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STRANGE CARGO

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Joan Crawford plays a woman stranded in Central America, near the infamous Devil's Island penal colony... She finds herself at first repelled and then drawn to Clark Gable, who plays a rugged yet ethically principled convict. He is determined to escape, but needs to take along several of his more unsavory cohorts along to make the plan work. Included among them are Peter Lorre, as an oily, untrustworthy smuggler who has the hots for the unwilling Crawford, Paul Lukas as Hessler, Gable's cutthroat rival for power in the escapee band, and Ian Hunter as a fellow known as "Cambreau," a beatific, learned Christ figure whose presence in jail isn't well explained, but who hovers near Gable and acts as his spiritual conscience as ruthlessness and banditry beckon. Somehow Crawford winds up among the escapees as they slog through the swamps and then cross the ocean towards freedom... The scenes in which Lukas and Gable first debate -- then duel -- over her fate are remarkably raw and foreboding. The Cambreau subplot -- can men live like Jesus? Could Christ sway the darkened hearts of modern man? -- is a bit cloying, but the final struggle for Gable's soul at the end is emotionally resonant, and despite the hysterical tenor, one of his most powerful onscreen performances. A great cast and an unusual script, and oneof Crawford's least irritating performances; she's actually quite appealing in this role. Worth checking out!

MGM legends Joan Crawford and Clark Gable had been a popular screen team since the beginning of the 1930's decade appearing together in 7 feature films of varying quality and popularity. After a four year break from working together the two by now veteran performers came together for their 8th and sadly last appearance together on screen in the unusual drama "Strange Cargo". They had appeared together before in quite serious dramas like the classic "Possessed" in 1931, however "Strange Cargo", marked a distinct change of pace for them and both performers succeeded in producing some of their best work to date in roles with a new dimension and depth to it. Joan Crawford had just enjoyed a triumph in a non typical role as the scheming Crystal in "The Women", and was looking for new opportunities to tackle different types of roles from the shop girl efforts she specialised in during the 30's. The role of the tough cynical dance-hall singer Julie who's been used by many men and spends most of the films running time without makeup or stylish clothes held obvious appeal to the actress anxious to prove she was more than just a glamourous clothes horse. Clark Gable came to this role straight from appearing in "Gone With The Wind", so there was certainly a need by him to follow that classic effort with another demanding role which he handles superbly here. "Strange Cargo", has a raw, rugged look and feel to it which makes it strangely unlike your typical MGM efforts of this period. Also the unusual but highly effective spiritual element to the story embodied in the mysterious supporting character of the convict Cambreau played by Ian Hunter also stamps this story as one which you will find yourself thinking about after the final credits.

Based on the novel "Not Too Narrow, Not Too Deep", by Richard Sale, "Strange Cargo", was another of the highly successful collaborations between Joan Crawford and Producer Joseph L. Mankiewicz that stretched back to the mid 1930's. It takes place in a French penal colony based on Devil's Island where in a neighbouring town Julie (Joan Crawford), an embittered and hardened night club singer performs nightly for the drunken clientle including the sleezy Monsieur "Pig" Cochon (Peter Lorre). Julie fits the description of someone who has "been there, done that", and she holds nothing but contempt for the men that people her life. On a trip to the wharf one day she encounters a prisoner Andre Verne (Clark Gable), from the prison colony who along with others has been assigned to the wharves for heavy duties. Verne is smitten with Julie and informs her that he is planning an escape and will come for her. Verne follows through on his promise and when he does break out he comes to the night club and confronts her in her dressing room. Verne however has misjudged the street wise Julie who promptly double crosses him and turns him into the prison guards. Because there is a rule about the women not mixing with prisoners at any time the owner of the club fires Julie and tells her she has 12 hours to leave the island or face conviction. Meanwhile in the prison Verne is embroiled in another breakout attempt and runs afoul of fellow inmate Hessler(Paul Lukas), who is at the centre of the latest attempt. The group that breaks out includes the mysterious Cambreau (Ian Hunter), who seems to possess a strange Christ-like presense among the men, Moll (Albert Dekker), and Telez (Eduardo Ciannelli). Double crossed by Hessler, Verne ends up in the prison infirmary with a blow to the head but makes his own seperate escape in the confusion. Coming across Julie, Verne takes her along on a perilous journey through the snake and crocodile infested jungle to catch up with the others at the ocean where a boat is waiting. The journey is not an easy one and one by one Hessler's group are killed off by the natives or snakes before the remainder finally make it to the boat. Verne and Julie catch up with the group however and the rivalry between Verne and Hessler continues. Once at sea real difficulties arise and the death toll continues as young Dufond (John Arledge) dies for which Hessler feels responsible. Cambreau seems to influence all around him to more responsible behavour and when the water supply is thrown overboard but later retrieved, Hessler sacrifices himself tasting the salt water out of his guilt at Dufond's death. Verne at first is cynical about Cambreau and his supposed spiritual powers however after he pushes Cambreau into the sea during an argument he then feels strangely compelled to rescue him. It seems Cambreau by some unexplained power manages to turn around even the most hardened and disbelieiving of individuals and soon both Verne and Julie begin to see the error of their past behaviour. When Verne encounters the Prison Head Grideau (Frederick Worlock), he sees that to get his life going again repeated attempts at escape are pointless and he agrees to return to the prison to complete his sentence. Julie also realises that once again she can trust a man and that she truly loves the rough but essentially good Verne and she agrees to wait until he is released when hopefully they can be truly together.

A most unusual drama of a kind not often seen is the best way to describe "Strange Cargo". What is so pleasing is that this effort could never be called your typical Joan Crawford or Clark Gable vehicle. Certainly Gable still displays that lovable roguish quality but his character this time has a much harder edge to it and Gable really rises to the occasion to show he was capable of portraying less glamourous characters of some dimension. Joan Crawford delivers what I believe is one of her most carefully thought out performances as the world weary Julie and her total abandonment of any kind of beauty with no makeup or beautiful clothes confirms in my mind her ability to deliver a powerful acting performance. Ian Hunter shines in his role of Cambreau and we never really know who this mysterious christ-like man really is and whether he is in fact some divine presense among the men who guides them into seeing the error of their ways. His is a truly great performance which really gets the viewer thinking long after the closing credits. Veteran Peter Lorre has an effective supporting role as the unlikeable "Pig" Cochon. His scenes in particular with Joan Crawford involve some wonderful exchanges that elicit alot of on screen electricity. Amazingly this film upon release ran into trouble with the Catholic Legion of Decency over its light hearted views on marriage and in particular for the representation of Ian Hunter's "Christ" character which was considered not in good taste at the time. Visually "Strange Cargo", benefits greatly from the many seamy locations employed which help tremendously to give the film its non glamourous hardened edge. Everthing here belies the fact that it was made by Hollywood's most glamourous studio, MGM, from Julie's bordello-like dance hall, to the primitive prison quarters and especially the hot steaming jungle that the party try and survive through. The quite graphic (for the times) shark attack on one of the men trying to retrieve the water barrel is also starkly portrayed adding to the raw feel of this film. Direction by Frank Borzage, a Crawford regular from the late 30's is servicable here and he manages to keep the action moving along with just enough time for a little exploration of the main characters.

"Strange Cargo", was a most worthy vehicle for both Joan Crawford and Clark Gable after both of their previous classic efforts. It certainly reveals two performers at the peak of their abilities who now could feel confident in taking some risks with the characters they are playing. It is a shame that this film marked the end of their legendary screen partnership with Gable in particular from then on being teamed with the new crop of MGM leading ladies such as Lana Turner and Hedy Lamarr. However it is a most interesting film to say goodbye to these two as a team with. Raw and realistic with an underlying message not common in films around this time "Strange Cargo", makes compulsive viewing for all Crawford/Gable fans and for those that enjoy well thought out adult dramas.

Strange is putting it mildly. In this uniquely off-beat gem, Crawford is Julie the trollop and Gable is Verne, who's sentenced to Devil's Island. A fascinating excursion into allegory has Ian Hunter giving his greatest performance as Cambreau, the PRESENCE, in human guise: The Catholic Legion of Decency had a fit when this character was shown; in light of what's allowed in films today, this is hilarious! Because of Hunter's Christ-like consciousness, the condemned men are intolerant of his presence. When he is seen by Gable to be near death by drowning, Gable realises that he cannot let this mysterious but undeniably decent man die, so he rescues him from the inevitable. Both Joan and Clark play well together in their final teaming and, because of it's offbeat theme, the movie tends to linger in the memory; many consider this to be the best of all their movies in which they appeared together.

I have seen almost all of Joan Crawford's films, and I think this is one of her finest performances. She is fortunately paired with Clark Gable, and they have remarkable chemistry together. It is their combined talent and star presence that make Strange Cargo such a good film. Joan plays the typical tough girl, but makes her character a lot deeper than lesser actresses could. She goes through most of the film wearing no makeup (very unusual for Crawford), and loses the artificial restraint that plagues so many of her performances. She approaches the role without holding anything back (much like in Humoresque and Rain), and she shines. It's a refreshing performance for any Crawford fan to watch, because we enjoy these rare glimpses of the excellent actress and beautiful person that were beneath her glamorous facade. May I also add that without makeup, Joan Crawford is still tremendously beautiful and captivating. She has excellent bone structure and large, wistful eyes. This film proves that it wasn't the makeup and artificial glamour that made Crawford beautiful (as some authors would have you believe), but something from within. That's what this movie is about.

"Don't tap your heart. You'll break your finger." -- Crawford to Gable


Director Frank Borzage, the greatest romanticist ever to work in Hollywood, had made films of enduring beauty and sentimentality in both the silent and sound era. His ability to handle sensitive subject matter was never put to the test in the way it was when he signed on to film Richard Sale's "None Too Narrow...None Too Deep" for MGM, however. He would have to balance the fire between stars Clark Gable and Joan Crawford with a story having delicate spiritual overtones. The end results are a unique cinematic masterpiece in which Borzage shows his audience it is never too late.

Lawrence Hazard's sharp and sometimes racy dialog sounds as if Howard Hawks had been standing over his shoulder, telling him just how to write Crawford's character. She is very much the embodiment of how his world weary and leery men view women. But Borzage will allow the delicate spiritual message to reveal what is underneath, and in the heart. It is as if Borzage is filming two stories at once, from different eras, and in very different genres. Yet he somehow makes it work; both as entertainment and something more substantive. Gable's charisma is on full display here and Crawford has one of her finest moments onscreen in a scene opposite Ian Hunter that plays like an apology for Rain.

Gable's Verne is a thief being released after sixteen months in solitary confinement for his fifth escape attempt in three years. He seems incorrigible, and destined not to make it out of the penal colony alive. But Grideau (Frederic Worcock), the head of the island's prison, sees something worth redeeming in Verne. Allowed to work outside the prison walls down on the wharf, he runs into Julie (Joan Crawford) and they begin the first of many salty exchanges which caused the film to be condemned by the Legion of Decency. It also is what kept viewers entertained as a much deeper and more spiritual story begins to unfold. It would be this aspect of the film which would tip the scales against it in the eyes of the Legion of Decency, which today seems ridiculous.

When Verne sneaks out to get a load of Julie dressed up, ("Grief ain't what I came after, Baby") and she promptly turns him in, sparks are flying everywhere. But in the meantime, a mysterious prisoner who carries a small bible that no one remembers having ever seen before, shows up to replace Verne for the returning head count. Fans of Borzage know in that exact moment there's much more going on here than a racy late 1930's romance. What follows is a unique blend of entertainment laced with a spiritual message which finally collide, leaving the viewer mesmerized by what they've just seen.

There is plenty of action and conflict, with a jungle and an ocean between Verne and freedom. Paul Lukas, Albert Dekker, Howard Bromberg, and Eduardo Cianelli are a few of his fellow escapees. But it is Ian Hunter's Cambreau who seems to always know what's going to happen, and how to get there. While Gable and Crawford spar, he helps those who might not make it find peace before their light dims, and seems to know what's in their hearts. Crawford is marvelous as she struggles against believing but knows it must be so when Cambreau is the only one who knows she's been saying silent prayers for them all. Verne may be the toughest nut to crack, however, as only in a storm on a boat does he realize he may have just thrown his salvation, and future, overboard.

Peter Lorre plays to perfection the lovelorn stool pigeon, M'sieu Pig, who Crawford's Julie finds so replulsive she comments hurtfully that he's the one man in the world she could never get low enough to touch. Franz Waxman's score complements nicely the photography of Robert Plack and art direction of MGM's Cedric Gibbons to create an atmospheric film pleasing on all fronts. Gable and Crawford were always good together and are fantastic here, their back and forth containing a rare edge. It is the spiritual tone and message, however, which make for a one-of-a-kind movie experience. Another truly great film by a true master of both nitrate and celluloid, Frank Borzage.

In this movie there was both a rare sense of innocence and sensuality that made Joan's part even more multi-faceted! Joan plays Joan in this 1940 MGM classic, staring with her number one leading man, Clark Gable. Much of this masterpiece is shot on a boat and outside and Joan looks all the more stunning and natural! I've added a couple pictures here for you! BTW, "Strange Cargo" will be shown on TCM on Fri., 1-11-08 @ 9:00 a.m.!

Why was Miss Crawford such a fascinating and unconventional star...?

Miss Crawford was a first-rate star, who worked her a-s-s off to get to where she was! And, do you know what she did once she got there? She worked 10 times harder...! Joan had the longest and most impressive film career of any star during Tinseltown's famed Golden Age of Cinema! Joan's career lasted 5 decades! And her career proved to be more loyal to her than any lover or husband! Miss Crawford was always known for her fashion-sense, classical beauty and the ability to constantly re-invent herself (half a century before the Material Girl was a household name!)

Joan Crawford started her career in 1925 as a flapper, playing in bit parts as a contract-player for the most glorious studio in town, MGM. She was nothing more than a glorified prop, unbilled in her first film, "Lady of the Night." Soon, Joan was promoted to leading-lady, appearing in such critically-acclaimed pictures as, Harry Langdon's Tramp, Tramp, Tramp, and Lon Chaney's The Unknown. But it wasn't until Joan accepted the role of Diana Medford, in Our Dancing Daughters that she became a bona fide star! By the end of the decade Joan had more than 20 pictures under her belt!

In the 30's when many silent stars were bowing out gracefully, Joan was back with a vengeance! This time Joan was the little shop girl that Depression-Era American ladies (and maybe even some boys, too) could really identify with. Miss Crawford could be seen acting in such famed movies as, "Letty Lynton," Rain, Sadie Mckee, Grand Hotel , and one of my personal favorites, Forsaking All Others . Some of the 25 classics that Joan also made during the 30's include: Dancing Lady, Laughing Sinners, Dance, Fools, Dance, Chained, "No More Ladies," The Gorgeous Hussy, Love on the Run (1936), The Bride Wore Red, Mannequin (1938) and of course one of her most popular ever, The Women !

"No more goddamn shop girls," Joan was once quoted as saying to MGM chief-honcho, Louis B. Mayer. In the 40's Joan yet again came back in another one of her many incarnations, this time as the society matron in such movies as, When Ladies Meet (1941), Reunion in France and Susan & God. In 1942 Miss Crawford donated her entire salary from Columbia's They All Kissed the Bride to charity and then she turned around and fired her agent when he didn't do the same! After 18 years of being a member of the MGM family, Miss Crawford took a huge gamble and decided to branch out, this time working for the actor's studio, Warners. Joan's first film for Warners, was her most famous movie, and it garnered her the Oscar for Best Actress; playing the title role in her defining-film, Mildred Pierce . Joan also made a slew other first-rate pictures during this period, such as: Humoresque, "Daisy Kenyon," and Flamingo Road (1949). Moving to Warners really paid off for Miss Crawford, because she also received her second Academy Award nomination for Possessed, playing the harried Louise Howell! Of course, Miss Crawford had all the time in the world to donate to the war-effort. Joan was often seen at the Hollywood Canteen entertaining our boys; ...how many of today's movie stars get off their pedestals to do this?

The 50's marked a very pivotal time in Joan's illustrious career. Because in the next chapter of her picture resume, she played the determined and strong matriarch in many wonderful dramatic cinematic masterpieces. Such as, Harriet Craig, Queen Bee, "Female on the Beach," The Damned Don't Cry, "Goodbye My Fancy," The Story of Esther Costello and Autumn Leaves. Miss Crawford also received her third Academy Award nomination playing Myra Hudson in RKO's Sudden Fear. And never one to be typecast, Joan made a big splash in Johnny Guitar, playing a tough saloon owner in the wild-west! Also beginning in the 50's, Joan took up the campaign as official spokeswoman for Pepsi-Cola; a coveted role that she enjoyed for more than 18 years!

In the 60's Miss Crawford didn't slow down for a second! Nope! She came out swinging. Joan made the whole country ask in droves, What Ever Happened to Baby Jane? . In one of her most well-known pictures ever, Joan played Blanche Hudson, opposite another very talented actress, Ms. Bette Davis, in this gorgeous Warners film! Throughout all the 60's Miss Crawford was known as the "Scream Queen." She stared in such cult-favorites as, Strait-Jacket, Della, I Saw What You Did and Berserk! It was also around this time, that Miss Crawford penned her autobiography, A Portrait of Joan Crawford.

Even in semi-retirement, Miss Crawford still always kept busy during the 1970's. This time she was the Hollywood Legend, and everyone knew it! When the movie studios weren't knocking on her door, she switched to television. In one of her last television appearances, Miss Crawford played the part of Joan Fairchild in ABC's "The Sixth Sense: Dear Joan: We're Going to Scare You to Death." She also wrote her second book, the best-selling My Way of Life. And, Joan always found the time for some of her favorite charities; donating her talent and time to The Muscular Dystrophy Association and The American Cancer Society. Of course, Joan also made time to speak to her good friend and journalist Roy Newquist. Mr. Newquist was actually the only writer that Miss Crawford chose to speak to during the late 70's, and his thoughtful (and unprecedented) interviews with Joan were published in the 1980 book, Conversations with Joan Crawford.

Miss Crawford perished a second time when the majority of the public threw her away and vilified her as a lunatic. But this death was much more painful. Because not only were Joan's films forgotten, but all of the good she did during her lifetime was also completely erased! Could a violent and crazed-alcoholic have accomplished just half of what Miss Crawford did in her life? And, could they have pulled it off with such perfection, like Joan always did? As far as I'm concerned, it's preposterous to think that Miss Crawford would have ever done anything to put her good name or her livelihood on the line. The true Joan Crawford was kind, compassionate and generous to a fault. Joan was a self-made lady who worked for everything she got. She just wanted to keep her head above water in a man's world where women didn't have a voice or a choice. Miss Crawford never for a second forgot where she came from or who she was, and she never for a moment let her beloved fans down! All Joan wanted was for someone to give her a chance and believe in her.

If you're interested in learning about the true Joan Crawford, I recommend watching some of her pictures. Joan has always said that her true biography is on film. As you may know, Joan has a very detailed movie library that may look intimidating at first, since it is so long and impressive. A good place to start is her boxed set , which includes some of her greatest movies. Miss Crawford also has a second set that will be out next year, too. And, I recommend reading Conversations With Joan Crawford, because this book showed the true Joan Crawford. I also recommend these books, as well: A portrait of Joan;: The autobiography of Joan Crawford , Joan Crawford: Her Life in Letters and Joan Crawford, a biography. And there will be a new book about Joan out by Feb. '08, Not the Girl Next Door: Joan Crawford, a Personal Biography; which is supposed be the most accurate and comprehensive biography ever penned!

Shortly before her death, when asked if she would do it all over again, Miss Crawford bluntly said, "It's difficult to answer that question because part of me believes in Predestination - you know, someone up there is pulling the strings, what ever will be will be." In the end, after all has been said about her, Joan was just a person looking for some happiness; she just wanted to make it through the night, no different from the rest of us.

"Strange Cargo" is the 8th and final pairing of Joan Crawford (who got top billing) and Clark Gable.

Gable was MGM's biggest male star and he was paired with several of their leading ladies. The most famous pairing was with his great friend (whom he called "Sis") Jean Harlow (6 films, the last 5 all top 10 box office winners), but he was paired 7 times with Myrna Loy and 8 times with Crawford.

Clark Gable (1901-60) was one of the biggest stars of the 20th century, and a pretty good actor to boot. He's best remembered as Rhett Butler for "GWTW" (1939), for which he received one of his three Oscar nominations: the others were for "It Happened One Night" (1934) and "Mutiny on the Bounty" (1935). My favorite Gable flick is "Run Silent Run Deep" (1958). Gable plays a hardened thief imprisoned in a French penal colony.

Joan Crawford(1905-77) plays a brassy prostitute working in the town alongside the prison. At the time of this film, Crawford was MGM's biggest female star. Her marriage to Douglas Fairbanks Jr. (1929) and then Franchot Tone (1935) and her success with films like "Possessed" (1931), "Grand Hotel" (1932), "Dancing Lady" (1933), and "The Women" put her at the top. Despite her achievements to date, her best years were ahead, with two Oscar nominations ("Possessed" in 1948 and "Sudden Fear" in 1953) and one win ("Mildred Pierce") in 1946. Crawford is wonderful in this role, which seems to have been written for Jean Harlow.

Albert Dekker (1905-68) co-stars as the mastermind of the prison break and a tough guy to boot. Dekker appeared in more than 50 films and is best remembered for his villainous roles - Big Jim Colfax in "The Killers" (1946), the evil Dr. Thorkel in "Dr. Cyclops" (1940), the evil Dr. Soberin in "Kiss Me Deadly" (1955) and the evil railroad man Pat Harrigan in "The Wild Bunch" (1969). Dekker puts in his usual good performance and shows that he's a physical match for Gable, but his cockney accent sometimes fails him.

Ian Hunter (1900-75) plays a member of the breakout crew who has an uncanny ability to predict the fate of others. Hunter is probably best remembered for his role as King Richard in "Adventures of Robin Hood" (1938) and his recurring role on the TV series of the same name.

Paul Lucas (1891-1971) plays a serial killer and the one prisoner who is able to resist Hunter's charisma. Lucas won the Oscar and the Golden Globe for his performance in "Watch Over the Rhine" (1943), a considerable feat considering he was up against Bogart ("Casablanca") and Gary Cooper ("For Whom the Bell Tolls"). He's probably best known as the Professor from Disney's "20,000 Leagues Under the Sea".

Eduardo Ciannelli (1889-1969) has a small role as an inmate. We know him best from his performance as one of the most evil characters in film history, the head of the Thuggee cult in "Gunga Din" (1939). In 1961 he won the Tony for "The Devil's Advocate" (1961).

The great Peter Lorre (1904-64) has a small role as Mousier Pig, a character interested in Crawford. Lorre was unique. He gave unforgettable performances in films like "M" (1931), "Casablanca" (1942), and "The Maltese Falcon" (1941) among the nearly 100 films he made. Paul Lucas and Lorre were good friends and fellow Hungarians, but they shared no scenes in the film.

Frank Borzage (1893-1962) started as an actor in silent films and then became a director. He was heavily influenced by German director F.W. Murnau with whom he worked. He won the Oscar for "7th Heaven" (1927) and "Bad Girl" (1931) and specialized in films in which love must conquer adversity. This was Borzage's first film with a religious motif, and his later films would reflect this influence.

Franz Waxman (1906-67) provides the score. Waxman was nominated for an Oscar 10 times and won twice ("A Place in the Sun" and "Sunset Blvd"). He was a favorite of Hitchcock who used him in 4 films and earned 2 of his Oscar nominations ("Rebecca" and "Suspicion"). Sometimes Waxman's scores can overwhelm a film, but in this case he is in perfect harmony with the script.

Robert Planck (1902-71) is the cinematographer. He lensed more than 100 films and was nominated for an Oscar 4 times - "Anchors Aweigh" (1945), "The Three Musketeers" (1948), "Little Women" (1949), and "Lili" (1953). His work filming the voyage in a small boat is excellent.

The film is basically a love story set against a prison break, but superimposed on this theme is a religious story about redemption and belief in oneself and in God. At various points, each of the characters gets to assess his/her life and to decide how they will spend the rest of their time on Earth, regardless of how long or short. The love story is pretty standard stuff, performed well by Crawford and Gable with Lorre as the antagonist. The prison drama is also pretty standard stuff. What sets this film apart is the religious subtheme, and while it isn't well crafted, it is certainly interesting.

When I first saw this film, I knew nothing about it, and, consequently, had no real expectations. The kind of film it turned out to be, however, I would never in a million years have guessed. This is definitely an unsung gem of a film and one that deserves broader recognition.

The film begins in a penal colony, Devil's Island, located deep in the heart of French Guiana. This penal colony is filled to capacity with men that the world has forgotten and who live day to day, devoid of hope. Is it any wonder that some of them long to escape? Verne (Clark Gable) is one such prisoner, a petty thief and con artist, who has just come out of solitary, where he was caged like an animal for having tried to do just that. This roguish and insouciant thief promises the warden that he will try escaping again, even though he has less than three years left on his sentence.

When sent to work upon the docks as part of a chain gang, Verne meets a woman by the name of Julie (Joan Crawford), a dance hall girl who catches his eye. A tough talking broad and graduate of the school of hard knocks, Julie trades barbs with Verne, as she has yet to meet a man whom she can trust. Despite her acid toned words, however, there seems to be a palpable attraction between the two, and Verne has every intention of seeing her again.

Meanwhile, a mysterious stranger, dressed as a prisoner, slips in amongst their ranks. The newcomer, Cambreau (Ian Hunter), seems to know the names of the other prisoners. While the prisoners he encounters claims not to know him, he seems to know them quite well. As Cambreau likes to say, they have met but simply never made a connection. There is a very peaceful and spiritual quality about the Bible toting Cambreau.

Later, a prison break is planned by a hard bitten criminal named Moll (Albert Dekker). With a small band of men, Moll executes his escape plan, double crossing Verne and leaving him behind at the last minute. Moll escapes, taking with him the religious Telez (Eduardo Giannelli), a killer who prays to be forgiven, Hessler (Paul Lukas), a cool customer who is in the habit of marrying rich women, taking their money, and then killing them, and Cambreau, as well as several others. They must traverse a tropical jungle fraught with multiple dangers before they can reach the shore, where a boat will be lying in wait for them in order to take them to the mainland and freedom.

Back at the prison, in the wake of the discovery of the escape and the ensuing confusion, Verne manages to escape again, hoping to catch up with his nemesis, Moll. Along the way, he runs into Julie who is in a bit of a predicament herself, having been ordered to leave the island for reasons connected to Verne. Julie and Verne join forces, traversing the jungle and making it through alive. They meet up with Moll and his surviving accomplices on the shores of the beach, where a boat is waiting to take them to freedom. Verne and Moll square off, however, with Verne emerging victorious and taking over the leadership role.

Once on the boat and at sea, further difficulties arise. Under Cambreau's quiet influence, however, a number of epiphanies occur. Even the most hardened of them repent at the last. By the time they get to shore, however, only Cambreau, Julie, Verne, and Hessler remain. They find refuge in the home of a fisherman, whom they entreat to help them. After refreshing himself, Hessler leaves, unrepentant to the last and looking for a new victim. Cambreau, in bidding him goodbye, tells Hessler that he doubts that they will ever meet again.

Meanwhile, Julie wanders off only to run into the unctuous M'sieu Pig (Peter Lorre), an unsavory little man who knows Julie from the island and has desired her, despite her repeated rebuffs. He follows her, knowing that Verne must be with her, and discovers where they are hiding out. He then threatens Julie, telling her that he will let the Warden know where he can find Verne, the man whom Julie now realizes that she loves, unless she does his bidding and goes off with him. Julie then decides to make the ultimate sacrifice.

When Verne sees M'sieu Pig and Julie together, he draws the wrong conclusion, and an embittered Verne leaves the mainland with Cambreau, planning to go to Cuba in the fisherman's boat. While on the boat with Verne, Cambreau finds himself overboard during a storm, and Verne must make a soul-searching decision. What he decides will change not only his life but Julie's, as well.

Based upon the novel by Richard Sale, "Not Too Narrow, Not Too Deep". this 1940 film is truly amazing. With its allegorical, religious overtones, compelling story, and unlikely setting, the film almost defies description. Ian Hunter is superlative as the Christ-like Cambreau, infusing the role with a very spiritual quality. It is difficult to believe that the then powerful Legion of Decency condemned this film when it was first released, in part because it believed that Hunter's portrayal of the mystical Cambreau was somehow not reverent.

Clark Gable is terrific as the roguish Verne, a man who discovers that at the center of his being is a core of good. The exchanges between Verne and Julie are highly charged and passionate, resonating with their chemistry. Joan Crawford`s luminous beauty really comes through in this film, especially in those scenes where she appears to be devoid of make-up. She also displays a touching vulnerability that is central to the character of Julie. Director Frank Borzage outdoes himself with this film, one that I believe to be among his finest. Exacting stellar performances from the entire cast, he not only makes this improbable story work, he touches the viewer's heart. Bravo!

THe dialogue between the two stars is incredible. Their performances are incredible. THe story line is incredible. THis is truly the golden age of scripts and acting. Make a very serious point to see this film. Over and over again, your jaw will drop after hearing what people say to each other...and how strong the acting is in this very adventurous film. I was completely knocked out. Now, one of my top five films. Do not miss seeing this film.

In this movie there was both a rare sense of innocence and sensuality that made Joan's part even more multi-faceted! Joan plays Joan in this 1940 MGM classic, staring with her number one leading man, Clark Gable. Much of this masterpiece is shot on a boat and outside and Joan looks all the more stunning and natural! I've added a couple pictures here for you! BTW, "Strange Cargo" will be shown on TCM on Fri., 1-11-08 @ 9:00 a.m.!

Why was Miss Crawford such a fascinating and unconventional star...?

Miss Crawford was a first-rate star, who worked her a-s-s off to get to where she was! And, do you know what she did once she got there? She worked 10 times harder...! Joan had the longest and most impressive film career of any star during Tinseltown's famed Golden Age of Cinema! Joan's career lasted 5 decades! And her career proved to be more loyal to her than any lover or husband! Miss Crawford was always known for her fashion-sense, classical beauty and the ability to constantly re-invent herself (half a century before the Material Girl was a household name!)

Joan Crawford started her career in 1925 as a flapper, playing in bit parts as a contract-player for the most glorious studio in town, MGM. She was nothing more than a glorified prop, unbilled in her first film, "Lady of the Night." Soon, Joan was promoted to leading-lady, appearing in such critically-acclaimed pictures as, Harry Langdon's Tramp, Tramp, Tramp, and Lon Chaney's The Unknown. But it wasn't until Joan accepted the role of Diana Medford, in Our Dancing Daughters that she became a bona fide star! By the end of the decade Joan had more than 20 pictures under her belt!

In the 30's when many silent stars were bowing out gracefully, Joan was back with a vengeance! This time Joan was the little shop girl that Depression-Era American ladies (and maybe even some boys, too) could really identify with. Miss Crawford could be seen acting in such famed movies as, "Letty Lynton," Rain, Sadie Mckee, Grand Hotel , and one of my personal favorites, Forsaking All Others . Some of the 25 classics that Joan also made during the 30's include: Dancing Lady, Laughing Sinners, Dance, Fools, Dance, Chained, "No More Ladies," The Gorgeous Hussy, Love on the Run (1936), The Bride Wore Red, Mannequin (1938) and of course one of her most popular ever, The Women !

"No more goddamn shop girls," Joan was once quoted as saying to MGM chief-honcho, Louis B. Mayer. In the 40's Joan yet again came back in another one of her many incarnations, this time as the society matron in such movies as, When Ladies Meet (1941), Reunion in France and Susan & God. In 1942 Miss Crawford donated her entire salary from Columbia's They All Kissed the Bride to charity and then she turned around and fired her agent when he didn't do the same! After 18 years of being a member of the MGM family, Miss Crawford took a huge gamble and decided to branch out, this time working for the actor's studio, Warners. Joan's first film for Warners, was her most famous movie, and it garnered her the Oscar for Best Actress; playing the title role in her defining-film, Mildred Pierce . Joan also made a slew other first-rate pictures during this period, such as: Humoresque, "Daisy Kenyon," and Flamingo Road (1949). Moving to Warners really paid off for Miss Crawford, because she also received her second Academy Award nomination for Possessed, playing the harried Louise Howell! Of course, Miss Crawford had all the time in the world to donate to the war-effort. Joan was often seen at the Hollywood Canteen entertaining our boys; ...how many of today's movie stars get off their pedestals to do this?

The 50's marked a very pivotal time in Joan's illustrious career. Because in the next chapter of her picture resume, she played the determined and strong matriarch in many wonderful dramatic cinematic masterpieces. Such as, Harriet Craig, Queen Bee, "Female on the Beach," The Damned Don't Cry, "Goodbye My Fancy," The Story of Esther Costello and Autumn Leaves. Miss Crawford also received her third Academy Award nomination playing Myra Hudson in RKO's Sudden Fear. And never one to be typecast, Joan made a big splash in Johnny Guitar, playing a tough saloon owner in the wild-west! Also beginning in the 50's, Joan took up the campaign as official spokeswoman for Pepsi-Cola; a coveted role that she enjoyed for more than 18 years!

In the 60's Miss Crawford didn't slow down for a second! Nope! She came out swinging. Joan made the whole country ask in droves, What Ever Happened to Baby Jane? . In one of her most well-known pictures ever, Joan played Blanche Hudson, opposite another very talented actress, Ms. Bette Davis, in this gorgeous Warners film! Throughout all the 60's Miss Crawford was known as the "Scream Queen." She stared in such cult-favorites as, Strait-Jacket, Della, I Saw What You Did and Berserk! It was also around this time, that Miss Crawford penned her autobiography, A Portrait of Joan Crawford.

Even in semi-retirement, Miss Crawford still always kept busy during the 1970's. This time she was the Hollywood Legend, and everyone knew it! When the movie studios weren't knocking on her door, she switched to television. In one of her last television appearances, Miss Crawford played the part of Joan Fairchild in ABC's "The Sixth Sense: Dear Joan: We're Going to Scare You to Death." She also wrote her second book, the best-selling My Way of Life. And, Joan always found the time for some of her favorite charities; donating her talent and time to The Muscular Dystrophy Association and The American Cancer Society. Of course, Joan also made time to speak to her good friend and journalist Roy Newquist. Mr. Newquist was actually the only writer that Miss Crawford chose to speak to during the late 70's, and his thoughtful (and unprecedented) interviews with Joan were published in the 1980 book, Conversations with Joan Crawford.

Miss Crawford perished a second time when the majority of the public threw her away and vilified her as a lunatic. But this death was much more painful. Because not only were Joan's films forgotten, but all of the good she did during her lifetime was also completely erased! Could a violent and crazed-alcoholic have accomplished just half of what Miss Crawford did in her life? And, could they have pulled it off with such perfection, like Joan always did? As far as I'm concerned, it's preposterous to think that Miss Crawford would have ever done anything to put her good name or her livelihood on the line. The true Joan Crawford was kind, compassionate and generous to a fault. Joan was a self-made lady who worked for everything she got. She just wanted to keep her head above water in a man's world where women didn't have a voice or a choice. Miss Crawford never for a second forgot where she came from or who she was, and she never for a moment let her beloved fans down! All Joan wanted was for someone to give her a chance and believe in her.

If you're interested in learning about the true Joan Crawford, I recommend watching some of her pictures. Joan has always said that her true biography is on film. As you may know, Joan has a very detailed movie library that may look intimidating at first, since it is so long and impressive. A good place to start is her boxed set , which includes some of her greatest movies. Miss Crawford also has a second set that will be out next year, too. And, I recommend reading Conversations With Joan Crawford, because this book showed the true Joan Crawford. I also recommend these books, as well: A portrait of Joan;: The autobiography of Joan Crawford , Joan Crawford: Her Life in Letters and Joan Crawford, a biography. And there will be a new book about Joan out by Feb. '08, Not the Girl Next Door: Joan Crawford, a Personal Biography; which is supposed be the most accurate and comprehensive biography ever penned!

Shortly before her death, when asked if she would do it all over again, Miss Crawford bluntly said, "It's difficult to answer that question because part of me believes in Predestination - you know, someone up there is pulling the strings, what ever will be will be." In the end, after all has been said about her, Joan was just a person looking for some happiness; she just wanted to make it through the night, no different from the rest of us.