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Victory (1919) Jack Holt, Seena Owen, Wallace Beery, Lon Chaney

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Axel Heyst, an uncommitted wanderer, has settled on an island in the South Seas. He takes
pity on a troubled young woman, Lena, and gives her refuge on her island. But the piratical Mr. ... See full summary
»
Director: Maurice Tourneur
Writers: Joseph Conrad (novel), Jules Furthman (as Stephen Fox)
Stars:
Jack Holt, Seena Owen, Wallace Beery | See full cast & crew »

Summaries
Axel
Heyst, an uncommitted wanderer, has settled on an island in the South Seas. He takes pity on a troubled young woman,
Lena, and gives her refuge on her island. But the piratical Mr. Jones, who believes Heyst has treasure buried on his
island, leads his cohorts in an invasion of Heyst's haven.

—Jim Beaver

 7/10
Love that volcano!
wmorrow5911 September 2005
A bare outline of this film's plot
suggests that it must be some kind of pulpy melodrama, a B-movie with a touch of the lurid. Our handsome hero is
(initially) a passive, brooding figure who has withdrawn from the tumult of life, having retreated to a tropical island
where he lives a secluded existence. He wants nothing to do with human affairs, especially where women are concerned,
preferring to puff on his pipe and read philosophy. Before long, however, he becomes involved with a young lady who
works at a hotel on a nearby island, a woman who is friendless and mistreated, and he gallantly provides her with
shelter in his home -- on a platonic basis, of course. Soon, three sinister men arrive on the scene, sent by her former
employer. To avenge himself on her, he has told the trio that our hero is hoarding a stash of loot on his island. When
the woman is imperiled, our hero must rise above his passivity and fight. The violent climax of the story unfolds
concurrently with the eruption of the island's volcano.

The plot may sound a little absurd spelled out
like that, but the film itself is surprisingly enjoyable, and its source material is more than respectable: Victory is
an adaptation of a 1915 novel by no less than Joseph Conrad, and it generally follows the action of Conrad's story,
aside from the Hollywood-style happy ending. This was no B-picture, it was a major release from Paramount with
first-rate production values, an excellent cast, and sensitive direction from Maurice Tourneur, a top director at the
peak of his career. French-born Tourneur began his career as an artist and scenic designer, and his films are marked by
striking compositions that differ sharply from the prevailing flatness of so many routine movies of the time. The
cinematography in Tourneur's films is always beautiful and often surprisingly sophisticated, highlighted by dynamic
shots that utilize the background, foreground, and middle range of the image. For example, watch the early scene in
Victory when leading man Axel Heyst (played by Jack Holt) returns to the hotel with Alma (Seena Owen) to retrieve her
belongings and escape. Where other directors of the period might direct this scene as it would be done on stage, with
the two characters simply entering from one side and crossing the lobby, Tourneur keeps the hotel's staircase in
the left foreground as Axel & Alma enter from the right background and slowly move forward. It's night, the
wind is blowing hard, and we can see tree branches rustling through the windows; Axel & Alma must creep down a
corridor toward the camera, not laterally across a "stage." It's very cinematic, a composition that
doesn't resemble other movies of 1919 so much as the work of Orson Welles at RKO in the early 1940s, and the many
shadowy crime dramas which followed.

Still, all the innovative camera angles in the world won't carry a
film if the actors aren't up to the task, and happily Victory features a number of first-rate players. The primary
reason this film is remembered today (and certainly the reason it's been made available on DVD) is the presence of
Lon Chaney as Ricardo, one of the trio who arrive on Axel's island to menace our hero and heroine. Chaney may not
be the first actor one might think of for the part of a knife-wielding Hispanic thug, but he brings his unique charisma
to the task and makes the role his own, deftly stealing the show. Today Chaney is generally pigeonholed as a horror
star, but it's worth noting that he spent most of his career in roles like this one, certainly villainous but in no
way touched by any element of the supernatural. Chaney threw himself into his portrayal of Ricardo with his customary
energy, at times moving like a dancer and always drawing our attention in any grouping of actors.

Jack Holt
is stolid and frankly not too interesting in the lead role of Axel Heyst, but in fairness the part is a thankless one,
as the demands of the story force our protagonist to be little more than gentlemanly and laid-back until the climax.
Seena Owen makes a stronger impression as Alma. Prior to seeing this movie I was aware of her primarily for her amazing
performance as the Mad Queen in Erich Von Stroheim's notorious Queen Kelly, a role vastly different from the one
she plays here. Owens' Alma is a more demure (to put it mildly!) and complex figure, and she's especially
impressive in a sequence when Ricardo mauls her. Alma must fend him off while pretending to be flattered, even
"turned on" by his brutish attentions, only allowing her genuine feelings to become clear after he has gone.
Wallace Beery, who generally played slimy bad guys at this point in his career, sports an amusing beard and is as
unpleasant as ever in the role of August Schomberg, the despicable hotel manager whose lust for Alma sets the plot in
motion. Finally, I was very much taken with an unfamiliar actor named Ben Deeley, who played "Mr. Jones," the
leader of the trio who invade the island. Jones is a fey, feline, and startlingly modern looking villain. For
today's viewers his slicked-back white hair and dark shades suggest the star of a Euro-pop rock video of the 1980s.
Deeley gives an understated performance that goes with his appearance. Over all, the acting here is remarkably low-key;
the arm-waving histrionics often associated with silent drama is nowhere to be found.

In sum, Maurice
Tourneur's Victory is an unexpected treat for silent film buffs, a well-made, well-acted and entertaining melodrama
featuring a number of unusual touches that lift it well above the realm of the ordinary. And hey, it boasts an action
finale set against the backdrop of an erupting volcano! What's not to like?
16 out of 18 found this helpful.
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 9/10
Excellent drama from Tourneur and Chaney
funkyfry16
November 2006
Warning: Spoilers

Maurice Tourneur and Lon Chaney collaborated on several films in
the late teens/early 20s, but this is the first I've had the privilege of seeing. I was not disappointed; I think
it's a fine film and really has some very interesting visual aspects and performances.

Maurice Tourneur
was known as a master director in the silent era, and though not many of his films survive (I would be very curious if
anyone sends me a list or responds with names of films that can be found) this film bears out his reputation. The only
earlier Tourneur film I've seen is the gangster film "Alias Jimmy Valentine", and in this one Tourneur
shows a similar penchant for geometric compositions and heavily contrasted shadow-play, at many points actually using
silhouettes to tell the story when the action becomes intense and violent. There isn't the same kind of feeling
from the way he uses these techniques however as what you get from the German masters of expressionism. Tourneur is
creating an effect that emphasizes not only the formal aspects of the characters' environments but also the
animal-ism of the characters themselves, whose bodies are often weirdly distorted when we do see them in silhouette. At
other points Tourneur uses a kind of extreme geometric contrast to evoke the natural beauty of the world and the
loneliness of nature, as in the scenes showing Alma and Heyst sailing out of town, their boat proceeding to the left at
a sharp angle while a bunch of rocks rises up in the opposite direction on shore and a lone fisherman holds his rod at a
sharp angle on the right. This type of shot occurs at several points in the film and seems to be a trademark Tourneur
style judging from the famous still photos I've seen from "Peter Pan" and "Treasure Island"
(both of which are lost if I'm not mistaken).

There are some scenes in the film that I thought were
incredibly graphic for the time, such as the scene where Mr. Jones pushes Pedro's brother in the fire head first,
and we actually see a model of the man practically exploding in the fire. Very convincing effect, still packs some shock
value because the graphic nature of the shot is so unexpected. Likewise in the later scene where Ricardo tries to kill
Heyst and in the film's final moments with Pedro and Mr. Jones.

Now, the performances. Might as well
start with Lon Chaney's masterful turn as Ricardo. His makeup is always convincing but I've never seen him in
a Mexican makeup, and it was so well done that I wouldn't have even recognized him in the early shots where the
camera isn't very close if I hadn't seen the name of his character on the cast list. I've never seen
Chaney so animalistic as he is in this role. While for the most part the other characters walk around very upright with
creased pants and so forth, Roberto has his pants slung low around his waist and he walks with a stoop. There's a
great shot of Chaney when he comes back to Heyst's house to retrieve his precious knife (he has a very fetishistic
attachment to that knife), he creeps on all fours to the edge of the window and leaps through the window without raising
his frame at all, landing inside the house still crouching down like a cat. In the "flashback" scenes where
he's about to kill Pedro, he dances around the man's vulnerable body with his knife like a demon. Chaney
projects a menace and a kind of sordid evil that is remarkable even among his many excellent film performances.

His master, Mr. Jones, by contrast is a kind of quiet menace, a man who projects a kind of evil that's reptilian
to Chaney's apelike brute. It's interesting that Jones and Chaney are both defined by their weapons. Jones
relies on his gun, and when his gun stops working he basically is neutered. Chaney relies on his knife but as stated is
much more personally attached to it. The knife is a somewhat more intimate weapon, even though Chaney throws it, and
that suits the difference in style between the two villains. Bull Montana gives a remarkable performance also as Pedro
as well, a man who's hidden his emotions from the world very successfully, by pretending to be evil while awaiting
his chance for revenge.

Wallace Beery gets all of his bits in the first half of the film. His character is
just as evil as Jones and Roberto but he is the type who gets others to do his dirty work for him. He is certainly
cunning as he discovers a way to get revenge on Heyst while ridding himself of the loathsome lodgers. The scenes with
Beery and Chaney have a crackling kind of energy, which Tourneur highlights by concluding the scene with a shot of the 2
of them cackling conspiratorially while framed in the same shot. Beery's Shoemberg strikes me as a hypocrite, a man
who hides his evil while Roberto wears his lack of morals like a badge of honor.

Owen is effective as Alma,
but Holt comes off a bit weak as Heyst. I guess a lot of that is just part of the role, he's quite a stick in the
mud in a lot of ways.
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Good
Atmospheric Melodrama, With Chaney As a Bonus
Snow Leopard14 November 2005
This is a good atmospheric
melodrama that successfully adapts a Joseph Conrad story of human needs and emotions, and it adds a memorable supporting
performance by Lon Chaney as a bonus. The first part moves at a nice, deliberate pace, allowing the characters to define
themselves and the tropic island atmosphere to sink in. Then, once it gets moving, it produces some tense moments of
suspense, action, and danger.

Jack Holt plays a moody recluse who is drawn into helping out a musician played
by Seena Owen. Just as things start to work out for both of them, the villains - Wallace Beery, as a brutish hotel
manager, and a ruthless gang that includes Chaney's character - take over the course of events. The story is rather
simple in itself, but (as is often the case in Conrad's novels) the key is to watch the characters as they respond
to developments.

Holt is actually rather bland as the hero, and this is the main thing that keeps it from
being one of the finest pictures of the late 1910s. Owen is quite sympathetic in her role, and often effectively
underplays her character's emotions. Beery is well-cast and performs well, but it is Chaney who grabs the attention
from everyone else whenever he is on the screen. Even in a supporting role like this, his attention to detail and his
understanding of his character's nature come across clearly.

The cast and story work well together and
with the setting. The smoldering volcano not only provides atmosphere, but is also an appropriate image for the changes
taking place inside the characters, as the tense story movies towards its conclusion.
5 out of 7 found this
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 9/10
A taut, beautiful thriller
Randy Byers16
September 2005
I had to watch this movie three times before I finally started to catch the plot details, because
it's just so beautiful to look at that I don't really care about the story. All of the Maurice Tourneur films
I've seen are visually fascinating to one degree or another, but this one takes the cake, even over THE BLUE BIRD
(which is admittedly a far different kind of movie). I can imagine Josef von Sternberg studying this movie for clues on
how to create an exotic look out of papier mache and shadows. (Okay, that papier mache volcano looks pretty silly, but
that's about the only major lapse I've noticed.) Griffith may have taught people how to edit, but I'm
beginning to think Tourneur taught them how to compose the frame for depth effects and complex texture. The tinting is
very beautiful, too, and I love the effect when Heyst blows out the lamp.

But once I focused on the plot, I
was impressed on how well-constructed it was. The story moves along at a smooth, smart pace, and the tension builds very
nicely. This is a pretty generic thriller in many ways, with a generic romance at the heart of it, but it's put
together so effortlessly and with such visual charm that it seems fresh. Still, the real dramatic motor is the bad boys,
particularly Lon Chaney as the psychopathic but strangely good-natured Ricardo and Ben Deeley as the cold, creepy Mr.
Jones (looking like he stepped out of a Fritz Lang movie). There's also a good twist in the history and brute plan
of Bull Montana's Pedro. Seena Owen's role is underwritten, but her weary, vulnerable resolve is beginning to
grow on me.

Maybe this is where the movies start for me. Certainly it's the earliest movie to hold me
entranced from stem to stern, although the German classics begin full-bore within a year of this. But there's still
a lot more to see from the era.
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An Early Masterpiece
zpzjones13 September 2010
After watching Maurice Tourneur's "Victory",
the first movie of a Joseph Conrad novel, it makes one lament the loss of Tourneur's "Treasure Island"
which also was photographed by Rene Guissart and had Lon Chaney in a great make up. Long thought lost, a beautiful
pristine 35 mm print of "Victory" was located in a European film archive. Along with Chaney the cast has
pretty Seena Owen looking quite seductive, suave but dull Jack Holt, menacing Wallace Beery, frightening Bull Montana
and odd Ben Deeley. Deeley is the least known of the cast. He was married to Barbara LaMarr and would die in 1924 two
years prior to Barbara. Deeley made several silent films but "Victory" is one of his few that survive & he
gives a memorable creepy characterization. In addition to "Victory", several classic Tourneur silents survive
ie Alias Jimmy Valentine(1915), The Wishing Ring(1914), Pride of the Clan(1917), Poor Little Rich Girl(1917), A
Girl's Folly(1917), The Blue Bird(1918), Prunella(1918), Last of the Mohicans(1920), The White Moth(1924) and parts
of the Mysterious Island(1927-29). Thankfully "Victory" survived the decades, in great condition, and is a
great silent film to introduce a newcomer to the genre. A very high & enthusiastic recommendation. Maurice Tourneur,
Paramount.
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 9/10
The first
Film-Noir?
fred3f5 February 2005
Warning: Spoilers

Minor Warning: Spoilers

ahead. Maurice Troureur is one of the great directors of early cinema, and one of the least well known. He was
particularly adept at creating atmosphere and composing his sets and shots (this skill is called
"mise-en-scene"). Many of his films are lost and many others are simply unavailable except on bad bootleg VHS
copies. "Victory," is an exception. 

The film, has many interesting elements, but one of the most
interesting is how it foreshadows both film noir and Hitchcock. With deft touches of mise-en-scene, Tourneur, creates a
steamy, sordid atmosphere in this creepy film. The three villains are perfectly cast. There is the cold emotionless
intellectual criminal who kills as a means to an end (Ben Deeley), the strong brute, who has deep loyalties and deeper
hatreds (Bull Montana), and finally the sadistic, killer who loves to see his victims squirm (Lon Chaney). The first
shot of this charming threesome shows them looking down from the deck of a ship. The camera hangs on them, giving us
time to study their personalities written so plainly on their faces. You won't see another scene like this until
the 30's. 

Lon Chaney appears here in one of his early roles. This film was a bit of a break for Chaney.
Prior to this, his roles were not as interesting, but in this film Tournour brought the best in him and from here on out
he would develop his famous acting persona. 

The malevolent atmosphere and suspense builds in a way that is
so Hitchcockian that you have to recheck the date of the film to decide who influenced whom. The lecherous, cowardly and
vindictive innkeeper is perfectly played by Wallace Beery, but it is Lon Chaney who stands out as he sadistically plays
mind games with anyone who has the misfortune to be around. You feel as if he might suddenly kill someone for no better
reason than to improve his boredom. 

The other major player is Seena Owen. Largely forgotten today, probably
because she made so few films. She shows herself to be a noir heroine that is easily the equal to Lon Chaney in this
film. Beautiful, sensuous and knowing, the scenes between her and Chaney are priceless. In one, Chaney attempts to rape
her. She successfully fights him off. As they look at each other from different parts of the room, panting from the
fight, Chaney compliments her on being able to resist him. She smiles, as she adjusts her clothing, and thanks him for
the compliment. A scene like that in 1919! You wouldn't see another to match it until the mid 1930's. 

Is it the first film noir? Did the film influence Hitchcock? Who can say? But one thing is certain, the film is
well worth watching.
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 8/10
Cinematic
Cineanalyst4 July 2005
Warning: Spoilers

Director Maurice Tourneur was one of
the great pioneering filmmakers of the 1910s, and he ended the decade with one of his best: "Victory". His
films are noted for their pictorial beauty. With the death of John van den Broek, René Guissart takes over the
cinematography duties here. Clarence Brown, who worked as editor and assistant director on many of Tourneur's
films, isn't credited here--he was beginning his own successful career as a director at about this time. Ben
Carré, one of the best of early set designers, did work on this film, though.

There are some impressive
chiaroscuro effects here, as well as good use of tinting, in addition to Tourneur's trademark silhouettes. The film
moves quickly, and the careful timing of the editing is visible in one scene where the cuts are in unison with gunfire.
The film contains pictorial beauty, but also ferocity, which corresponds well with the film's narrative and
intriguingly drawn characters. It climaxes in the film's volcanic dénouement.

There's also a
flashback in one scene, which is rather breezy; it setups Lon Chaney's character Ricardo, who narrates it, at the
center of the film. There are several characters in this picture, each at some time pulling the narrative: Wallace
Berry's character, who owns the hotel and tries to own Alma; the mistreated and fickle Alma herself, whose
questionable loyalties turn the film's suspense on her; and even the protagonist who doesn't want to influence
anything. Berry's nosey busybody, with the beard and glasses, the bestial physicality of Pedro, and the dark
sunglasses and white suit of Mr. Jones make them visually intriguing characters, too--causing viewers to focus on them
without the story having to.

Heading all of that, however, is Chaney, whose feats in movie makeup invented
the trade. Without credits, I wouldn't have known he played Ricardo. Chaney was also at the forefront of
introducing cinematic acting, subtler than the theatrical and, more importantly, a fully convincing embodiment of a
character. In that way, his character becomes the center of the film, and the rest of the characters unravel with the
climactic events on his cue.

Tourneur often adapted his pictures from literary sources, but using a novel by
Joseph Conrad surely helped to make this one of his best works, as does Chaney. One of the things I like most about
"Victory" is that it's more cinematic than some of his other films, although he referenced theatre in
interesting and self-aware ways in such films as "The Wishing Ring: An Idyll of Old England" (1914) and
"The Blue Bird" (1918). "Victory" has both a consistent visual and cinematic style, in addition to
the rarity (in Tourneur's films and in movies in general of the time) of intriguing characters convincingly and
cinematically portrayed.
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A
ripping adaptation of Joseph Conrad's 1915 novel
Richard_Harland_Smith9 May 2000
Maurice Tourneur's
VICTORY was made only four years after the publication of the source novel by Joseph Conrad, and features silent film
sensation Lon Chaney in an early co-starring role.

When pre WWI isolationist Jack Holt steals a girl away
from predatory hotel permitee Wallace Beery, Beery sics a trio of island-hopping fortune hunters on him. Lon Chaney
steals the film as the shiv-shoving Ricardo, but Seena Owen is his equal as the desperate but clever Alma. Jack Holt is
the jut-jawed hero, Bull Montana (the "ape man" of 1926's THE LOST WORLD, which starred Beery) a simian
heyboy and Ben Deeley is the languid, almost Ernest Thesiger-like villain of the piece.

Jules Furthman's
script simplifies Conrad's novel, and provides a much happier ending, but it's
still surprisingly faithful and Conrad's witty but

fatalistic voice rings loud and clear.
3 out of
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 8/10
another stellar performance by Lon
Chaney
kidboots16 October 2008
Warning: Spoilers

Maurice Tourneur was a gifted and sensitive
director, who also directed Lon Chaney in "Treasure Island". Tourneur's films had great visual appeal
through his mastery of set design and lighting. It is very apparent in "Victory". 

Lon Chaney was
on the brink of stardom in 1919. He had just given a break through performance as "the Frog" in "The
Miracle Man" and in 1920 would shock everyone with his role as "Blizzard" in "The Penalty". In
"Victory" he was surrounded by established players - Wallace Beery, Jack Holt, Bull Montana and Seena Owen,
who had starred as Princess Beloved in "Intolerance" (1916), but he still managed to make his mark.

Axel Heyst (Jack Holt) lives on a solitary island, surrounded by his father's books. He feels that only by being
an observer of life rather than a participator, can he find true peace. While staying on another island to finalize some
business, he comes to the aid of Alma (Seena Owen) who is a violinist in the local band. She is being pursued, not only
by Schomberg (Wallace Beery) but the band leader as well and begs Axel to take her to his island so she can escape. Axel
agrees.

Schomberg goes on a thorough search of the island and as a last resort, hires 3 thugs who have been
causing havoc at his hotel. He wants them to go to Axel's island to search for Alma and lures them there with tales
of hidden treasure. Lon Chaney is almost unrecognizable as Ricardo, a knife carrying crazy, who tells how Pedro (Bull
Montana) can "snap men's back's like rotten sticks". Bull Montana is scary as the cretinous Pedro,
who throws a boat boy overboard and carries his luggage around between his teeth!!!

When they reach the
island, Ricardo attacks Alma but she fights back with such force that Ricardo is full of admiration and asks Alma if she
wants to come in with them for a share of the treasure. Ever since she has been on the island she has felt lonely. Axel
is not interested in getting to know her so she pretends to throw in her lot with the thugs hoping to save Axel.

With the smoldering volcano as background violence is let loose. Ricardo is shot on the roof and falls into a
pit - in real life Chaney, who did all his own stunts, missed the pit when he fell, knocked himself out but still
insisted that he complete the scene when he came to!!! Pedro throws Mr Jones into the fire because "when you killed
that man in South America - he my brother"!!! 

It ends conventionally enough with Axel realizing that
Love is the most powerful emotion.

Highly Recommended.
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 8/10
Pretty good---and be sure to watch the fire scene near the end.
MartinHafer12 January 2010
Warning: Spoilers
Axel Heyst (Jack Holt) is a strange would-be author.
Instead of the usual way of writing a book, he movies to a Pacific island and lives the life of a hermit to get
inspiration. My wife is a very successful writer, though she has never needed such inspiration (thank goodness)! One
day, he has to take a trip to civilization and goes to another island. There, quite unexpectedly, the hermit comes upon
a beleaguered lady (Seena Owen) who is being abused by a band leader (Wallace Beery--hiding under a lot of fake hair and
a beard) and his nasty wife. While Holt wanted to remain alone on his island paradise, he can't stand to see the
lady being treated this way and helps her sneak off to his refuge.

The reaction of Beery didn't make a
whole lot of sense. Sure, he might have been mad that this lady ran off and left his band, but it was just one lady--yet
he vows vengeance and goes to incredible lengths to find her. Later, when he learns where she is, he sends a gang of
scum (which included Bull Montana and Lon Chaney) to get her by lying to them about a treasure on the island--saying
they should torture the man and woman to learn where it is! The problem is that Holt is an avowed pacifist and he cannot
bring himself to fight these ruffians when they arrive. What will happen? What will become of the love that is
blossoming between Owen and Holt? Tune in and find out--though I will say that part of the ending (having to do with a
fire) was 100% unexpected and shocking! This is an agreeable little adventure film-romance. While it's not one that
will change your life, it is worth seeing for its odd plot, a chance to see Chaney playing a Hispanic man and to see
Holt, who was quite the matinée idol in the 1920s--though by the 30s he'd become more of a supporting actor as
his hair thinned. Decent acting, a decent script and a nice tropical look make this a
winner considering it was made in 1919.

By the way, this is bundled with THE WICKED DARLING (also 1919) on
DVD, though fortunately the print of VICTORY is much better.
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Decent Chaney
Michael_Elliott11 March 2008
Victory (1919) 

**
1/2 (out of 4) 

Axel Heyst (Jack Holt) lives on a deserted island where he prefers to be alone. One day he
travels to town where he meets an abused woman (Seena Owen), takes pity on her and brings her back to his island. Soon
her owner (Wallace Beery) sends three criminals after her. The main note here is that Lon Chaney plays one of the
criminals and, as usual, he does a very nice job showing off that evil side. Holt, Owen and Beery also give fine
performances, which is pretty much the only thing this film has going for it. There's some nice visuals and a nice
looking erupting volcano but the story starts to drag in the middle. Directed by Maurice Tourneur.
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 2/10
Disappointing
liderc2 January 2007
Warning: Spoilers

Joseph Conrad's 1915 novel "Victory" is a complex treatment of
life-denying philosophy, human wickedness and the power of love. It's very interesting to see its first movie
version, done in 1919 and probably only known today since Lon Chaney on his to way to fame did a good performance of the
crazy villain Ricardo in it.

But all in all this movie is a disappointment. The
script reduces the novel to a quite silly and simple love and adventure story, where in the
ending (different from the novel) Heyst, the lonely reclusive on the island, has learned to "hack and slay for his
woman", as one of the silly intertitles says. The movie never works because there are too much intertitles,
clumsily interrupting the action, and the plot of the novel gets spread out in fast forward without any care for detail
or atmosphere. Just look how the character of Ms. Schomberg got changed! The acting is OK overall, I guess, since the
actors haven't any chance because of the bad script. Photography is good and sometimes
great, which gives the movie somewhat of a raw power, but the scriptwriter and the director
obviously wanted to make Conrad's novel into an exotic and simple adventure story on all costs. The booklet of the
Image Entertainment DVD call the director "gifted", but I can't see much talent in this superficial,
silly movie.

I wonder if Joseph Conrad saw this movie and what he thought of it. I guess he hated it. If you
want to see a surprisingly good - in fact, it's great - movie version of this novel go and see Mark Peploe's
1995 version.
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SVENGOOLIE - INDESTRUCTIBLE MAN (1956) Aired 11 13 2021 Lon Chaney Jr	1 Year+ - in TV shows	1.33 GB	1	0
Tell it to the Marines (Drama 1926) Lon Chaney 720p	1 Year+ - in Other	963.66 MB	0	1

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