Seas Beneath

Dir. John Ford

89 Minutes

USA

1931

Starring: George O'Brien, Marion Lessing, Henry Victor

***/*****

With some of his output during the early sound period being particularly rocky, John Ford's Seas Beneath allows him to work with many of his narrative interests with a noticeably higher confidence than works like Salute or The Brat have on display. The film initially explores the chemistry and community of a group of men aboard a mystery ship posing as a harmless schooner but equipped with a massive gun tasked with sinking a German U-Boat. The men gather around this treasure, steadily moving it until the barrel covers the frame and points directly at the audience, its purpose as a phallic symbol continuously emphasized by their admiration and practical salivation. While stopping in the Canary Islands for fuel, the men become involved with a variety of locals, German soldiers, and, for Bob Kingsley (George O'Brien), Anna Marie (Marion Lessing), who happens to be the sister of Baron Ernst von Steuben (Henry Victor), the commander of the U-boat the men are tasked with destroying.

As with many personal favorite Ford films, the material shines when the action of the narrative functions solely as a foundation to move the characters along while the details, interactions, and dynamics of these particular characters in the unique world of their particular trade is given the spotlight. Early scenes aboard the boat briefly give an account of the quite simple mission that is bringing these people together, but their exchanges, quips, and general joviality are so much more interesting and entertaining than the politics, romance, and strategy that comes from their stay on the Islands. In works like this, Ford appears to approach the material with a simple question: what would this space feel like, and how might these people act and interact within the confines of said space? And Seas Beneath has several interesting moments in this realm, especially during an extended bar revelry sequence that is practically foretold when the boat commander reminds them that there is to be "no fraternizing with women". But small character moments, expressions, and the general merriment showcase Ford's real knack for giving his ensemble pictures a lived-in feeling and a chemistry that strays from artifice. It is not done nearly as strong as in some of the stronger works like Air Mail or The Lost Patrol which would be coming shortly after, but there is a sense that he is becoming more comfortable with the technology that created a barrier from what he was maintaining with late silent era films. Ford even gives this concept additional weight by exploring dynamics on both sides of the conflict, with the group of Germans having their own romances, dynamics, pasts, and tensions that the English-speaking audience member would not be fully privy to aside from some general obvious assumptions (though the occasional title card gives some of the more superficial German dialogue a translation, possibly more to highlight the lack of it when it is omitted).

As the action becomes more dramatic and the various plot lines come to their natural heads, Ford rarely quickens the pace and seems more concerned with process than result. And he establishes a nice rhythm, taking time, for example, to linger on a submarine coming out of the water or for a soldier to swim across some water to clandestinely board a ship. It is about capturing these worlds, with all the detail and texture that goes with them. It is an imperfect film, and one that is a bit rough around the edges, but there is quite a bit to like about it and it lays the groundwork for some very strong works that would be on their way.

Viewed on July 17th and August 6th, 2020

Part of an ongoing John Ford Project with notes from selected films.