Mara Maru (1952) User Reviews

Forgotten Flynn Vehicle

[jpdoherty · 5/10 · 16 March 2010]

Warner Bros. MARA MARU (1952) is a fairly forgotten, generally disliked and disregarded Errol Flynn vehicle. Without doubt it is one of the actor's lesser efforts but it isn't really that bad. If, like me, you are into most anything that the great man is in then there's some enjoyment to be had from this sometimes lethargic seafaring thriller. From an original story by Philip Yordan, Sidney Harmon and Hollister Noble a reasonably fair to middling screenplay was fashioned by N.Richard Nash. It was also buoyed by an adroit score by the studio's Max Steiner and the whole thing had workmanlike direction by the busy Gordon Douglas. Although the star still had to do "The Master of Ballintrae" the following year in England to finish out his Warner contract MARA MARU was his last Hollywood film for them (He made a brief return to the studio in 1958 for the John Barrymore biopic "Too Much Too Soon").

Flynn steps into the shoes of Bogart and Garfield here as Gregory Mason a boat Captain and deep-sea diver (his first time to do so) running a salvage operation in the Philippines after WW2. He knows exactly where a PT boat went down in the China Sea during the war but what he didn't know it sank carrying a diamond encrusted cross. This he learns from a shady collector Raymond Burr who, for a share and a payment of $10,000, asks him to dive for it. Flynn refuses at first but after his partner (Richard Webb) is murdered and his boat burnt out he finally agrees and sets sail with Burr and an assorted collection of dubious characters to retrieve the cross. Of course when he eventually brings up the treasure there is already a well hatched double-cross prepared on board which leads to an action filled finale and a redeemed Flynn returning the cross (at the behest of an over sanctimonious Ruth Roman) to its rightful place in the Church.

Performances are generally fine throughout. Flynn gives a good portrayal of a man wanting to get rich quick and who finally regains strength of character. Raymond Burr is as effective as ever as the calculating baddie and Ruth Roman is just about there as the love interest in what is essentially a poorly written and unconvincing role.

Adding superbly to the thing and keeping it afloat, so to speak, is Max Steiner's terrific score. There is a winsome ethnic piece to point up the Manila setting and eerie music for the diving sequences. But the score really comes into its own in the brilliant chase sequence in the raging storm towards the end, where swirling strings accompany Flynn as he is pursued for the cross through some thick jungle foliage. Then there is a poignant hymnal melody denoting the religious connotations associated with the cross and a beguiling waltz is the love theme for the picture's softer moments with Flynn and Roman. MARA MARU is one of the composer's unfairly forgotten scores.

MARA MARU is probably in its disregarded and ignored state because of its unavailability on disc or even on video tape. But the good news is it has just been released by Warners on their new Archive series. So hopefully this release will create a wider audience and enhance its reputation. Check it out!

Worth a Viewing

[ashew · 6/10 · 15 April 2006]

It is beyond me why critics had such a problem with Errol Flynn. He was, even in his worst films, an excellent actor. I think people let his personal flaws and wild personal life cloud their opinion. I think Errol Flynn is one of the most under-rated actors in the history of film, and never got the respect he deserved. Yes, part of that is certainly his own fault, but definitely not all of it.

Mara Maru is unquestionably one of Flynn's lesser films. It is a bit slow in parts, and there are a couple of plot holes that one must overlook, but I found myself overlooking them and just watching the movie to be entertained. If one does this, the movie is certainly worth a viewing. I found Ruth Roman such a blessing, as she was not one of those melodramatic, chew-the-wallpaper actresses from the old studio system...she was grounded, strong, and REALLY beautiful. The rest of the supporting cast was pretty good, too. Raymond Burr is always fun to watch as a bad guy, and I enjoyed the two actors who portrayed the Filipino boys. Paul Picerni and Dan Seymour I found to be a little over the top, but not so bad that they were totally annoying or unwatchable. And, for me, anything with Errol Flynn is fun...even in a mediocre film...there is just something about the guy that I like.

I'm giving the movie a 6 out of 10 mostly because of the solid B-film performances, competent directing through most of the film (I think the flaws are derived from poor editing, not from the directing), and for the ever-enjoyable Errol Flynn. I think those coming to the film with realistic expectations, prepared for B-film entertainment, and willing to overlook the weaknesses of the screenplay, will find themselves in for an enjoyable film experience.

The Mystery Of The Lost Cross

[bkoganbing · 5/10 · 19 January 2011]

Mara Maru came in Errol Flynn's career at a time when Warner Brothers and the rest of Hollywood for the most part was trying to divest itself of its big name stars and the salaries they commanded. It's the kind of a film that studios were giving stars to satisfy whatever commitments were still under contract. They did not think this was worth going to the Phillipines to shoot even.

In plot it's similar to a Glenn Ford film The Green Glove where another war veteran is searching for an object that's both valuable in monetary terms and has great religious significance. In tone Mara Maru looks like something that might have been meant for another Bogey and Bacall teaming.

Flynn plays a part of a World War II veteran who is a charter boat captain out of the Phillipines who knows the location of a jeweled cross taken from a church with the coming of the Japanese and sunk somewhere in the seas off Luzon. So does his partner Richard Webb who talks a little too much in a Manila bar and winds up dead.

Which doesn't concern Webb's wife Ruth Roman who is doing a Lauren Bacall knockoff of a performance. She's got a thing for Flynn in any event. Of course master villain Raymond Burr is behind a whole lot of things that befall Flynn until Flynn uses his boat to take him to the lost cross. It's an uneasy type alliance as you can gather. In the mix is Paul Picerni playing a Peter Lorre type part. Picerni is a man of very shifting loyalties and his part is terribly underwritten.

Some underwater sequences could have used some color to appreciate them better, something Jack Warner wasn't about to splurge for in this potboiler. Mara Maru is not a bad film, but it's certainly nothing that any of Errol Flynn's fans would put at the top five for him.

Flynn bids adieu to Warner Brothers

[AlsExGal · 6/10 · 12 April 2016]

Sometimes I like a film and I'll even have a hard time really being able to explain why.

One example is this 1952 programmer from Warner Brothers. It was clearly a come down for star Errol Flynn who was being shoved off by the studio into a bit of a cheapie black and white production as a fulfillment of their contract with him. It would be, in fact, Flynn's last studio made film on his Warners contract.

While there are no particular surprises in the story line of this tale about sunken treasure, it is smoothly and efficiently directed by Gordon Douglas, who seemed to get saddled with a lot of the films with lesser scripts. Make it work, Gordon, they seemed to say and he did. The Curtiz and Walsh rejects seemed to go to Douglas.

Ruth Roman is Errol's leading lady this time out. No real sparks between them. Raymond Burr in his early heavy days (heavy as in villain, as well as weight) is the two faced opponent whose duplicity is pretty obvious right from his first appearance in the film.

Flynn goes through the motions in his role for the most part but even when Errol isn't really trying, his understated performances still tend to satisfy me. Then, suddenly as the film approaches the end, Flynn starts to do some real acting. It happens in a scene in which he angrily slaps his Filipino assistant across the face and then shows remorse for his behaviour. It reminded me once again of what a good actor he could be when he put his mind to it. Recommended for watching talent in front of and behind the camera wrestle with and prevail with a so-so story.

Afternoon Feature

[shoretalk · 6/10 · 7 August 2022]

There are some movies that simply qualify as afternoon entertainment. Mara Maru fits the bill as an adventurous romp with a cast led by Erroll Flynn and Raymond Burr.

Although this is not Flynn's best performance I would argue with those who have written demeaning his work. There are definitely moments throughout the movie where you see the sparkle of Robin Hood coming through.

It is always challenging to determine whether to blame the directing or the acting when actors look stiff or over exaggerate. Mara Maru has examples of both.

All that being said, I found myself following the intrigue, attempting to predict what would happen next, and actually enjoying a Sunday afternoon movie in the air conditioning.

I read one review that mentioned it would have been a much better movie in color and I would agree because the sea scenes in black and white just can't carry the same quality as a color film.

So, If you are looking to hunt down a treasure like the characters in this movie please understand that this is not a diamond in the rough but perhaps it's a gemstone that will make your day.

Competent treasure hunt saga

[lorenellroy · 27 May 2003]

Errol Flynn plays "Mason" co-owner of a salvage operstion based in Manila.His partner ,Callahan ,is a drunk who claims that he has the key to a fortune in lost diamonds ,sunk on board a vessel fleeing Manila before the Japanese occupation.When he is murdered suspicion falls on Mason especially when it becomes clear there is a mutual attraction between him and Callahan's widow (Ruth Roman ).Cleared of murder by the testimony of a private eye ,Ranier (well played by Paul Picerni)he is hired by the wealthy Benedict (Raymond Burr )to track down the treasure. The scene is set for betrayal ,shipwreck and a lively climax in the catacombs under Manila Cathedral. The movie sags a little in the underwater scenes which are murky and uninvolving but overall its a lively if minor thriller albeit one in which the ravages of the star's off screen debauchery are reflected in Flynn's appearance and slightly weary performance.Burr is admirable as the heavy and Roman is fine like most of the cast while the Max Steiner score is a big bonus.

Good time passer but a long way from the stars glory days.

Flynn on a treasure hunt

[blanche-2 · 6/10 · 13 May 2015]

In 1952, Errol Flynn still looked passably good. He was one of the handsomest men in the movies, after all, and though he was an alcoholic, his face hadn't been completely destroyed yet. And he was trim. In the earlier "Cry Wolf" he was quite bloated.

The story concerns a salvage diver working in the Philippines, Gregory Mason, who finds his partner Callahan (Richard Webb) drunk in a bar and talking about treasure. Later he's found dead, and Mason is accused.

A private detective is able to clear him of the murder. Mason is hired by a man named Brock Benedict (Raymond Burr) to find a briefcase lost during a voyage. It supposedly contains diamonds. The late Callahan knew where the ship went down.

Mason takes the job, but is warned by another salvager not to work with Benedict, but with him instead. Mason ignores him. To his surprise, Callahan's widow Stella (Ruth Roman) who is in love with Mason, and vice versa, is on the salvage voyage as well.

Stella is certain that Benedict, once he gets the briefcase, is going to kill Mason. She urges him to end the voyage by saying a typhoon is coming and it can't be risked. Mason refuses and says he can take care of himself.

Mason is later faced with a moral dilemma.

Some exciting scenes. One rather annoying thing was that Flynn wore this helmet-like thing over his head, and he looked out at the ocean through a window built into it. Well, they used the same shot of him looking into the sea through the window over and over, and it was obviously the same shot. I don't know much about deep sea diving, but what he was wearing looked like a heavy suit of armor. I would think that would work against you.

All the actors were up to the task, Burr always playing an effective villain in those days; and Flynn gives a strong performance, as does Ruth Roman.

Ben Mankiewicz described Flynn as one of the most popular stars in the world, which is true, but he wasn't there as long as many of his contemporaries. By the late '40s Warners was giving him lower budget, black and white films, with the exception of That Forsyte Woman. He had a good ten years.

TCM, in an effort to make it seem as if the stars at MGM, RKO, and Warners were the true stars and the people at 20th Century Fox, etc. did some acting on the side, won't tell you that Flynn does not appear in the top 200 box office stars of all time. Still, it was a wonderful career for a handsome, athletic actor of great charm.

Maru Maru is entertaining and pretty good.

Flynn was fading, but this is quite good

[vincentlynch-moonoi · 7/10 · 23 September 2014]

Yes, Errol Flynn looks more than his 43 years here...but not that much more...more like 48. So I don't buy all those comments that he had turned into an old man. He still had about 7 years more of making films in him before his early death at age 50.

What is noticeable is how his star had fallen. It's not that this is a bad picture. In fact, it's a pretty decent mystery-adventure film. But, it's a far cry from the glory days of "The Adventures Of Robin Hood" and "That Forsythe Woman", and Ruth Roman was no Olivia de Havilland or Greer Garson.

Nevertheless, the main cast does rather nicely. Here, Errol Flynn looks like the kind of man who might have stayed in the Philippines after the war, lived a tough life, and ended up deep sea diving. And the diction -- always one of his strong points -- remained. Ruth Roman, though a B picture actress, was a good B picture actress, and does very well here as the wife of Flynn's partner. Raymond Burr always did nicely as a heavy (no pun intended), and does nicely here; he really was quite good. And Paul Picerni as a PI, adds a nice touch.

The plot is pretty straight-forward. There's a treasure to be had (dating from WWII) and the men who are after it are not to be trusted. When Flynn's partner (one of two men who knew the location of a diamond treasure) is murdered, it falls to Flynn to work his way through the intrigue to find the treasure and the murderer. There are enough twists and surprises to keep you involved, and I very much enjoyed this pic. Recommended

One of the forgotten films of an Errol Flynn at the end of his career.

[filipemanuelneto · 5/10 · 9 June 2022]

I don't know if I can call myself an admirer of Errol Flynn's work, but it would be a mistake not to recognize his merit as one of the most remarkable and outstanding actors of his time. As the heartthrob of several adventure films, he continues to mark the collective memory as a pirate, adventurer and heartbreaker. It is still easy to find, on specialty TV channels, several of his films such as "Captain Blood", "Against All Flags", "Robin Hood" or "Don Juan"..., but this is not one of those iconic films that almost every we've already seen... quite the opposite.

I'm certainly not the best person to assess the reasons why "Mara Maru" fell by the wayside and became an obscure film in the lives of everyone involved. What I do know, and I can say, is that Errol Flynn was already in clear degradation due to his problems with alcohol and that, during the film, I felt the actor was quite uncommitted to the role. Another problem is the story of the film, with a far-fetched script where, in the wake of a crime that is never quite clarified (although the film, between the lines, indicates the murderer), everyone sets off on a brief treasure hunt that turns out not to be the focus of action. What really makes the film work is the dramatic relationship between characters, in addition to the protagonist's struggle with himself, torn between good and evil.

In fact, Flynn plays a frankly unsympathetic character in this film, we could even consider him an antihero, in part. He is a rude man, who is not necessarily mean, but he often acts in the worst possible way. A division that helps to understand why he became the lover of the friend's wife with whom he had a business partnership, and that explains the greed with which he craves treasure and his difficulty in giving up gain, after a certain point. The actor is good, but I've seen him in better shape in other works. Raymond Burr, Richard Webb and Paul Picerni make a very pleasant contribution, each in his own way. Ruth Roman stands out less... the actress is good and does what she can, but she was given very poor material and the character's character is unpleasant, indecisive to the point of seeming bipolar and quite one-dimensional.

Gordon Douglas does a decent job of directing, although at times I feel that the film lacks the resolution of some loose ends. The film is not always happy with the construction and handling of suspense, and there is some predictability in the action scenes, but these are flaws that I felt were of little relevance. The cinematography is quite satisfying, and the scenes at sea or underwater are particularly well done. The sets and costumes are good, and the whole Manila environment looks good enough, albeit with perhaps few visible references to the eastern universe. The soundtrack, signed by Max Steiner, is quite good.

Entertaining!

[SusanJL · 7/10 · 10 April 2022]

I guess I was completely in the mood for an old noir film. This one I found suitably entertaining as the movie's plot advanced at a quick pace. Some of the dialog had me rolling my eyes, even chuckling, but I didn't mind because even that was entertaining lol. Most reviews I see praise Burr, but I thought he was pretty bad in his role. Ruth Roman acted schizo. One second she hates Flynn, the next second they're kissing, the next second they're on the outs again, I was getting whiplash!!!! I felt no electricity between Ruth and Errol. The best actor was world-weary Errol Flynn, his acting was restrained and believable. Most of the rest were chewing the scenery, but entertaining.

Cultural differences

[armigerous-1 · 3/10 · 20 June 2007]

I don't know if this is true or not,but I am told that when this movie came out, the distributors took it to Tokyo to show, because by that time there was a fairly large demand for American movies in Japan...particularly action movies, and even more so those which featured well known stars like Errol Flynn, and were confident that it would be well received and quite profitable...but that even though the movie was given wide advertising and multiple screens all over Japan,nobody came to see it due to the fact that "Mara Maru" translates into Japanese as "Sh*t Boat"....and who in their right mind would want to see a movie with the title "Sh*t Boat"??

Errol Flynn in a Humphrey Bogart movie

[schappe1 · 9/10 · 8 August 2021]

Flynn finds himself in a noirish melo-drama of the sort Humphrey Bogart had been making a meal of for a decade, although this story requires more physical heroics than a typical Bogart picture, which makes Flynn a good replacement. He had become as good an actor as any of them by now. Here he plays a guy who had achieved prominence and respect during the war as a PT Boat commander, ("I had the respect of my men!"), only to become a faceless desk jockey when he went back to his old job. He abandoned that for what he hoped would be a lucrative life as a deep-sea diver doing salvage operations and getting rich off of what he could retrieve from the ocean floor, which, under maritime law, was his if he could pull it up to the surface. He wants adventure and money and doesn't care what anybody else thinks about it.

He has an unreliable partner, (played by jut-jawed Richard Webb, a Scott Pelley look and sound alike who was alter TV's "Captain Midnight"), he barely tolerates, (he drinks too much, as Flynn did in real life but he's sober here). Webb has found a deal that will make him rich but he doesn't want to share it with Flynn. Then Webb gets murdered. ("When a man's partner is killed, he's supposed to do something about it. It doesn't make any difference what you thought of him.") The police suspect Flynn, an old flame of Webb's widow, (Ruth Roman). Meanwhile Flynn is followed around by a mysterious detective played by Paul Picerni, (later Elliott Ness's second banana on "The Untouchables"). In a Bogart picture, he would have been played by Peter Lorre. He eventually winds up in the apartment of a rich guy, (Raymond Burr), who is even more avaricious than he is. It seems that Flynn's PT boat was sunk during WWII while ferrying Philippine refugees, one of whom was carrying a box with a diamond-crusted cross form a local church. Burr wants the box and says he is willing to share it with the dubious Flynn. Both Percini, who was working for Burr and Roman, who has a piece of the action as a widow are there, too and they all go off in the titular boat to try to locate Flynn's old command, nobody trusting anybody.

Flynn does find the box, which contains a plaster cross, to the disgust of Burr and Percini, who throw it to the deck, and it shatters, revealing the diamond-studded cross, (The Falcon!). Flynn and Roman wind up with it, with Roman telling him it belongs to the church and she'll love him whether he's rich or not. Flynn angrily rejects this proposal. Later he finds the cross has bene stolen by a Filipino kid he's bene working with and the whole thing winds up at the church, surrounded by religious symbols of piety and humility, and then in the catacombs below, where the bad guys catch up and Flynn winds up duking it out with Burr, with fists this time, not swords as in 'The Adventures of Don Juan'. Same result. Flynn is finally, reluctantly, persuaded to part with the cross and go off to amore mundane life with Ruth Roman, which doesn't sound too bad.

It's well scripted, acted and directed with a good pace and atmospheric locations, (all in California). It's fun to see Flynn in a modern action story after all the swashbucklers and westerns. His portrayal of the embittered adventurer is strong all the way. And he looks his age, which is right for the character. It's a fine show and consistently entertaining, despite the narrative that this and other films of this period were symptomatic of Flynn's physical and professional decline. Oh, and his character is named 'Mason', which makes his scenes with Burr ironic in a way that would have meant nothing to 1952 audiences.

A Seaworthy Flynn Saga

[zardoz-13 · 7/10 · 2 January 2017]

Errol Flynn dives for sunken treasure in "Kiss Tomorrow Goodbye" director Gordon Douglas' "Mara Maru," with Ruth Roman, Raymond Burr, and Paul Picerni. This black & white yarn about avarice on high seas is predictable fare, but a top-notch cast, Gordon Douglas' assured direction, and some good underwater diving scene keep it afloat. Like the character that he plays, Errol Flynn was on his way down by the time that he cast in this adequate potboiler. Director Gordon Douglas doesn't let the action get water-logged for a moment, and "Mara Maru" is an entertaining epic even though it doesn't have any major surprises in it. Raymond Burr is perfectly cast as a villain with smooth edges who displays no qualms about cheating his partners as they set out to find a jewel encrusted cross. Picerni is just as oily as another villain who has a difficult time deciding whose side—either Burr or Flynn—that he wants to support. Virile Richard Webb gives a good account of himself as Flynn's former partner who winds up murdered before the first 30 minutes elapses. Another familiar face in this sturdy saga is Dan Seymour who plays a local cop in Manilla who wants to pin a murder on the intractable Flynn. Flynn fans will have a ball with this one. Of course, a capable stunt man probably wore the helmet and suit for the deep sea diving scenes, but Douglas does a good job of inserting close-ups of Flynn in the helmet into the action.

Flynn stuck in a crappy Bogart movie

[ArtVandelayImporterExporter · 5/10 · 11 April 2022]

Or maybe it was a crappy Garfield movie.

Point is, it's the typical low-budget B&W Warner Brothers affair where characters sit around in bars or living rooms talking about what they had done or plan to do, but very little action happens on-screen.

I will go to my grave insisting that Flynn was vastly under-estimated, trapped by his semi-literate movie-going fans eager to see him waving his sword around while wearing fancy get-up. Even in mediocre movies like this one, where he was probably forced to do it because the government had succeeded in putting Garfield in his grave and Bogart probably had more trouble than Flynn staying sober, Flynn is invested in his role and fully inhabits his character.

Raymond Burr turns in another stellar performance. He was the pre-eminent bad guy of 50s film, wasn't he? He must have had one h3ck of an agent to spin that resume into nice guy lawyer Perry Mason on TV.

Ruth Roman's bra is the gratuitous love interest. Paul Picerni plays Bela Lugosi's accent. Dan Seymour for some reason is a police lieutenant in The Phillipines. Maybe they don't mind fat ham over there.

I was tired of it by the time everyone set sail for the treasure. But I stuck with it because this is Errol Flynn's turn as the TCM Star of the Month and I am determined to watch all of them - from the classics, through the over-looked gems, to the routine, and all the way to the dogs.

The Maltese Buckler!

[elliot-1 · 6/10 · 26 May 2003]

[Contains some minor spoilers about first 30 minutes of movie]

Mara Maru, one of Errol Flynn's more mediocre movies, is obviously an attempt to cash in on the success of the B movies of the time, what we now call film noir, while attempting to add a twist of the usual Flynn style (i.e. a swashbuckler). The early part of the movie is almost an exact copy of the opening of The Maltese Falcon - the main character (in this case Flynn's) partner is murdered, he meets with hostile police, a past love affair with partner's wife is revealed, and then he meets with various mysterious villains who offer to help him towards large bundles of cash, if only he will acquire something for them.

The mix isn't successful, with the noir element dominating most of the time, although the adventure quotient ups a bit later on. The problem with this is that Errol Flynn is great at being the charming rogue, but really not very convincing as the threatening Bogie-noir "man with a dark past" type. Indeed, no one is very convincing in this movie, most of the actors seeming like "Will work for food" types; moreover the plot proceeds much too slowly and ploddingly, and occasionally lapses into sentimentally, which has no place even in pseudo-noir. There are none of the directorial touches usually associated with noir movies either.

Mara Maru is not an awful movie, merely boring and a waste of time; there are thousands upon thousands of movies your time would be better spent watching than this one. I'd recommend instead checking out either some of Flynn's much superior full-blown swashbucklers like The Sea Hawk, The Adventures of Don Juan, or The Adventures of Robin Hood; or some full-blown noirs, like The Maltese Falcon or Touch of Evil.

hoped for better

[SnoopyStyle · 6/10 · 28 December 2020]

Gregory Mason (Errol Flynn) is a salvage diver in post-war Manila. His business partner and war buddy Andy Callahan is a drunk. Andy's wife Stella is tired of it. Andy claims to have a treasure and cuts him out as a partner. Gregory's properties get ransacked. Andy turns up dead and Gregory is the main suspect. Soon, rich local Brock Benedict (Raymond Burr) wants to hire him to look for the treasure.

I had hoped for better as the movie moves pass the first act. It seems ready to get going but something is holding it back. Raymond Burr has a threatening presence but his character is rarely that threatening. There is some bad Filipino acting. While I applaud the inclusiveness, it's not enough to get just anybody. The last act has some fun action but it comes and it goes. The storm is great backdrop but it only works in the tank. The underwater work needs more tension. There are great moments but the sequencing is a little wrong. Manuelo stumbling to the church is actually a great visual scene. It might be better to leave that being the ending. At times, the movie struggles with its melodramatic B-movie sensibilities.

Flynn again disappoints.

[JohnHowardReid · 7/10 · 28 May 2018]

Copyright 12 May 1952 by Warner Bros Pictures, Inc. New York opening at the Warner: 23 April 1952. U.S. release: 3 May 1952. U.K. release (in a 91-minute version): 11 August 1952. Australian release: 8 January 1953. Sydney opening at the Park (ran 2 weeks). 98 minutes.

SYNOPSIS: A deep-sea diver, engaged in salvage operations in the Philippines, is the only person who knows the exact location of a sunken treasure.

NOTES: Despite the hic-cup of Captain Fabian, Flynn's next movie, Mara Maru, did quite good business in Australia.

Locations in Los Angeles and Newport Harbors, Catalina Island and San Fernando Mission (doubling for a Manilla cathedral).

COMMENT: The trouble with Mara Maru is not so much its plot - or even its less than lavish budget - but its dialogue. Talk, talk, talk. True, Douglas and Burks do their best. The picture is always most attractively atmospheric to look at, even at its dullest and most garrulous. Yes, there's a bit of action certainly, but not enough. Too much aural padding, not enough real tension.

Not enough conflict and roundness in the characters either, despite marvellous efforts by sterling players, particularly Burr (one of our favorite villains), to give them life. A special hand-clap for Michael Ross as Big China.

Flynn himself is adequate enough. His fights are staged with convincing doubles. Miss Roman makes for okay decoration, but strikes few sparks.

Mara Maru is one of Douglas's most fluent films. The photography, as stated, is remarkably skillful too, giving the sets an obvious luster that in less talented hands they wouldn't have. Editing is smooth, though judicious trimming would not go amiss. A pity to see so much craftsmanship wasted on such an empty script. The plot has promise but the end result is neither sufficiently witty nor dry. And what's worse, it takes far too long to make its points.

OTHER VIEWS: Despite some underwater scenes with obviously double-exposed, transparent fish and seemingly endless close-ups of Flynn in his diving helmet, this is an action-full melodrama with good performances and solid direction (Gordon Douglas). N. Richard Nash's screenplay does not treat Miss Roman too kindly as most of her dialogue is pretty dull. She is better served by photographer Robert Burks. Max Steiner's music score is one of his most pedestrian. - JHR writing as Charles Freeman.

Religious Movie

[sambase-38773 · 7/10 · 12 August 2023]

This is a religious movie first and foremost. The focal point is a cross. The cross is worth a lot of money. And it's at the bottom of the ocean. Well, that complicates things. So how do we get it? We get a salvage crew, of course. But can they be trusted? Maybe, maybe not. Just be very, very careful.

This movie is about God vs money. From what I've heard God has no need for money. But it can come in pretty handy for us lost souls here on Earth. That's the battle in the heart of the Errol Flynn character. He wants to be a millionaire. And the cross is worth a million dollars. Sounds like a good deal, doesn't it? I mean, if all you care about is becoming a millionaire? Just get the cross and your #1 dream comes true. But maybe it's not a good idea to forget God though. Maybe God has a little hand or two in these things.

This is a good movie. I don't know why people like to knock movies like this. I don't get it. Saturday afternoon is the perfect time to watch a movie like this. Today is Saturday and I just watched this movie. It worked out pretty good for me. Maybe it will work out pretty good for you too.

Errol Flynn gives a very solid and realistic performance.

mara maru

[mossgrymk · 5/10 · 26 April 2022]

Kind of a half ass "To Have And Have Not" featuring sluggish pacing from usually good action director Gordon Douglas, flat dialogue (always a turn off in a noir-ish type film like this) and somnambulistic acting from Errol Flynn who looks low energy to the point of seeming physically unwell, at least to my untutored eye. (Googled the film info and sure enough ol Errol was hitting it pretty heavily during shooting). Kind of ironic that the second half features lots of deep sea diving since the whole film feels like it's underwater. Solid C.

E Flynn, R Burr in ocean adventure

[ksf-2 · 7/10 · 4 December 2020]

Some familiar faces here, besides the tall, dashing Errol Flynn; Dan Seymour was the big, police chief in To Have and Have Not, and plays a similar role here. Ray Burr was Perry Mason and Ironsides. In Maru, Flynn is Mason, a diver, searching for undersea treasure near the Philipines. his business partner, Callahan, is a mean drunk, and even threatens to knock him off, right at the start of the film, in front of tons of witnesses. foreshadow ? Later, when a dead body is found, Mason is a suspect, and must try to clear his own name. and when he digs, he finds himself in company with some dangerous men. Now we're on the hunt for diamonds. that various people desire. it's a matter of trust, all around. and on top of that, they are caught in a squall. as an experienced sailor, I'd have thought Mason would have waited for the storm to subside... .but he doesn't... odd. it's very good! a fair amount of suspense, as the alliances and loyalty change. some turns along the way. directed by Gordon Douglas; didn't win oscars, but directed some of the biggies like Up Periscope, Stagecoach, Mr. Tibbs. sadly, Flynn would die young at 59, just seven years after this film.

Melodramatic bilge!

[hemisphere65-1 · 2/10 · 9 January 2021]

The overacting from most of the cast, especially Ruth Roman, turns a bad movie into an excruciatingly poor one. The plot is a sieve and the dialogue is stilted, but Flynn and Burr stand out as professionals. Movies like this keep many younger people from getting into older films.

In one of Warner Bros.' harshest attacks ever upon . . .

[oscaralbert · 8/10 · 28 October 2020]

. . . a crass cult of perverse mercenaries masquerading as a "religious" sect, this always eponymous film studio shows that even ROBIN HOOD himself can fall prey to this vile den of vipers' "Take from the Poor, Give to the Rich" credo. The prophetic prognosticators of Warner use MARA MARU to warn America of the apocalyptic catastrophe in store for the USA if the Red Commie Kremlin is allowed to use their Pachyderm Party pawns to pack our Supreme Court with SIX such idolaters worshiping gold, silver, rubies and diamonds during robotic pagan rituals full of mumbo jumbo. Unitarians or Shakers would NEVER dream to gather the daily gruel cents and vaccination funds from The Poor to finance a $43.9 million (adjusted for inflation) jeweled Golden Calf-like idol for use in what can only be described as Black Masses. Though Robin (aka, "Greg") eschews this Lucre of Lucifer during this flick's finale, that's more than can be said of 2020 America.

A decent film with a less than convincing finale.

[planktonrules · 6/10 · 22 November 2020]

Gregory (Errol Flynn) has received word from his partner to return. But when he arrives, his partner isn't waiting for him but is out getting drunk. Not only that, the man is surly and threatens Gregory. What gives? Obviously the partner did NOT contact him but someone else. But who and why? Well, before these questions can be answered, all sorts of stuff happens to poor Gregory. First, his partner is found dead and he is accused of the killing. Second, someone lights Gregory's boat ablaze...killing a young mate in the process. Soon, all sorts of disreputable characters show up and want Gregory to help them with a treasure hunt...but it seems very, very likely that they mean to do him harm.

This is a decent noir-like film. My only gripes are that it enjoyable but should have been more enjoyable given the plot. And, the ending to me felt like a movie ending...but not necessarily a believable one. Worth seeing but easy to miss as well.