Wake of the Red Witch

From one of the many novels written by Garland Roark comes this dramatic story which the Legendary John Wayne enhanced with his mere presence. Directed by Edward Ludwig the story is masterfully written and tells the naval tale of an adventurous sea Captain named Ralls (John Wayne) who's a courageous soldier of fortune. Created with duel personalities, Ralls is both blessed and cursed because of them. Instintivly knowledgeable of the sea and his ship with many skills having to do with caring about his cargo and his 18 sail masted schooner, he's a skilled navigator who instills confidence in all of his crew. This bears well with his boss Mayrant Ruysdaal Sideye (Luther Adler) who is always trying to out think his chosen Captain. To insure that Sideye gets his way, he designates a second in command trustworthy enough to get the task done. What the ship's owner plans is to insure his precious cargo is scuttled to the bottom of the sea, so's as to collect on the insurance. What those involved don't know is that Ralls has his own way of doing things and puts in danger the owners plans. It's a story of deception versus skill, which may put all those involved in jail or get them killed. To complicate matter there are several beautiful women who believe their men and the Island native who trust in their gods as well. All in all, it a good movie for Wayne and any audience member will be hard pressed to select whether Wayne is playing a Good Guy or not. It's hard. The great cast is there to insure the quality of the film which is superior. They include Gail Russell, Gig Young, Luther Adler, Henry Daniell, Paul Fix and Jeff Corey. If this is your first Wayne movie you'll realize why he became a great star. The movie is listed as a Classic and I agree. ****

This movie simply has everything a sea adventure could possibly offer. In 1949 our family saw it twice, two nights in a row, at our neighborhood theater; the only such movie. A mean and brooding John Wayne sails the South Seas in search of riches and power, and will find Gail Russell in the process. He'll encounter treachery, a powerful island tycoon, underwater perils, one interesting problem after another. But the one thing you'll never forget is the long climax whereby John Wayne gets into a diver's suit to pursue $5 million in gold which is still in the belly of a sunken ship. The big problem is the ship has landed precariously on an underwater ledge, not on a flat sea-bottom. Three years later, Republic starred John Wayne in "The Quiet Man." No doubt their all time best movie. But for 3 years, Red Witch was their very best. The original black & white version looks better than the under-par colorized version.

I agree with others who liked this 1948 Republic gem of a film. And, although I could see where the story seemed disjointed at times, I think that worked in the film's favor. After all, this is a story of intrigue. Should not the plot have some mystery and inexplicable parts to it? I'm probably not the only movie reviewer here who did not read the book the film is based on. Nor had I ever heard of the book or its author, Garland Roark. I did look him up and found that he wrote a number of seafaring adventures as well as Westerns. So, I thought the plot developed very nicely with the right amount of intrigue mixed in with some action, sea scenes, and romance. We gradually discover the background of the animosity between John Wayne and his nemesis, played quite ably by Luther Adler. The acting was very good all around, with Adler and "Duke" having the more dramatic and expressive parts. I enjoyed John Wayne in most of the films he did outside his usual genres of Westerns and War flicks. Besides the good acting and plot, "Wake of the Red Witch" had some good cinematography with sea and sailing shots, and very good underwater action. All of this adds up to a very good and entertaining film.

I'll bet the novel was a corker, big and fat, because the movie that Republic made out of it is pretty complicated. The fundamentals are clear enough though. John Wayne is Master of the Red Witch in 1860 and, with the complicity of his first mate, Gig Young, runs her aground and sinks her along with her cargo of millions of dollars in gold. Young believes that Wayne does it for the money, but in fact, as we learn through a series of flashbacks, he's doing it chiefly because he hates the owner of the ship, the phenomenally wealthy Luther Adler. The mutual hatred goes back seven years, to a time when Adler, dead heading it on one of his ships -- he owns many -- plucked Wayne out of the water and saved him from death by shark. At the next port, they both fall for Angelique Desaix, Gail Russel, and it's easy to see why. She's more of a blue-eyed, black-haired ghost than a young woman. She's strikingly attractive. Her pale beauty has a lunar sheen. And when she manages to raise her voice above a whisper it sounds like a high school girl's. She seems shy in front of the camera. She WAS shy. It's all very magnetic, enough to make any normal man sit her on his knee and whisper reassurances while he nibbled her ear. Well, Russel falls for one of the two men. She has a choice between the young, vigorous, handsome, tall, plain-spoken Wayne, and the squat, greedy, insinuating, lizard-eyed Luther Adler. Guess which one she chooses? Not that it does her any good. Her tradition-bound French father arranges her marriage to Adler. Wayne stalks off. Russell is heart broken. One thing leads to another. Adler is bound to a wheelchair by the disease that kills Russell. Pearls come and go. Ships blow up. And millions of dollars of gold that belong to Adler sit in the belly of the sunken Red Witch, whose location is known only to Wayne. Wayne's performance is about at par. That is to say, he's John Wayne. That slow drawl, that slight grin, all seemed to define his range as an actor. He never changed much during his career and came eventually to believe in his own legend. (He was hesitant about admitting that he had lung cancer because the public Duke should not be laid low by a disease.) He seemed not to recognize it when he showed his considerable talent in character roles in "She Wore a Yellow Ribbon," for instance, or "True Grit." After "The Wake of the Red Witch," I don't think he ever allowed his screen character to approach villainy so closely. In any case, this may be Luther Adler's film. He's the most talented actor in it and his role is the most complex. Adler's rage towards Wayne animates his days. It has joined his lust for pelf as his chief reason for living. It may have saved his life from the disease that crippled him. At one point, a meddlesome Dutch official tells Adler that his understanding is that bad blood exists between him and Wayne. Priceless, the way Adler rolls his eyes innocently, wonderingly, and replies, "Ohh, NOOOO." It's about the only comic moment in an otherwise dramatic film. And the plot itself doesn't add up to much. There's a lot of hooey about Wayne killing a giant octopus and being called "Son of Taratua", a white god, by "the natives." There's a Pearl Festival. There's a speech by Wayne about how a man can breathe free on a ship under sail. None of it makes me want to read the novel.

I enjoy most John Wayne films, notably his Westerns, and a long time ago read several books about him, but Wake of the Red Watch was all but unknown to me. (British TV frequently screens his better-known films butI can't recall "Wake" being shown before.) It wasn't at all bad, if one overlooks some of the clichés and limited production values, and Wayne portrays a character more complex and less sympathetic than in any other of his films, even Red River and The Searchers. Some of the plot twists were a bit hard to follow, and I'm still not sure about the relationship between Ralls and Sidneye - it seemed to mellow towards the end. Before watching the film I hadn't bothered to note its date and, going on Wayne's youthful appearance and the unsophisticated aspects of filming and plotting, I guessed it was early 1940s. I was a little surprised to see that it was 1948, just as Wayne was about to film some of his greatest Westerns.

This will provide a treat for those nostalgic for the kind of 'character' and 'supporting' actors that once fleshed out every film that came out of Tinsel Town. For me the attraction was Luther Adler, scion of a great acting family (father, Jacob, sister Stella) who did sterling work with the Group Theatre but made only a handful of films. Here he is cast as the type of 'heavy' played around the same period by the likes of George MacReady, Elliot Sloane, etc. Also on hand is Paul Fix, Jeff Corey and third featured male Gig Young, a good ten years before he evolved into 'friend of the leading man', in the shapes of Rock Hudson, James Garner etc. The plot is more or less Wuthering Heights with seaweed and in the Heathcliff role Duke Wayne acquits himself reasonably well whilst Gail Russell trades heavily on her fragile beauty and lacks the spine of a Cathy Earnshaw. Nevertheless it's an entertaining romp from Republic and worth a look.

The first thirty minutes or so of Wake Of The Red Witch has so many characters, and it's so hard to figure out what's happening, it may remind you of The Big Sleep. After two lengthy flashback sequences, told by two different characters, the waters of the plot were a little less muddy. Unfortunately, at that point the story slowed down and sagged a little. Nevertheless, this is a very exotic (as in strangely but appealingly different) and entertaining movie and a different direction for John Wayne, who plays one of the most sinister and cruelest characters of his career. Republic Pictures was a studio with a reputation for making movies on the cheap without the final product looking cheap. Most of their output were programmers, but they liked to turn out one or two "quality productions" per year. It looks as if Wake Of The Red Witch with a budget of over $1,200,000 was the quality of 1948. The movie premiered in Houston, Texas in late 1948 but did not get a general release until March 1949, which probably indicates some re-editing and perhaps new scenes. It has a terrific cast, headed by Wayne and Gail Russell, excellently supported by Gig Young, Adelle Mara, Luther Adler, Henry Daniel, Eduard Franz, Paul Fix, and Grant Withers. Edward Ludwig's direction is sharp, especially considering the complex script handed him by screen writers Harry Brown and Kenneth Gamet. Cinematography by Reggie Lanning is up to the best standards of beautiful back and white era. Though there is some obvious back projection in places, the South Sea sets by John McCarthy, Jr. and George Milo are lush and convincing, and stock footage from other movies (one of Republic's favorite cost-cutters) is blended in flawlessly. On the other hand the fluid editing we take for granted in pictures from the 'forties is spoiled by too many abrupt, blackout scene changes. This may point to some radical re-editing between the premiere and the general release three months later. Set in the 1860's Dutch East Indies and surrounding area, the story revolves around a bitter but respectful rivalry between sea captain Wayne and ship owner Adler. These two strong, morally challenged men are locked in a long-standing mutual hatred. But each grudging admires the other as the most ruthless and competent man he knows. Their rivalry eventually becomes the sole reason each has for living. Wayne was coming off the release of the highly successful Red River, which had actually been filmed two years earlier, when Wake Of The Red Witch was made. There was a little of Tom Dunson, the cruel, tyrannical rancher he played in Red River in practically every movie John Wayne subsequently made. There is a lot of Dunson in his Captain Ralls in Wake Of The Red Witch. He is Dunson magnified. Wayne and Adler's intense character studies are what makes this movie really worth watching. As for the rest of the cast .... judging by this picture, it would seem that Gail Russel, in addition to wrecking her career with booze, just wasn't really much of an actress. Adele Mara should have had the female lead instead of the second lead. And Gig Young should have kept the mustache. Wake Of The Red Witch is one of John Wayne's best performances, an entertaining, action-packed, and mysterious picture.

My all time favorite of all the John Wayne movies. It came out when I was a young girl and I have seen it 34 times, and would watch it again if I could find a video. Compared to special effects today, it is lacking, but I believe it was one of his best.

We're in the 1860s somewhere in the Pacific. John Wayne is looking for riches surrounded by natives, Gail Russell, Luther Adler and a very young Gig Young. The picture should have been in color for starters. Wouldn't you really like to see The "Red" Witch of a boat? The story is one of revenge between Luther Adler, a vicious, cunning individual who stole Gale Russell from the clutches of Wayne. To get revenge, Wayne sunk Adler's Red Witch boat and Adler shall reciprocate as the film goes on. Miss Russell must have thought that she was Merle Oberon in the way that she attempted to play her death scene similar to Oberon's "Wuthering Heights." The uneven writing doesn't help one bit. Wayne joining Miss Russell in death at the end while searching for gold at the bottom of the sea is Hollywood mush. This film needs to be waked.

Half of a good movie. John Wayne plays a sea captain set adrift on the waters after a falling out with natives on an island in the East Indies; he's soon picked up by another ship but butts heads (in a gentlemanly fashion) with that captain, a well-respected shipping magnate, especially after they return to the native island and both men fall in love with a beautiful white girl. Mostly told (rather unnecessarily) in flashback, there are two treasure dives--the first for pearls and then for gold--yet by the time we get around to the second pillage, all the wind has gone out of this movie's sails. At a certain point passed the first hour, the narrative flashes seven years ahead into the future--and then proceeds for more time!--leaving viewers far behind. Gail Russell is indeed lovely as the woman who comes between the two ego-fed men, but her role turns the film from a sea-faring adventure story into a star-crossed, doomed-lovers romance, and the results are all wet. The Duke is fun wrestling with an octopus, saving a native boy from the piercing clamp of a giant clam, or mouthing off to whomever is in charge; he's at his most robust and handsome here, but his performance doesn't bolster the wayward plotting and his final scene is a real let-down. ** from ****