A classic film with its own regard among critics and movie goers alike, much of the hoopla attributed to this film was because of the time it was made and has since waned in popularity. Though it still retains a beauty that cannot be replicated by time, effects, or storytelling, it is still a film that does not stand
the test of time like other Hepburn and Bogart films. Much of the leftover silliness comes from the story that everything is hinged upon. It's such an unbelievable premise, sinking a large steamer headed by the Germans in the First World War using a tug boat, that the ensuing acting is a bit overzealous. The true motivation behind why the marmish old maid Rosie (Hepburn) is uncertain, other than blatant nationalism and her unglaring faith in Christianity, is lost upon the audience. Though these womanly sensibilities aren't completely unrealistic, it's the fact that she sees everything through with such gusto that rids us of any believability that she is in fact timid or at least sweet hearted. Besides that the casting of Hepburn makes little sense. Her roles have always commanded both a weightful presence and feminist view or were so subtle and beautiful yet strong headed. Playing someone unfamiliar to herself came off as forced and unbearably tortured. The balance of the film came with the presence of Charlie (Bogart) as a crone of a ship's captain with a heart of gold. Why he immediately lets her onto his boat isn't certain except that he's a human being with abject sympathy and a conscience. I think this entire film would have worked out all for the better if he were more of a curmudgeon, or surly in some way. If he were more grating on the Christian woman that Hepburn plays so well instead of this meandering, misbelieving vagrant it would have been the classic love/hate relationship that would have been perfect for this story. They briefly disagree over the decision to sink the ship, but it goes Rosie's way pretty quickly. They never really do more than disagree. There are no fights, no exceptional problems to be solved except for their tirade against the rapids, waterfalls, and the wildlife of Africa. That's what makes the film work: the setting. The time period and setting make for gorgeous tracking shots of the African coastline, showing animals that include alligators, lions, flies, and shots of different birds. The flowers, trees, and rivers are distinct and, with the color, pop considerably. The romance between the two leads was a bit silly, but the gestures to which they show their undying devotion to one another make any girl swoon. Classic in some senses, it's still a lesser Huston film.
July 17, 2010
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