Themes: Escape From Prison, Miscarriage of Justice, Colonialism
Main Cast: Dorothy Lamour, Jon Hall, Mary Astor, C. Aubrey Smith, Thomas Mitchell
Release Year: 1937
Country: US
Run Time: 102 minutes
MPAA Rating: NR
Plot
Framed in a flashback related by doctor Thomas Mitchell, The Hurricane is in essence the story of a struggle between individual freedom and colonial oppression. Jon Hall plays Terangi, a tempestuous native of the French-controlled island of Manakoora. After marrying childhood sweetheart Marama (Dorothy Lamour, saronged as usual), Terangi takes a job on a ship. While docked in Tahiti, Teragni is goaded into a fight by a white man-an offense punishable by a stiff prison term. French governor DeLaage (Raymond Massey) has nothing personal against the native, but he is dedicated to upholding the strict letter of the law. Even the appeals made on behalf of Terangi by doctor Mitchell, priest C. Aubrey Smith, ship's captain Jerome Cowan and the governor's own wife (Mary Astor) fail to weaken DeLaage's resolve to do his duty. Thus begins a chain of events that entangles the freedom-loving Terangi in the impenetable web of white "justice". Time and again Terangi escapes from prison, only to be recaptured and sentenced to longer and longer terms. Finally managing to make his way back to Manakoora -- and killing a prison guard in the process -- Terangi continues to be doggedly pursued by DeLaage. Just as Terangi is about to sail off to parts unknown in an outrigger canoe with Marama and their child, the hurricane begins. At the risk of his own life, and his freedom, Terangi rescue DeLaage's wife and several other storm refugees. Largely the handiwork of art director James Basevi, the hurricane of The Hurricane was not directed by the film's official helmsman John Ford, but by an uncredited Stuart Heisler -- a fact readily acknowledged by Ford. Adapted by Dudley Nichols and Oliver H. P. Garrett from a novel by Charles Nordhoff and James Norman Hall, The Hurricane was poorly remade in 1979 with Jason Robards and Mia Farrow in the Raymond Massey and Mary Astor roles. ~ Hal Erickson, All Movie Guide
Review
While it's dated and in places a bit silly, The Hurricane still gets high marks and comes out on top. Truth to tell, Hurricane would rate highly if for no other reason than because it's climactic title sequence is one of the most stunning put on film. While listed as a John Ford film, this sequence was actually directed by Stuart Heisler (with the undeniable and invaluable help of special effects wizards James Basevi and R.O. Binger). Make no mistake about it: this sequence is a real humdinger. Even many decades later, it packs a real, thrilling punch. Yes, some of effects work is obvious and doesn't compare to the CGI version of such things. But even so, it makes its mark. Now, things are not always so enthralling leading up to the hurricane; this is a film with definite ups and downs, and the melodramatic story is not always as engaging as you might wish. Too, the male lad, Jon Hall, though physically impressive, doesn't really convince as an island native. But the rest of the cast is solid, filled with notable players such as Thomas Mitchell, C. Aubrey Smith, Mary Astor, Raymond Massey and the eternally-saronged Dorothy Lamour. They keep your interest when the story sags here and there. ~ Craig Butler, All Movie Guide
Richard Day - Art Director, Alexander Golitzen - Art Director, Julia Heron - Art Director, Omar Kiam - Costume Designer, Wingate Smith - First Assistant Director, John Ford - Director, Stuart Heisler - Director, Lloyd Nosler - Editor, Alfred Newman - Composer (Music Score), Alfred Newman - Musical Direction/Supervision, Paul Eagler - Cinematographer, Bert Glennon - Cinematographer, Archie J. Stout - Cinematographer, Samuel Goldwyn - Producer, Julia Heron - Set Designer, James Basevi - Special Effects, R.O. Binger - Special Effects, Oliver H.P. Garrett - Screenwriter, Dudley Nichols - Screenwriter, James Norman Hall - Book Author, Charles Nordhoff - Book Author
In the days of the tall ships and colonial rule of the South Pacific, a naive native sailor working as first mate on an island hopping windjammer is unjustly jailed in Tahiti for striking a racist planter with government connections. His attempts to escape imprisonment and return to his home island and young wife are contrasted with the attitudes of the white colonials, including a humanitarian physician, a "by the book" governor and a sadistic jailer, as well as the forces of natural justice in the form of a devastating hurricane.[1]
In his memoir La tregua ("The Truce"; re-titled The Reawakening for publication in the U.S.), Primo Levi recounted his experience watching The Hurricane among other films while he was interned at a Soviet transit camp at Starye Dorogi in the aftermath of World War II. The audience of Soviet troops, former prisoners of war, and Holocaust survivors (Levi included) became more and more unruly as the movie progressed, culminating in what Levi called a "witches' sabbath" when the actual hurricane appeared on screen. A fight broke out in the cramped theater and the projectionist decided to shut off the film before the end, to Levi's dismay (he recalled the film as "quite a good American film of the thirties").
