Reap the Wild Wind (1942) User Reviews

DeMille's Only Master Stroke

[jpdoherty · 6/10 · 9 March 2010]

Paramount's REAP THE WILD WIND (1942) is arguably Cecil B.DeMille's best picture! There is little of his usual bluster, bombast and over the top special effects. Although his grip on actors was always somewhat slack the flamboyant jodhpurs clad producer / director managed here to elicit fine performances from an attractive cast and come up with a well structured screenplay by Alan LeMay, Charles Bennett and Jesse Lasky Jr. which derived from a novel by Thelma Strabel. Richly photographed in glowing Technicolor by Victor Milner, Dewey Wrigley and William V.Skall the movie, at the time of its release, was being touted as a sort of "Gone With The Wind" of the sea and not only because the leading lady Paulette Goddard and her co-star Susan Hayward had both tested for the part of Scarlet O'Hara three years earlier. Impressive also is the Hans Dreier and Roland Anderson nominated Art Direction especially for a party and a well staged ball sequence in Charleston. Combined with opulent set designs, lavish costumes and ravishing colour these scenes positively sparkle.

REAP THE WILD WIND is about the pirate wreckers who prey on the shipping lanes along the coast of Key West in 1840's Florida and scuttle great ships on the jagged rocks so as to extract the rich booty on board. Then there's the honest salvage ships who's sole purpose is to save lives and the valuable cargo. One such ship helm-ed by Captain Philpot (Lynne Overman) and his feisty and impetuous niece Loxi Claiborne (Goddard) rescue Captain Jack Stuart (John Wayne) and nurse him back to health. But the shipping company headed by the smooth and foppish lawyer Steve Tolliver (Ray Milland) wants Stuart never to command another ship because of his recklessness. In the meantime Loxi has fallen for Stuart who now has to vie with Tolliver for her affections.

The cast is quite wonderful! Top billed is Ray Milland who gives his usual convincing and engaging performance as the man trying to win the heart of the attractive and boisterous Loxi (the film's pivotal role well played by Goddard). But a revelation is John Wayne who is excellent in what is his first "big" movie and only his second in Technicolor. Surprisingly too in the engaging love scenes with Loxi, Wayne cuts an accomplished romantic figure ("Nights on watch I'll see like this Loxi, with your hair catching fire in the sunset and that look in your eyes ten thousand fathoms deep"). Then there's the young and really attractive Susan Hayward in one of her early appearances as Loxi's star-crossed cousin Drusilla. Also effective is Raymond Massey as a black hearted villain with the colourful name of King Cutler and Robert Preston as Hayward's dashing young lover. The highlight of the movie is, of course, the excellent set piece towards the end of the picture where divers Milland and Wayne battle it out inside a ship's wreck in the ocean depths with a giant squid. In these days of CGI it is amazing that this scene, that was always considered quite stunning, can still manage to look powerfully real and exciting. The film won the 1942 Acadamy Award for special effects.

Complimenting the picture throughout is the splendid score by De MIlle's favourite and trusted composer the great Victor Young. His Main Title is a rollicking and bawdy sea shanty and his theme for the sea is a broad full orchestral piece with powerful horn figures against romantic strings. Then for the young lovers (Hayward and Preston) there is a tender and lyrical theme that gives their scenes together an engaging and heartfelt charm.

REAP THE WILD WIND is another of old Hollywood's master strokes. A timeless romantic sea adventure with a memorable cast that has been enjoyed by past generations and no doubt will be enjoyed by many generations to come.

Cecil B. DeMille's Reap the Wild Wind is good old-fashioned entertainment

[tavm · 8/10 · 7 August 2006]

Reap the Wild Wind is Cecil B. DeMille's contribution to such sea-faring adventure classics as The Sea Hawk or 20,000 Leagues Under the Sea. John Wayne plays a ship captain, Ray Milland plays a lawyer, and Paulette Godard a feisty southern belle who comes between them. There's plenty of fights, a trial, and an entertaining squid. There's Susan Hayward, Robert Preston, Louise Beavers, and Raymond Massey. There's a wonderful music score and beautiful Technicolor. There's a playful monkey and a talking dog (coutesy of Milland's ventriloquism). And it begins with DeMille's narration to set the tone for an action-packed, if occasionally talky, picture. This is good old-fashioned filmaking at its finest! For fans of all of the above, plus Hedda Hopper in her last role not playing herself, I highly recommend you definitely seek this one out!

The Closest that DeMille Gets to a "Shakespearean Tragedy" Conclusion

[theowinthrop · 8/10 · 30 March 2006]

After the financial flopping of THE CRUSADES, Cecil B. DeMille concentrated on films dealing with different aspects of American history from 1760 to 1942. THE PLAINSMAN dealt with Wild Bill Hickok, Buffalo Bill, Calamity Jane, and even Custer. THE BUCCANEER dealt with the Battle of New Orleans, Jean Lafitte, and General Andy Jackson. UNION PACIFIC dealt with the transcontinental railroad (no really historic figure dominated the story here). Then came an exception to this trend, when DeMille turned to the Mounties v. Louis Riel in Manitoba in NORTHWEST MOUNTED POLICE. But he returned to the American History with REAP THE WILD WIND. The final two films were THE STORY OF DOCTOR WADDELL (DeMille's only World War II film, oddly enough), and THE UNCONQUERED (his only pre - 19th Century American history film).

REAP THE WILD WIND, at first sight, does not quite seem as understandable as the others. THE PLAINSMAN is about the threat to the frontier of the Indians (getting modern weapons via villainous Charles Bickford). THE BUCCANEER does deal with how Jackson and Lafitte won the defining victory of the War of 1812, and saved the Mississippi Valley. UNION PACIFIC was how, despite crooks like Brian Donleavy, the great railroad united the U.S. with a backbone of steel. Even NORTHWEST MOUNTED POLICE explained why there were two nations going west to the Pacific, not three (the third made of Frenchmen and Metis and Indians). But REAP THE WILD WIND did not deal with westward expansion, or with land. It dealt with the America's other 19th Century frontier: the seas.

We don't think of it (outside, perhaps, of New England), but from 1800 to 1865 our merchant marine was quite vigorous. Confederate raiders like C.S.S. Alabama destroyed much of it, but until that we were giving Great Britain serious competition. But the background of REAP THE WILD WIND is actually a little out of date in the film. The story takes place in 1840 or so. It should be in the 1820s to early 1830s.

When Great Britain ceased being our rulers, our merchant ships suddenly were targeted by various predators. The best known was the Barbary Pirates (with whom we had two wars in 1804 and 1815). But in the Caribbean a number of freebooters and pirates sprung up to ravage our struggling merchant ships. Indeed, Jean Lafitte and his brother were suspected (possibly unfairly) of being among these - more likely the Lafittes were simply smugglers. In the late 1820s, Captain David Porter was sent with a small flotilla to clean out the worst pirate stations in the Caribbean. He did a good job. Actually, by 1840 our navy was doing a fine job protecting our ships.

But for some reason DeMille moved the story into the 1840s. It does not hurt the film, but it weakens it's historical accuracy.

Ray Milland represents a wealthy ship owner (Walter Hampden) whose ships are being lost to wreckers in a gang headed by Raymond Massey. Hampden's chief ship captain is John Wayne. As the film progresses he and Milland become rivals for Paulette Goddard. Her sister, Susan Hayward, becomes enamored with Massey's younger brother Robert Preston. Massey is not too keen on this, except if it gets him additional information of the movement of Hampden's ships. On the other hand, he uses the Wayne - Milland rivalry to get control (of a sort) over Wayne.

A shipwreck of the flagship of Hampden's line results, and this leads to Milland's attempts to bring Massey to book in court. But the latter is extremely clever, and he suggests that Milland's behavior may have led to the disaster. The court decides they need further evidence - and this leads to testing the testimony of a slave, who claims the ship was haunted, and there was a noisy ghost in the hold. Is it so, or was there a stowaway - possibly the missing Susan Hayward.

The conclusion, with three of the leads drowned or shot down on deck and Paulette Goddard averring that this was all her fault reminds one of the conclusion of say HAMLET, with corpses littering the stage. De Mille never tried that conclusion again, but it was a curious ending. It is also odd seeing Wayne (on his way to super-stardom after STAGECOACH, THE LONG VOYAGE HOME, and DARK COMMAND) in a supporting role, as was Hayward. Yet a decade later, when it was re-released, they got top billing over the actual stars Milland and Goddard.

The Essence of Escapist Golden Age Screen Entertainment

[malvernp · 12 September 2006]

Having seen this film many times, I can understand those critics who regard it as yet another ripe example of director Cecil B. DeMille hokum and excess. But for me, it is far easier to side with folks who like "Reap the Wild Wind" as a prime example of rousing old-fashioned screen storytelling at its best.

Made just at the outbreak of World War II, Paramount spared no expense to mount this super-lavish yarn about romance, treachery, maritime adventure, shipwrecks, salvage risks involving "dead" ships, and the spectacle of rivals searching for evidence in the deep-----where diving to find it involves less danger than the chance encounter with a giant squid lurking in a sunken hull.

John Wayne appears in an uncharacteristic role-----a flawed anti-hero (long before that term was ever coined) who is likable, weak, not too swift but yet charming and easy to root for. Ray Milland also does an unusual turn here. He is both a man of intellect and action----clever, funny and brave. Paulette Goddard is a revelation to those who are unfamiliar with her screen work. Remember, this was 1942. The super-independent, feisty woman she plays with such enthusiasm----while a role model for today's feminists----also shows an understandable human vulnerability. She has never appeared in another film that allowed her to be strong, sexy and appealing all at the same time.

The extraordinary supporting cast is an absolute delight. They carry off some of the most outrageously cornball dialogue ever spoken with such conviction that it becomes enjoyable. Raymond Massey's slimy over-the-top villain is unique---and so is Robert Preston's pathetic character as Massey's far less crafty brother. Preston is given the task of uttering one of the film's most unforgettable lines when arriving at a prearranged meeting with his girl friend (a very young Susan Hayward) that may never EVER have been topped as a "groaner.".

Special mention should be made of the beautiful Technicolor employed in "Reap the Wild Wind", the engrossing special effects (outstanding for their time) and the exciting musical score written by Victor Young.

Altogether, this is a film that holds your interest from the start and never lets it down. It is grand entertainment from the Golden Age of Hollywood. Almost 65 years old, it is still fun to watch. Lots of fun!

Cecil B DeMille's mighty spectacle and it contains great show of a man against giant sea monster 50 fathom down

[ma-cortes · 7/10 · 18 September 2018]

DeMille epic about salvagers off the Georgia coast and Key west in the 1840s where takes place several ship wrecks . Mighty thrills with the screen's most romantic adventurer , including a fine cast , lesser story , and nice underwater cinematography . Along the Florida Keys, the beauty Loxi Claiborne (Paulette Goddard) along with the old captain Philip (Lynne Overman) carry out ship salvage business, rivalled only by the ruthless and unscrupulous King Cutler (Raymond Massey) and his brother Dan (Robert Preston) . As Loxi and Philip contend with Cutler taking place unexpected consequences . Meanwhile , Loxi rescues and falls in love with Jack Stuart (John Wayne), who comes to believe that his contender for Loxi, Stephen Tolliver (Ray Milland) , has sabotaged his chance at a new ship.

This is an exciting 19th century romp dealing with the freight route of America's Eastern seaboard prey to cruel salvagers along with the treacherous Florida coast . Adventure/romance/action movie featuring Wayne as a tough captain , the nasty Raymond Massey and a giant squid. It packs great sea spectacle , fist fights , shipwrecks , voodoo drums , lavish balls , dreary courtroom confrontation and a breathtaking giant octopus saves the day .Based on a novel published on Evening Post 1940 , being adapted by Jesse Lasky Jr , Charles Bennett, and Alan Le May . As Cecil DeMille who had directed in 1938 The Buccaneer referred to the famous battlle 1812 between the British and the USA in which pirate Jean Lafitte took part in the New Orleans battle . Then , Cecil along with his collaborators : Willam H Pine , Victor Milner , Arigley , Anderson from previous film made another epic , this ¨Reap of the woild wind¨in similar style and during 8 weeks . Being assisted by a real ship captain , Frank Ellis as technical assistant . John Wayne gives a good acting , as usual , as the stubborn captain who mistaken but vengeful joins forces with an enemy with tragic results. Flighty Southern belle Paulette Goddard is gorgeous as Loxi who soon finds herself turned apart between Milland's dandish insurance inspector and Wayne's brawny captain . Ray Milland arranges to put in a credible acting despite an embarrassing suit and a penchant for canine ventriloquism . Raymond Massey provides the best acting as an extreme villain , the ambitious , rolling-eyed salvager Cutler . Suport cast is pretty good , such as Lynne Overman , Martha O'Driscoll , Susan Hayward , Charles Bickford , Hedda Hooper , Walter Hampden , Beavers , and Robert Preston , among others .

It displays a colorful photography from Victor Milmer , and William Skall , shot on location in South Carolina, Kay West and Florida . Including excellent special effects by Academy Award winning Gordon Jennings . Along with impressive production design by Hans Dreier . Thrilling as well as romantic musical score by the classic Victor Young . This vigorous motion picture was realized in Cecil B DeMille's ordinary style , supported by a magnificent second unit by Harold Rosson ; both of them made some greatests spectacles of all time . Although a nimbler action filmmaker than Cecil might have made even more of the Oscar-winning effects work . Cecil produced and directed 70 films and was involved in many more . Many of his films were romantic sexual comedies , as he is supposed to have believed that Americans were curious only about money and sex . His best-known were biblical epics that further established him as the symbol of Hollywood such as King of Kings (1927), The ten Commandments (1923) , The Crusades (1935) and , of course , Charlton Heston's Ten commandments (1956) and he made two versions about The Buccaneer : 1938 and 1958 that was ended by Anthony Quinn and Arthur Rosson .

"I think they've got me busted flatter than a haddock!"

[classicsoncall · 7/10 · 8 February 2019]

This is the kind of film I like to describe as a seafaring Western. It's got some of the elements of that more distinctive movie genre, like the classic villain taking advantage of his fellow colleagues, a pretty gal torn between two manly suitors, and an ultimate showdown to make sure that right wins out over might.

Ray Milland and John Wayne are rugged adversaries in the picture, though if you follow the story, Captain Jack Stuart's (Wayne) turn into a heavy is largely based on a misunderstanding and unintended consequences. As a go-between for shipping magnate Commodore Devereaux (Walter Hampden) and Loxi Claiborne (Paulette Goddard), Stephen Tolliver (Milland) would have sponsored Captain Stuart's command of a steamship outright. Not knowing this however, Miss Claiborne's interference resulted in Stuart placing his bets with corrupt attorney King Cutler (Raymond Massey). I was a little surprised by the way the story unfolded to make Captain Stuart as much a villain as his scheming benefactor. John Wayne still hadn't had his celebrity established as the all-American good guy, so he didn't come out of this picture the hero one might have expected.

There were a couple of disconnects in the story that had me somewhat puzzled. During the jury trial, when the Judge (Davison Clark) called Loxi as a witness for the court, he asked if Tolliver mentioned to her his suspicion that Captain Stuart would wreck the Southern Cross. But how could the judge assume that, if that's what the trial was about? And the other head scratcher involved the death of Drusilla Alston (Susan Hayward) when The Southern Cross rammed into the shoals of the Florida Keys and sank into the ocean. It was as if this was the first time anyone noticed the absence of a woman who hadn't been seen or heard from in a while. That just seemed rather bizarre to me.

As for that underwater search for Miss Alston, I'd have to agree that the appearance of the giant squid did seem a bit hokey, but not as bad as some of the cheesy efforts made in other sci-fi or adventure films of the era. Captain Stuart's demise amid the confusion of tangled hoses and ocean debris was thankfully handled off screen, as who wants to see a John Wayne character die, although he did do it more than once in his films. The final reconciliation between Miss Loxi and Stephen Tolliver seemed preordained with Stuart out of the picture, but I still had to ask myself how realistic that was considering all the lengths she went to on behalf of the Captain.

DeMille doing his thing.

[st-shot · 7/10 · 28 May 2021]

Reap the Wild Wind is a typical CB DeMille adventure epic concerning shipwreck salvaging around Key West in the middle of the 19th century. With a solid cast of established and fresh faces it features John Wayne on the verge of superstardom and Paulette Goddard giving us a glimpse of what her Scarlett O'Hara would have been. Colorful and crowded as in most of his pics it is a touch stilted at times but offers a well balanced rivalry between Wayne and first billed Ray Milland competing both in business and for the same woman.

A studio made high adventure the film's major draw is the climactic underwater struggle with a giant squid leaving the outcome of the two protagonists in doubt until they reach the surface. In this day an age of technology, the scene holds up quite well. In it's day on a big screen it must have really thrilled the audience which back then was well aware that CB delivered epic entertainment like no other.

overall, not bad--pretty interesting

[planktonrules · 7/10 · 17 May 2006]

At the onset, I should point out that I am NOT a fan of the films of Cecil B. DeMille. I have always found that although his films are impressive visually, the dialog and acting is purely secondary at best. However, the acting here is a little better than usual for DeMille--Raymond Massey, John Wayne and Ray Milland are all fine. The only acting that really seemed poor was that of Paulette Goddard, but this isn't surprising because histrionic and over-the-top performances of leading ladies is a DeMille trademark (see Anne Baxter's performance in The Ten Commandments if you don't believe me).

Generally, this movie had a well-written plot and it was both unusual and compelling. So because of a decent plot and better than expected acting, this is already a pretty good DeMille film.

However, when it comes to the action, some things leave a bit to be desired. While to today's audiences the ship scenes will no doubt look pretty fake, for 1942 they were pretty good AND you could not see the sides of the pool in the underwater shots (something all too common in underwater scenes of the day). So, my BIG argument about the movie visually is the terrible action scene at the end involving the most fake-looking giant squid ever seen on film. I can't imagine, even in 1942, that people would have seen and believed this segment at all. In fact, I would think they probably would have laughed themselves silly! So, the overall product is a mixed bag. It is definitely entertaining, reasonably well-acted (apart from some histrionics here and there) and has fair special effect. It certainly is far from great, but is worth your time.

Great Romantic Sea Adventure

[guil12 · 10/10 · 24 October 1999]

I loved this movie. All the stars were at their peak. They looked so glamorous and young and vital in their careers. I loved Paulette Goddard.

In my personal opinion, she has been overlooked by so many. She was a wonderful beautiful star. Can't believe in the re-release they put Susan Hayward ahead of Paulette. Hayward had a very small part. Paulette was the star of the movie. It's not the first time they have put Goddard last. Too bad. I think she's terrific. She had the ability to do comedy as well as drama. And she was a very gorgeous woman. That wonderful laugh of hers.

Impossible to take seriously, but awash with camp possibilities.

[alice liddell · 7/10 · 28 July 1999]

Anyone who has had to sit through lumbering dinosaurs like The Ten Commandments might find it unlikely, But Cecil B. DeMille has actually made some films which, if not exactly 'good', are interesting in very unexpected ways.

Take Reap The Wild Wind, for instance. In theory, it is traditional, reactionary fodder, a tale about the greatness of America and capitalism, as the booming narrater assures us, with a feisty heroine tamed by an upstanding representative of the law, and a weak man who's punished for his crime against right.

But in practice, it's like Moby Dick filmed by Powell and Von Sternberg. The sexual dynamics of the film are unheard of for such a big budget Hollywood blockbuster of the early 1940s. Paulette Goddard is a strong-willed salvage captain, bellowing orders, embracing danger, constantly throwing a spanner in the works of her macho admirers.

It's these two you've got to see - there aren't gooses this camp outside of a Carry On. John Wayne - oh yes, the Duke - in an amazing, self-deluding, performance, is supposed to be a ragged man of nature, but he's really a big girl, passive and confused, who's constantly outwitted, both intellectually and physically, by Ray Milland's supposedly foppish, gay-coded, lawyer. Hilariously, he dresses in black polo necks, with Village People caps, and the daintiest red cravat. I never saw such finery in a John Ford film.

Milland, while unexpectedly resourceful and tough, is impossible to take seriously as an action hero, with his frilly shirts, fey curls and elegant elocution. And don't get me started on Raymond Massey...

THe film is nominally one of those disaster movies, like San Francisco and The Hurricane, in which a rambling love story pads out a now antiquated special-effects-laden finale. But, thankfully, here it doesn't quite work - serious scenes of action and suspense seem to be shot parodically, and with an oddly comfortable homoerotic bristle; the startling use of colour and costume is disorientating. Dandy monkeys and talking dogs add to the surreal effect. The 'spectacular' squid finale, while bereft of tension (due to DeMille's ignorance of the basic laws of film) is a minefield of sexual innuendo. A remarkable film.

Duke played like a piccolo.

[bkoganbing · 5/10 · 5 June 2004]

A common thread running through Cecil B. DeMille films is the leading lady having two men getting their hormones in an uproar over the leading lady. You've got Joel McCrea and Robert Preston rivals for Barbara Stanwyck in Union Pacific, Gary Cooper and Preston Foster over Madeline Carroll in Northwest Mounted Police, Charlton Heston and Cornel Wilde flipping for Betty Hutton in The Greatest Show On Earth, etc. But DeMille never did this theme better than in Reap The Wild Wind. Without Paulette Goddard coquetting both John Wayne and Ray Milland, you wouldn't have a plot for this film.

Additionally John Wayne for what maybe the only time in his film career plays a knave. After appearing to lose Paulette Goddard to Milland, Wayne goes over to Raymond Massey and Massey plays him like a piccolo and wins him over to his nefarious schemes.

Massey gives the best performance in the movie. There is a long trial sequence and Massey being an extremely shrewd lawyer almost turns the whole trial around and has court convinced that it's Ray Milland behind all the pirate wrecks in the Florida Keys. This after playing John Wayne for a fool. Massey is done in of course, but by something he really couldn't take into account.

The action takes place in the Florida Keys where Paulette Goddard owns a salvage company. Yet she lives in grand plantation style that would put Tara to shame. Now Florida was a Confederate state, but the only part of Florida that had the plantation culture was the panhandle. You didn't have Tara style mansions in the Keys.

But because the movie is set in the South you also have some really bad black stereotypes. DeMille was hardly the only director to use them though. But one incredible error slips through. One of the characters during the trial was a black actor named Oscar Polk who plays Saltmeat who is a crew member of John Wayne's ship and gives a key piece of testimony that ultimately proves to be Raymond Massey's downfall.

Saltmeat is identified as a Barbadoes free Negro in the film. But Saltmeat doesn't talk like Harry Belafonte. He sounds like any ordinary black actor who would be playing a field hand on the old plantation. I can't believe DeMille didn't realize this error. But I guess it was easier to bow to the racial stereotypes than show a black character realistically in context.

The movie made a lot of money in 1942. It was filmed in great technicolor and it did win an Oscar for Special Effects because of the climatic fight with a giant squid that Milland and Wayne engage in. The effects look cheesy now, but back in 1942 they were something else.

I think a lot of black people would be terribly offended if they watched this dated epic.

DeMille's most lavish and entertaining flick!

[guil12 · 10/10 · 25 November 2001]

Cecil B. DeMille, other than THE GREATEST SHOW ON EARTH, produced and directed one of his best films, in this swashbuckler. Along with rough seas, sailing ships, beautiful southern ladies, sea wrecks [he always has to have that disasterous wreck] a giant squid in a spectacular underwater scene in the hull of a wrecked ship, villains and heroes, DeMille rounds up a stellar cast in the likes of Paulette Goddard, fresh from her almost getting the role of Scarlett O'Hara in GONE WITH THE WIND, as Loxi Claiborne, who is in love with handsome Captain Jack, [John Wayne] who was just beginning to gain world wide fame and Steve Toliver, played by suave and sharp tongued Ray Milland, one of his best acting roles, along with a young Robert Preston and Susan Hayward as young lovers who become victims of the war over salvage rights of wrecked ships. Then there's Raymond Massey, as the villain, Cutler, Charles Bickford, Walter Hampden, famous for his stage performance of Cyrano, colorful Lynne Overman as Loxi's ship captain, Hedda Hopper [without a fancy hat] and Louise Beaver as a Mammy-type servant to Paulette [very Gone With Wind stuff]. The color of technicolor still holds up [not used that often in the 40s]. Goddard's performance alone is worth the admission. This was her second film for DeMille [the first being NORTHWEST MOUNTED POLICE] but not her last [ahead she was to play opposite Gary Cooper in UNCONQUERED]. In this film she shows why she came that close to getting Scarlett. Beautiful, oh, those green eyes, and feisty, like Scarlett, Paulette gives her best, including singing a rather salty sea chant at a social elite gathering of all of Savannah's fine ladies. This is available on VHS and worth getting a copy to view if you want to see the magical world of films of the forties. And the stars that made them.

Above the Twelve Mile Reef.

[rmax304823 · 6/10 · 19 April 2011]

This colorful sea action yarn of shipwreck and illegal salvage in 1840s Key West was directed by Cecil B. De Mille so you shouldn't expect subtlety. When a woman is supposed to look "frightened," her eyeballs extrude as she claps her hands to her cheeks and gasps. A man who is "mean" looks like a Turkish pederast.

It isn't slow, though. It zips along, plowing through the seas, charging through the courtroom scene, brawling through fist fights, lacking anything like pauses for character, humor, or whimsy, as bloodless as if drained by a vampire.

The model work is pretty good for the period. It's true that the texture gradient is ignored, so that a distant splash of sea water throws up spray with drops as big as basketballs, but compared to a contemporary movie like "The Sea Hawk" it's convincing enough. And the color photography is above average. In some of the model shots, the many-masted rigs seem to sail under lenticular lavender clouds glowing with underbellies of a soft rose in the setting sun. The seas scintillate. The image is as pretty as a travel poster. Take Your Next Vacation In San Placebo, Getaway Of The Stars!

It's taken from a story in the magazine founded by Benjamin Franklin, "The Saturday Evening Post." The weekly magazines were the source of many stories made into screenplays. "Stagecoach," for another instance, was from an Ernest Haycox story in "Collier's" magazine. The public used to READ MAGAZINES in the 1940s! I no its hard 2 believe.

John Wayne has the role known as second male lead in this one -- second to star Ray Milland -- and it's just as well. Wayne would shortly turn into a serious performer but he wasn't there yet in 1941. Milland doesn't walk around in a cloud of pheromones either but he's animated, hits his marks, and delivers his lines with vigor.

The two principal Southern ladies -- the charming and innocent Susan Hayward and the spirited, unconventional Paulette Goddard, whose character owes a lot to Scarlet O'Hara -- are amusing on screen together. Hayward was from Brooklyn and Goddard was born in Queens. They never forgot their New York background. Goddard left most of her estate to New York University when she died.

The racial relations remain as stereotyped as ever. May I mock them? If Goddard resembles Scarlet, Louise Beavers resembles Mammy -- always shaking her head, mumbling about voodoo drums and scolding her charge -- but she's a pale imitation. De black folk, day neber called "slaves." Day be de friends of de buckra who hob de ballroom full wit people dat be dancin round in circles called de waltz in de Big House. I done forgit who be the darkie wit de big white eyes but he ain't de same booger who say in annudder movie, "Feets, don't fail me now!"

One of the most memorable lines occurs when the indefatigable Ray Milland is pursuing the spunky young Goddard and she slaps him or something and he says, "You're very desirable when you're angry." That translates as, 'You're cute when you're mad," in case you missed it.

It's not often that John Wayne plays a heavy, even a confused one, but he does here. He sells his integrity to spite Milland, whom he has been led to believe is his enemy. Wayne pays the price the code of the time demanded.

Despite the portentous narrative introduction by De Mille himself, there isn't much in the way of spiritual nourishment to be had from this flick but you're not likely to be bored. It's designed specifically to prevent that from happening.

Successful at the time

[HotToastyRag · 4/10 · 2 August 2018]

Get ready for an epic love quadrangle aquatic adventure with Cecil B. DeMille's Reap the Wild Wind. Paulette Goddard, Ray Milland, John Wayne, and Susan Hayward all sneak behind each other's backs, deceive, seduce, and fall in love for real. And it takes two hours to sort it all out!

It's a little complex, though, and miraculously at the same time, a little tedious. It's as if screenwriters Charles Bennett, Jesse Lasky, Jr., Alan Le May, and Jeanie Macpherson, wanted the audience to take so long to figure out who's who and what they're doing that it would stretch the running time out. But, if you like large-scale adventures with lots of boat scenes, you might not mind. It reminded me of Tap Roots in a way, an attempt to recapture the epic splendor of Gone with the Wind but not really succeeding. You can tell everyone in this movie thinks it's an incredible blockbuster-which, to be fair, it was at the time-but nowadays with so many ship movies out there with more up-to-date special effects, it doesn't feel the same. The famous crane shot in Gone with the Wind doesn't feel the same today, either, so if you like stepping back in time, and you're totally riveted by hurricanes and shipwrecks, you might like this one.

Entertaining sea drama with Paulette at her feistiest as a Southern belle...

[Doylenf · 25 June 2001]

In 'Reap the Wild Wind' we have a chance to see Paulette Goddard, front-runner for the Scarlett O'Hara role until Vivien Leigh showed up, sporting a Southern accent and enjoying herself as a feisty Southern belle heroine. Unfortunately, her part is nowhere as complex as the role she almost got in the Selznick epic.

It's a lusty period adventure about two battling ship salvagers who vie for a strong-willed Georgian girl. The outstanding special effects steal the film, as do the lavish sets and costumes of a bygone era. Susan Hayward is featured in a smaller role as Paulette's unfortunate cousin. Both are heavily burdened by Southern accents and roles that are paper-thin giving them little more to do than flounce around in frilly costumes and bonnets while the men--Ray Milland, John Wayne and Robert Preston--carry the main weight of the action-filled romance.

A stunning climax involves an underwater battle with a giant squid. Understandably, it won an Oscar for Best Special Effects. Beautifully photographed in technicolor, it's given the lavish Cecil B. DeMille treatment and makes an entertaining if foolish epic that shows its pulp romance origins.

Movie preview

[tomwal · 7/10 · 14 April 2007]

I was eight years old when I first saw this movie on the big screen in 1942. It was my first color movie and the scenes with the giant octopus gave me nightmares for a long time after. Today I still enjoy the film for its beautiful color photography, exciting sea scenes and fine performances from Ray Milland and John Wayne. Wayne is unjustly accused of causing his ship to sink for profit. The story unfolds as he tries to clear his name .Paulette Goddard provides the love interest. The film never drags,whether on land or at sea where some of the most exciting action takes place.The underwater scenes,especially the finale ,are memorable. Supporting cast, score and special effects are all top notch.DeMille directs in his usual showman style. A fine effort from all concerned.

Ripping watery yarn bookended by spectacular action sequences

[shakercoola · 6/10 · 1 February 2020]

An American romantic adventure; A story set in Key West, Florida about the owner of a 19th-century salvage company who falls in love with a captain she rescues from a shipwreck, and helps him prove in court that the bore no blame for the vessel's sinking. However, a rivalry for her affections ensues when a lawyer comes to his aide. This maritime swashbuckler about companies racing to wrecks to salvage their contents, is great surface entertainment with sumptuous over-saturated colour. Thanks to Cecil B. De Mille's direction it sustains interest, and the superlative art direction and cinematography make it a very attractive film to watch. It also has some impressive action sequences too, which earned it an Academy Award for effects. That's just as well because it has a soft middle: perfunctory drama, and sluggish in courtroom theatrics. Paulette Goddard is suitably boisterous and charming, John Wayne is watchable, but Ray Milland is a little stiff where romantic charm was required.

Ripping Yarns!

[hitchcockthelegend · 7/10 · 16 May 2020]

Reap the Wild Wind is directed by Cecil B. DeMille and is adapted collectively to screenplay by Alan Le May, Charles Bennett and Jesse Lasky Jr. from a Saturday Evening Post story written by Thelma Strabel. It stars John Wayne, Ray Milland, Paulette Goddard, Raymond Massey, Robert Preston, Susan Hayward and Lynne Overman. Music is by Victor Young and cinematography is shared between Victor Milner and William V. Skall.

The Florida Keys in the 1840s, hurricanes are rife and the salvagers of Key West rush to the frail schooners to claim salvage rights...

Whilst not up with the best of DeMille's epics, this is however a joyous romp of a high seas adventure. A top notch cast line up for some period flavours that is unfurled in glorious over saturated Technicolor. We have a rocky love triangle, dastardly villains with dishonesty poring from every bead of sweat, sword play, fisticuffs, fogs and a giant squid! and it even has time to be a court room drama as well. In short it is a ripping sea faring yarn.

The budget was considerable and DeMille ensures it was lavishly spent, and thus the pic was a box office winner and an Academy Award Winner for special effects. It's a touch too long, and gets a little bogged down in the mid-section, but entering the home straight it pulls itself back up and ends briskly, with Duke Wayne splendidly rounding off an interesting characterisation. 7/10

Outdated but entertaining

[vincentlynch-moonoi · 7/10 · 22 April 2011]

The good news is: * The production is visually lush and colorful. Very high production standards. * As others have pointed out, you get an idea of what kind of Scarlett O'Hara Paulette Goddard would have made. * This is definitely one of John Wayne's best roles.

The bad news here is: * Cecil B. DeMille was a great director, but he was definitely of another era, even in the 1940s. * Cecil B. DeMille was clearly jealous of Victor Fleming and David O. Selznick and their success with GWTW. * Paulette Goddard would have made a poor Scarlett O'Hara, unless all you wanted was a Scarlett who couldn't decide whether she was supposed to be a simpering and nauseating little fool or a female swashbuckler. * While Ray Milland does a good job here, it seems like an odd role for him.

The underwater diving scenes toward the climax of the film, while primitive by today's standards of special effects, are imaginative and stunning. Kudos!

There are quite a few great character actors in this film, although with the exception of Raymond Massey (as the ultimate bad guy), few have very big parts -- Robert Preston, Susan Hayward, Charles Bickford, and Louise Beavers (who is delightful). Milburn Stone of "Gunsmoke" is there too, although I missed him entirely. You'll also recognize Oscar Polk when you hear his voice -- one of the memorable slaves in GWTW.

This is a difficult film for me to rate. It is certainly not a "great film" (such as GWTW or "Ben-Hur" or even DeMille's "The Ten Commandments"), but it is entertaining. Recommended to be seen at least once.

"Wreck Ashore!!"

[richardchatten · 8/10 · 27 February 2020]

Yet another star-studded box office hit few people have today even heard of. (Years later Raymond Massey remembered so little of this film that when he observed to John Wayne they ought to do a movie together it fell to Wayne to remind him that they already had!)

By the time he made this Cecil B. DeMille was leaving all the location work in the hands of second unit director Arthur Rosson and the scenes at sea are otherwise achieved with obvious models (although the giant squid is memorable enough for the film to collect its one Oscar, for special effects).

No matter. It doesn't take itself too seriously, and with a cast like that burnished with plush costume design and interior decor in sumptuous Technicolor it's an agreeable way to squander a couple of hours.

De Mille Sea Epic with John Wayne!

[cariart · 7/10 · 15 August 2006]

People unfamiliar with John Wayne's vast filmography are often surprised to discover he actually starred in a Cecil B. DeMille extravaganza, although everybody seems to recall "The Film with the Octopus" that Wayne made (it was actually a giant squid, but that's really unimportant). In actuality, DeMille, who early-on saw Duke's potential, twice attempted to team him with Gary Cooper in his productions (he had been seriously considered for the role of Buffalo Bill in "The Plainsman", and as the Mountie Preston Foster ended up portraying in "North West Mounted Police"). Each time, scheduling conflicts and studio pressure curtailed the pairings, and one can only daydream about what might have been...

"Reap the Wild Wind", the one film Duke DID make with DeMille (one of SEVEN 1942 productions he starred in), while not 'top-drawer', is still a rousing Technicolor adventure, offering another of DeMille's 'American history lessons'. A nautical tale set in the Florida Keys in 1840, of salvage ships, their stalwart captains, and greedy profiteers (embodied by Raymond Massey and Robert Preston), the film works best when sticking to the 'physical' action, despite a sparkling performance by Paulette Goddard as the head of one of two rival salvage companies.

Wayne is a hard-headed, impatient skipper who Goddard rescues and falls for, but when lawyer Ray Milland arrives on the scene to investigate Wayne's lost ship, the inevitable 'triangle' develops, with Duke misreading things, and aligning with rival Massey. Milland, top-billed, is given the meatiest role (and is excellent), but Wayne, who eventually comes to his senses, is actually quite good, as well.

Expect little subtlety (this IS a DeMille film!), some 'over-the-top' performances (Massey's hiss-able villain, Lynne Overman's crusty sailor), a 'star-in-the-making' turn by young Susan Hayward (who, 14 years later, would again work with Wayne, in the infamous "The Conqueror"), and the unforgettable (if not quite realistic) climactic confrontation with the squid (which DeMille plays to the hilt, not letting audiences know WHO sacrificed his life until the last moment).

"Reap the Wild Wind", while certainly a career 'boost' for the Duke, is not generally listed among his best films (or DeMille's), but remains an entertaining time-passer from early in WWII, the heady days of John Wayne's meteoric rise to superstardom.

When the Ship Hits the Fan

[wes-connors · 5/10 · 12 December 2013]

In Cecil B. DeMille's 1840 America, pretty Paulette Goddard (as Loxi Claiborne) is a Southern belle who runs a "salvage business" inherited from her daddy. After a hurricane hits the Florida Keys with "wild winds," Ms. Goddard heads out to inspect a ship wreck. She helps rescue the ship's manly skipper, a wounded and light-headed John Wayne (as Jack Stuart). Nursing Mr. Wayne back to health are Ms. Goddard and her superstitious mammy Louise Beavers (as Maum Maria). Goddard and Wayne kiss and pledge their love, although he must go to sea and she travels to Charleston with pretty cousin Susan Hayward (as Drusilla Alston). At a fancy tea party, Goddard sings a song badly. This doesn't bother the third part of the film's love triangle, seafaring ventriloquist and lawyer Ray Milland (as Stephen 'Steve' Tolliver)...

Getting cozy, Goddard and Mr. Milland exchange come hither looks and talk about marriage. As you might expect, the men clash over Goddard. Mr. De Mille gets some good costumes and color photography (by Victor Milner and William V. Skall) for his effort, but fails to make this an artful epic. Apparently, something approaching "Gone with the Wind" (1939) was intended. While nicely decorated, many of the ship set scenes seem directed to look small. The relationships between the three leads – Goddard, Wayne and Milland – is confused and juvenile. Better acting honors go to the squirrelly monkey, the talking dog and the giant squid; although Robert Preston (as Dan Cutler) somehow finds his character and makes it work. Still, the film was a success at the box office and won an "Academy Award" for special effects.

***** Reap the Wild Wind (3/18/42) Cecil B. DeMille ~ Paulette Goddard, John Wayne, Ray Milland, Raymond Massey

The Squid Is Ready When You Are...Mr. DeMille...

[xerses13 · 8/10 · 26 July 2007]

Cecil Blount DeMille, CB. The original 'Name Above The Title'. No matter what Frank Capra stated it was DeMille who put the Director/Producer over the title. His was a name that brought in the public and their money when Capra was still a 'gag man' for Mack Sennett. From the first feature film in Hollywood, THE SQUAW MAN (1914) to his last production, THE BUCCANEER (1958) he represented HollyWoods commercial success.

With DeMille people fall into two (2) camps. We HATE that hack and his hokey movies or we love him for he put our dreams on the screen. We fall into that second group seeing our first DeMille film circa 1957 THE TEN COMMANDMENTS (1956). My brother was four (4) and I was six (6) and we were enthralled with CB from then on. He dared to put BIG THINGS on the screen. They may not of always worked but he was unafraid to do them, stretching the envelope technically and did not give a damn what his critics thought and neither do we.

REAP THE WILD WIND (1942) was his second color film and we saw it in a re-release circa 1958. The plot is typical DeMille, obscure historical incident blown up for the big screen. Romance triangle punctuated by action sequences leading to a rousing conclusion. The film is well cast with Paramount Stars Paulette Goddard and Ray Milland. Not able to get Errol Flynn or Tyrone Power CB obtained John Wayne who turned in a credible and sincere performance. Milland stood up well to the 'Duke' and Ms. Goddard was a radiant love interest. A young Susan Hayward also showed her stuff with Robert Preston. Over shadowing all was Raymond Massey as the head villain with stooge Victor Kilian. Not to be forgotten was the CB stock company, from players who were with him during the silent era to Akim Tamiroff in a voice over for the 'Lamb'. Paramounts special visual effects wizard Gordon Jennings led that team and garnered a Oscar and Victor Young provide the score. Music being very important in carrying some of the fantastic goings on. Especially the Giant Squid scene that was directed underwater by CB himself.

The one (1) thing we never understood about CB is that he left many (BETTER) projects go fallow after investing money and time developing them. A few were THE WAR OF THE WORLDS, TITANIC and WHEN WORLDS COLLIDE. Two (2) were done by George Pal with CB as uncredited producer. It would have been very interesting to see how these would have turned out if made in the 1930s. Just thinking about the casting and how the special visual effects would have been done is a fascinating mind game.

not bad

[KyleFurr2 · 7/10 · 5 November 2005]

This was directed by Cecil B. DeMille, who was an overrated hack and most of his movies sucked except a few in the 1930's like Cleopatra and The Crusades. This movie has a great cast that includes Ray Milland, John Wayne, Paulette Goddard, Raymond Massey and also Susand Hayword and Charles Bickford in small roles. Wayne doesn't have the starring role and he and Milland are both in love with Goddard but she can't make up her mind. Massey is the villain who sinks other ships so he can get the cargo but Wayne and Milland don't trust each other and they strike up an uneasy partnership that doesn't go over too well. It's a decent movie but i couldn't help thinking that John Ford would of done a much better job of directing this movie.

This was pure torture .....

[PimpinAinttEasy · 3/10 · 22 August 2017]

(SPOILERS ALERT!)

I am a big fan of John Wayne. I like Ray Miland too. I bought the DVD of this film only because the two of them were in it. I must admit that the DVD print was quite shoddy. I might have enjoyed this film a lot more if I saw it on Blu-ray or something. Though I doubt it.

I found it hard to sit through this one. The film is about the rivalry between two sailors - Wayne and Milland over a woman - Pauline Goddard (who has inherited a marine salvage business), even as the three of them try to stave off and defeat pirates in the Key West. Wayne's character is saved by Goddard at the beginning of the film and even gets beaten up at one point by Milland's competing character when he is about to get married to Goddard on a ship. Wayne switches sides at least twice and him and Milland are constantly at odds with each other. Goddard has a soft corner for Wayne though. Wayne's character dies in the end and Goddard goes back with Milland. The climax involves a prolonged underwater scene where Wayne and Milland wear underwater suits to search for the body of a woman. An octopus/squid attacks Miland. Wayne looks on for a while. Then he decides to intervene and he gets killed by the creature. It is pathetic. As I said earlier, Miland and Pauline Godard decides to unite in the end. Zzzzzz!

The film did boast of some fine shots of monstrous waves and underwater sequences. But I could tell that the scenes on the ship were all shot on a set. The film did win an Oscar for visual effects.

John Wayne was a lot thinner compared to his later films and looked quite dashing. A word you would not associate with his more beefy avatar in the prime of his career. The film was quite talky and overtly dramatic.

It was directed by Cecille.B.Demille. I would not recommend this. But I am from another era. Some of the reviewers seem to be quite fond of this film which explains the respectable 6.8 rating on IMDb. I did not like it. Even though I enjoyed Mutiny on the Bounty - the version that came 20 years after this one.