The wonderful salvation

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Movie
German title The wonderful salvation
Original title Strange cargo
Country of production United States
original language English
Publishing year 1940
length 114 minutes
Rod
Director Frank Borzage
script Lawrence Hazard ,
Lesser Samuels
production Joseph L. Mankiewicz for MGM
music Franz Waxman
camera Robert H. Planck
cut Robert J. Kern
occupation

The Wonderful Rescue (OT: Strange Cargo ) is an American feature film from 1940 and the last of eight films that the popular screen couple Joan Crawford and Clark Gable made together since 1931. In Frank Borzage's oeuvre , the film with its religious undertones is a particularly typical example of the director's metaphysical guiding principle.

action

The film depicts the dramatic escape of eight prisoners and the prostitute Julie from a convict colony in French Guiana. Led by Moll, a brutal killer, the group embarks on a dangerous journey through the jungle and across the sea. Cambreau is a mysterious man who rescues the group again and again from seemingly hopeless situations and at the same time spreads confidence in a better future without crime and fraud. Gradually, individual members of the group confess to their offenses. At the end of the trip, it becomes clear to Verne, who was previously cynical and hardened, that he too needs forgiveness for his sins. He openly professes his Christian faith and goes to prison for his misconduct. Julie, who has fallen in love with Verne, promises to wait for him.

background

Joan Crawford's career has been in a long-term downturn since the late 1930s. Appearances in elaborately produced conversation pieces such as The Last of Mrs. Cheyney and Burning Fire of Passion did not lure fans back to the cinemas permanently. It wasn't until his appearance in Die Frauen in 1939 that things turned for the better. Crawford stepped increasingly in dramatic roles and got increasingly positive reviews.

The wonderful rescue was the third collaboration between Crawford and Frank Borzage. His movie Mannequin had given the actress one of the biggest hits of her career. Burning Fire of Passion , also from 1938, the ambitious film adaptation of a play, turned out to be a failure. The role of Julie marked a radical departure from the previous image of the actress as a well-dressed lady of society. Instead of several costume changes and constantly new hairstyles, Joan Crawford played the role with just one ensemble and almost without any make-up. While Gilbert Adrian's budget was sometimes over $ 50,000, the total cost of Crawford's wardrobe was limited to $ 40 for three copies of a dress, which the actress herself bought off the shelf in the department store.

Filming was overshadowed by the disagreement between Crawford and Gable over the top billing , so the question of which name would appear on the movie posters first. In the previous seven films, Crawford was always given the right. Her contract also guaranteed her this status for The Wonderful Rescue. However, her last films were not commercially successful, while Gable could point to a number of highly lucrative productions, including Gone With the Wind . In the end, Louis B. Mayer had to decide the escalating conflict. In a compromise, Gable got top billing in all print media, while Crawford's name was mentioned first on all film copies in the opening and closing credits. The two actors never turned back together.

The actress was proud of what she had achieved:

“Clark and I did our best performance together on Strange Cargo. We have always been very familiar, sometimes too familiar, but we knew each other and the chemistry was still there and that added to the fire on screen. We've had good roles, the kind of critics who write that [you are] "totally absorbed". The plot was good, the script excellent, and Frank Borzage gave us free rein. And boy, we ran. I remember - it was the second day of shooting. We were rehearsing an important scene that came at the very beginning of the film and suddenly Clark said, "Joan, whatever you want, I'll do it. You've become an actress and I'm still Clark Gable." I think he underestimated himself, but that was how things went. "

Problems with censorship

The film, which closely followed Richard Sale's novel Not Too Narrow, Not Too Deep , ran into massive problems with the censor. The studio was instructed to reduce the portrayal of sexuality and violence in the script to an acceptable level. In addition, there was intense pressure from the Catholic Church and its affiliated Catholic Legion of Decency , which was bothered by the role of Ian Hunter. The Legion eventually gave the film a 'condemned' rating. It was classified as unacceptable for an adult audience, the worst disapproval of this lay institution.

The miraculous rescue was not allowed to perform in various cities such as Detroit, Boston and Providence due to the decision of the local censors. The state of Rhode Island completely banned the performance because of the open display of sexuality.

Theatrical release

The film came into national distribution on January 3, 1940. At $ 1,252,000 to manufacture, it was a slightly above-average production. US revenue was $ 1,311,000, with an additional $ 603,000 from abroad. However, with total box office earnings of $ 1,924,000, the film was only moderately successful at the box office. It ended up with a meager profit of $ 21,000.

Reviews

The reviews were sometimes mixed. Several reviewers criticized the length of the film and the not always successful mix of adventure film and Christian revival story. However, there was unreserved praise for Joan Crawford and her portrayal.

Film Daily expressed its enthusiasm:

"The actors are top notch and Joan Crawford is doing her best performance yet."

Variety was very impressed :

“Miss Crawford has a good role as the hardened girl from the dance hall who falls in love with a convict. The role is a departure from the previous characters she has played in recent years and is reminiscent of the earlier work that made her popular back then. Although the film has its flaws, the Crawford role will give the studio a hint on how to better use their talent in the future. "

literature

  • Roy Newquist (Ed.): Conversations with Joan Crawford . Citadel Press, Secaucus, NJ 1980, ISBN 0-8065-0720-9 .
  • Lawrence J. Quirk : The Complete Films of Joan Crawford . Citadel Press, Secaucus, NJ 1988, ISBN 0-8065-1078-1 .
  • Lawrence J. Quirk, William Schoell: Joan Crawford. The Essential Biography . University Press, Lexington, KY. 2002, ISBN 0-8131-2254-6 .
  • Alexander Walker: Joan Crawford. The Ultimate Star . Weidenfeld & Nicolson, London 1983, ISBN 0-297-78216-9 .

Web links

Individual evidence

  1. ^ Clark and I did our best work together in "Strange Cargo." We had always been close, sometimes too close, but now we knew each other as mature persons and the chemistry was still there and it added to the fire. We both had good parts, the kind the critics call "fully realized." The story line was strong and the screenplay was splendid and Frank Borzage let us take it and run. And baby, we ran. I remember - it was the second day of shooting. We were rehearsing one of the big scenes that came early in the picture, and all of a sudden Clark said, "Joan, whatever you want to do, whatever you want me to do, that's the way it is. You've become an actress and I'm still Clark Gable. " I think he underestimated himself, but that's the way it played.
  2. ^ The acting is high-grade with Joan Crawford giving her best performance to date.
  3. ↑ Miss Crawford is provided with a particularly meaty role as the hardened dance-hall gal who falls hard for the tough convict. Role is a departure from those handed her during past several years by her studio, and reminiscent of her earlier work that carried her to popularity originally. Although the picture has its many deficiencies, the Crawford characterization will give studio execs idea of ​​proper casting of her talents for the future.