. “When the court trial adjourns to the wreck, and your leading men dive to search for the evidence - of murder! They screw on their helmets, plunge over the side, go down, to find the evidence, a girls body - and what happens next? That was the question that kept me awake, gentlemen, and I am curious as to whether any of you can provide an answer. Because if you can’t we have a five million dollar picture without an ending. 6
      The three men had devised an ending in which after finding the body of Drusilla in the wreck of the Southern Cross, Stuart and Tolliver would begin to fight, hacking away at each other with their axes and knives while the ship rocked on the edge of the reef. They were aware that de Mille would not be happy. Their fears proved to be well founded. Jessee Lasky seeking support from his two companions and finding none began to explain that the two men would begin to fight.
      De Mille interrupted:-
      “And they go into a life-or-death struggle. That is your great plan is it? To end this picture or me? Because that is what everyone expects, and it’s as old as Noah’s Ark! So if you can’t do better than that, I’d say we haven’t got a moving picture”7.
      During these proceedings Lasky’s two companions had said nothing Alan Le May had sat in his chair eyes closed, while Charles Bennett lay sprawled in his chair. Sitting up he now spoke:-
      ‘ ….But you haven’t heard the end of our plan C.B.”
      De Mille focused his attention of Bennett.
      “Haven’t I?”
      “No. The underwater fight between the two divers is what you’d expect to happen. Indeed, it is what starts to happen. But in the moment, the first instant that the divers start to hack at each other, suddenly you see behind them - rising out of the belly of the dead ship, one great long red tentacle - and then another.” Charles had come to his feet now, his hand snaking through the air to illustrate his words.
      “Then faster than a striking cobra, it sweeps around the body of one of the men. It heaves him right up, light as a doll in the fist of a giant - for giant it is - giant squid! The largest monster of the deep. Great eyes like illuminated green balloons, full of malevolent intelligence. Massive, slack, big as a circus tent, but with tentacles strong enough to squeeze an elephant to pulp! And now Steve and Jack are fighting for their own lives, against the most terrible creature nature has ever produced. The enemies have become allies against the common danger ……..this ink throwing behemoth, this leviathan! The sea bottom has become an area where man is pitted against nature. Nature with yellow glazed eyes, and probing tentacles thick as pine trees!” 8.
      De Mille was ecstatic. Le May and Lasky looked at Bennett in amazed silence, amazed that while the others had struggled for the answer he hadn’t said a word,. Then in stunned awe when they suddenly realised that until he stood up to speak, Bennett had no idea of what he was going to say.
      Within a month as de Mille and his screenwriters returned to the yacht to put the finishing touches to the script the Paramount prop depart swung into action to produce the giant squid Charles Bennett’s monster from the deep. Straining all of the studios resources plans for the giant squid were put in operation.
      The scene would be shot as de Mille had envisaged in a tank at the Santa Monica Pacific Marine Museum which had a capacity of eight hundred thousand gallons. The squid would be made of bright red sponge rubber….‘it was made so that it could lash out and encircle a full size man with its 30’ tentacles 9‘. Initial teething problems in making the squids tentacles move convincingly were solved. ‘A 24 button electrical keyboard operated the creature, and a complex forest of hydraulic pistons activated cables extending into the thirty foot tentacles, so that they could be curled in any direction. The squid’s large and evil eyes were operated from the switchboard. 10.
      Paramount budgeted $11,000 for the construction of the squid but hopelessly underestimated the cost. De Mille was asked if he would accept a smaller model that would only move one way - ‘He would not. He had to have a 55 footer that could swim in all directions, roll its eyeballs, and wrap its tentacles around its victims on cue’. 11.
      Eventually the task was finished at a cost of $70,000. In order to add a touch of realism real fish were added in the tank including a couple of white bellied sharks one of which swum between Ray Millands’ legs during the shot.12.
      The film consisting of thirteen reels of 35mm was 3381.45m long and ran for 123 minutes. It was shot between June and August 1942 at an estimated budget of $4,000,000. When completed de Mille had made wholesale changes from the authors original story. Beside leaving out characters he had changed Raymond Milland and John Wayne’s names from Stephen Ogier and Jack Babcock to Stephen Tolliver and Jack Stuart. Other changes included changing the Robert Preston character from being Loxi’s older brother to Cutler’s younger brother and Ben Cutler renamed King and described originally in the story as a ‘"…..a little man in his late fifties, with a seamed and weathered face and a thin hawk's nose. His hair rose in a stiff, grizzled shock and his eyebrows protruded like protecting hedges over his pale gray eyes." Was played by six feet tall Raymond Massey wearing a sharks tooth on a watch chain which he would use to emphasize his point by sticking it into a wooden barrel or table while issuing instructions and glowering fiercely. De Mille’s other change was setting the film in the year 1840 rather than the original mid 1830’s.
      De Mille defended his changes. In a three page foreword to subsequent publications in novel form, director Cecil B. DeMille wrote: "Those who read the book and see the picture, will discover certain radical differences between the two -- differences as to characters and situations as well as in general story line. For that, no apology is necessary, if you believe in dramatic license. Miss Strabel wrote a narrative; I have made a play. "
      Reap the Wild Wind premiered on the 18th March at El Capitan Theatre on Hollywood Boulevard. The occasion attended by an audience of almost 3000 were privy to two further celebrations as the film marked Paramount’s being in business for thirty years and also Cecil B DeMille’s thirtieth year in the film industry.
      Eight days later the film opened for business at the Music Hall New York City to successful acclaim. The following day in his review critic Bosley Crowther wrote:-
      After thirty years of making motion pictures, Cecil B. De Mille has pretty well learned the trade. He has learned that the camera has no motive unless there is plenty of movement in front of it; that drama, reduced to essentials, is just two strong men contending for a maid and, lately, that Technicolor is the dish for serving lavish spectacle. Thus it is not surprising that "Reap the Wild Wind," his anniversary film, which roared into the Music Hall yesterday as the feature of a profuse Easter show, is the essence of all his experience, the apogee of his art and as jam-full a motion picture as has ever played two hours upon a screen. It definitely marks a DeMillestone. It is the master turned loose, with no holds barred.
      For onto a gorgeous panorama representing the southern coast around 1840, Mr. De Mille has crowded a story filled with sea storms, ship wrecks and gang fights, and peopled with picaresque characters, dashing gentlemen and ladies in crinoline. He has worked a chattering monkey into it, and also a giant squid. He has sent two men, desperate rivals, into the bowels of a sunken ship in diving suits and there, in the greenish opalescence, has let them manifest the stuff of which they are made. He has splashed it with every color, from that of red coal oil to that of a yellow buttercup. …….Mr. De Mille has indicated that the novel from which the picture is derived—a novel by Thelma Strabel—does not adhere very closely to the film. Of that we wouldn't know—and of that we don't much care. For the story here unfolded has little distinction or definition; it is simply a running romance about a girl on the Florida Keys, two men of different types who love her and of shipwrecking as a trade. And in spite of a ponderous foreword which tries to tie it up with freedom of the seas, it is still just a bold adventure fable in which deeds loom much larger than aims.’
      Crowther continued:-
      ‘……Mr. De Mille and his writers plot a picture very carefully for scenic effects. And, in this particular instance, they have favoured themselves magnificently. "Reap the Wild Wind" bulges with back-grounds which have the texture of museum displays. Rooms reek of quality and substance, gardens look like the annual flower show and the scenes of ships on the high seas exude a definite suggestion of salt air. The gentleman spends money on his pictures. Dollar signs are distinguishable everywhere.’
      And concluded:-
      ‘Reap the Wild Wind" is a picture which represents the quintessence of make-believe. But, who, in this time of trouble, is going to take exception to that?’
      A year later at the 1943 Academy Awards Reap The Wild Wind was nominated for three Academy Awards Best Effects, Best Art Direction - Interior Decoration Colour and Best Cinematography. Ultimately the film won one award - for Best Effects the award shared by Farcuit Edouard, Gordon Jennings, William L Pereire and Louis Mesenkip.
      Later Ray Milland would blame the studio and the film for cutting his career as a leading man short because he had to have his hair waved before appearing on set, stating that this caused him to go prematurely bald.

      Of the squid - it came to a valiant end being donated to the United States war effort shortly after.
      The film was spectacular and guaranteed to take the audiences mind off the war for two hours. The previous hardships were forgotten what was remembered was the incident when after Cecil B DeMille had heard Charles Bennett describing his monster of the deep, the large tentacles emerging from the Southern Cross, the spectacle of two men fighting for their lives the director had a look of ecstasy on his face and had been able to say only three words:-
      And in Technicolor.’
      Select Bibliography
      1. Whatever Happened to Hollywood ?Jessy L Lasky p 216
      2. Ibid 216
      3 Ibid 216
      4 Whatever happened to Hollywood? - Lasky 217
      5. Whatever Happened to Hollywood? - Lasky 219
      6. Ibid 219
      7. Whatever Happed to Hollywood? - Lasky 220
      8. Whatever happened to Hollywood - Lasky 220-1
      9. Of Devilfish and Octopi The Trail Beyond 2000 Lilley p4-5
      10 Of Devilfish and Octopi The Trail Beyond 2000 Lilley p5-6
      11 Of Devilfish and Octopi The Trail Beyond 2000 Lilley p6
      12 Of Devilfish and Octopi The Trail Beyond 2000 Lilley p7
      Walk Tall - Talk Low
    • Re: Reap The Wild Wind (1942)

      With the recent discussion and poll that involved this film, we pulled it out this evening and watched it.

      Several things - this is just as engaging this time around as it has been before.

      But things go seriously downhill from the point when Duke's character agrees to scuttle his own ship - things go from bad to worse to worst. Why the character did that 180 in so short a time is beyond me, and was really a discouragement.

      Milland's character was a decent fellow, and certainly not a "namby pamby poppinjay" as Loxi called him. He could pretty much hold his own in a fight, and he seemed honorable and had a sharp mind.

      In watching the credits, I saw the name Elizabeth Risdon, which I recognized, but couldn't remember from where. In RTWW, she played Loxi's mother, but she also played the grumpy old bag in Tall in the Saddle and roles in a few Roy Rogers movies, in particular Roll on, Texas Moon, costarring Gabby Hayes.

      Another interesting connection is that Elizabeth Risdon played Sarah Hanks Lincoln (Abe's mom) to Raymond Massey's Abraham Lincoln in the 1940 Abe Lincoln in Illinois.

      Chester :newyear:

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