ridiculous rating

Please don't spend money on this.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

From the beginning of the sound era until he won his Oscar for The Informer John Ford turned in an interesting body of work. Some of his films are good, others less so. It seemed to me it took him a bit longer than some of his peers to master the technique of sound on film.Case in point is this World War I naval story Seas Beneath. An interesting and fine war film, it's hampered a great deal by a rather unrealistic romance between the sister of a U-Boat commander Marion Lessing and George O'Brien the American captain of the mystery ship.O'Brien is in command of the so-called mystery ship which has a pair of big guns camouflaged on board. The object is to look like a harmless American schooner and play decoy until the U-Boat comes in range and then cut loose. When the schooner puts into the Canary Islands for provisioning and to pick up any loose information, the Germans have the same thing in mind. In fact a female spy played by Mona Maris seduces young officer Steve Pendleton and finds out he's a lieutenant. Pendleton redeems himself in a most spectacular incident.The battles at sea are staged very well. Surprising that other than star George O'Brien none of the known regulars from the Ford stock company are here. Walter C. Kelly plays the CPO of the ship and he's kind of a poor man's Victor McLaglen.John Ford completists will like the film and it's all right, but nothing more.

Seas Beneath (1931) ** (out of 4) A U.S. "mystery ship" is sent out to destroy a German U-boat, which has been causing damage to Allied ships. Like many other early sound films, this one here suffers from non-stop talking, which is damaged because the dialogue is just downright stupid and bad. I guess studios would read screenplays and order additional dialogue because this film has so many subplots that I can't help but think they were added to boost up the dialogue. There's a love story between George O'Brien and Marion Lessing, which is just downright stupid and bad. I'm going to guess the relationship between the boat Commander and a possible German spy was meant to add suspense but it never does. Ford really seems bored with these various dialogue scenes because there's never an ounce of energy in them. What really works is the final twenty-minutes when the mystery ship goes up against the U-boat. There's a long sequence where the ship must fall under attack because the sub isn't in their range for a counter attack. This scene here is full of wonderful excitement and some real suspense. The action scenes are all very realistic and Ford really puts the viewer in a mind frame where it feels like you're actually on the ship. Outside of these scenes I'd have to say Ford's direction is pretty weak because it really seems like he's making a silent movie with dialogue. The scenes are really strange to look at and they never really feel like a director use to the sound technology.

I've been working my way through Ford at Fox, and found this to be the most entertaining of Ford's early talkies. After the joy of watching such silents as The Iorn Horse, 3 Bad Men, Four Sons and the Hangman's House, watching such talkies as Up The River and Born Reckless felt like I was paying my dues as a Ford fan.Seas Beneath was a real breath of fresh air. It plays out like the grand old silents where everything is staged for real. No models, no process shots. Want to shoot a scene at sea? Pack up the gear and go to sea.While the story has many of the hokey elements of early film melodramas, the scenes at sea are very real and very effective. You won't see better footage of a German submarine until Das Boot. And the scene where they unload the lifeboat onto the American ship: that was no water tank shot.While Seas Beneath pales in companion to Ford's great films from the 1930's, there is still much to admire in it.

I suspect that the poster from Oklahoma hasn't seen many other films from the early talkie era, because the pace and acting aren't bad for the times. What's most striking about this early Ford talkie is the location (shipboard) filming-- few films from the studio era make such a point of actually filming at sea instead of on a set in front of a sky backdrop. The vivid realism of these scenes is the most striking thing about the film today.