20th
Century Fox distributed this one-hundred-two-minute, big-budget film,
the third motion picture made in CinemaScope. This fad was a
stand-out element of the film. It alone may account for its box
office success, though its two young co-stars probably contributed.
The widescreen format enhances some nice underwater sequences by the film's cinematographer, Edward Cronjagerand, and his occasional sunset or
sunrise near Tarpon Springs, Florida. But on terra firma, it is a
routine romantic drama centered around family heritage amid ‘the
most dangerous of all occupations, sponge diving.’ Not firefighters. Not police officers. Not
bomb disposal personnel.
Intertwined is an ethnic war between Greek culture and sponge
pirates, the Conch fishermen.
As
the credits open, the composer of the film may stump you, but the
music becomes unmistakably Bernard Herrmann. The harp played a role
in a number of his scores, and it is used appropriately during some
underwater sequences. There is one scene, however, where the score is nearly overkill as symbols crash and French horns soar as we watch
two lowly fishing boats creep out into the gulf during a calm
sunrise. But without a doubt, Herrmann’s
score enhances the film.
Swashbuckling
Gilbert Roland, with shirt unbuttoned forming a V, is in command of
the film in its early going, making it more fun. His swagger and
confidence are indelibly imprinted on his son, Robert Wagner, who,
oddly, along with his on-screen sister, is the only Greek in the
film without a hint of an accent. But Wagner’s curly studio
permanent is pure family lineage. Completing the trio of spongers is the heavily accented J. Carrol Naish with some humorous lines.
The
twenty-three-year-old Wagner catapulted to fame during these years and shared top billing with Roland and Terry Moore. There is little doubt that the two young stars have a
destiny. One could rightfully assume they anchored off-screen as
well. Moore had a ten-year advance on Wagner’s career, though only a
year separated their births. Eventually, Wagner’s popularity
overwhelmed Moore’s, but both were celebrities rather than acting
powerhouses. Wagner does alright in this role, especially in the
first half. They both pretend to be in their late teens, with Moore giggling a lot in the early going. Like a number
of others in Hollywood, she seems aware that the cameras are rolling and
works hard to make a screen impression after hearing the words,
“Action!” from the director, Robert Webb. I am sure their equally
young fans were not aware of these occasional shallow performances.
Richard
Boone, looking vibrant and fit, plays Moore’s father and the “Conch
Master” over his crew. They do not want any Greeks diving in “their
waters.” After Roland gathered his day’s worth of sponges,
Boone’s crew, on Peter Graves’ lead, intercepts and steals their
take. Roland laughs off the theft, knowing he will get revenge on
Boone. They come to an understanding. Graves is
navigating to marry Moore, but becomes a squeaky third wheel beside the
cocky Wagner. Graves is jealous of the young punk and gives him a
beating as a warning shot over his brow.
On
his final pre-scuba gear dive, Roland succumbs to a deadly case of
the bends. Wagner confidently soldiers on. During another sponging, Roland’s family boat
accidentally goes up in flames. Graves tries to put the fire out
with no success. Angry Wagner then steals the Conch boat and, with the
help of Moore, adapts it for more sponge baths...uh...diving. They are
a bit giddy, like in an Andy Hardy film where Rooney and Garland pull
together a neighborhood show as a fundraiser. On Wagner's first diving experience, he encounters a large octopus. Posters of the day over-emphasize this as the film's major element. It is a very
believable, however, with Wagner surviving with only a couple of
hickeys.
The climactic ending brings sudden character
turnabouts. Moving in on their stolen boat for another sponge robbery is the conch crew. Boone, previously level-headed and showing sympathy for
Roland’s short script, now wants his daughter back, "stolen" by Wagner. Yet to everyone's surprise, including the audience, they have already gotten married. Somewhere. Once alongside, Graves jumps on
board, going at it with Wagner again as they go overboard. A lot of
splashing later, the young punk ends up saving Graves from drowning in
a seaweed entanglement. Back on deck, Boone is hesitant to accept
Wagner, but Graves reminds him that he just saved his life. Oh, yeah. To dissolve Boone's displeasure, Wagner confidently exudes, "Look who you got for a son-in-law. I'm a very beautiful young man!" The
Greek-Conch hatred dissolves instantly into laughter and acceptance. Sponge
Conch, LLC is formed.
Note:
Harry Carey, Jr., a frequent co-star on Boone’s popular television
western series, plays one of his sons here. Boone’s show, on more than one
occasion, also featured two other characters from this film, Jay
Novello and Jacques Aubuchon. The studio assigned the brief,
uncredited opening narration to the unknown Roy Harold Scherer, Jr.,
aka Rock Hudson.
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