THE WRECK OF THE MARY DEARE

UK, 1959, 105 minutes, Colour.
Gary Cooper, Charlton Heston, Michael Redgrave, Emlyn Williams, Cecil Parker, Alexander Knox, Virginia Mc Kenna, Richard Harris.
Directed by Michael Anderson.

The Wreck of the Mary Deare is a navy film, reminiscent of the mystery of the derelict ship, the Marie Celeste.

The film is based on a novel by Hammond Innes, the popular adventure writer, some of whose books were transferred to film: Hell Below Zero, Snowbound, Campbell’s Kingdom. It was adapted for the screen by thriller and espionage writer, Eric Ambler whose own material was adapted for screen, Topkapi amongst others.

The film has a very strong cast. Gary Cooper appears in one of his final films. Charlton Heston was on the rise as a star during the 1950s, especially with The Ten Commandments. He was to win an Oscar in this same year for his performance in Ben Hur. The film also boasts a very strong supporting British cast including Michael Redgrave and Virginia McKenna?. Richard Harris, at the beginning of his career, appears as a villain.

The screenplay offers a blend of action at sea with the prim and demanding aspects of a court of inquiry in England. There is a mystery about the derelict ship which is found by a rescue squad led by Charlton Heston. In fact, Gideon Patch, played by Gary Cooper, is still aboard the ship and he is the key to unravelling the mystery. What follows is a mixture of smuggling, espionage and double dealing. One of the themes of the film is the integrity and truth concerning the issue of the Mary Deare. Virginia Mc Kenna as the daughter of the builder of the ship, has a key letter which helps to unlock the mystery.

The film was directed by Michael Anderson who began strongly with small-budget films in the UK in the 1950s, moved to a version of 1984 as well as The Dambusters and then directed the Oscar-winning film, Around the World in Eighty Days. He has had a mixed career: The Naked Edge, Gary Cooper’s last film, some adventure and espionage with Operation Crossbow and The Quiller Memorandum. He also directed Morris West’s The Shows of the Fisherman and a film version of Pope John Paul II's play, The Jeweller’s Shop, with Burt Lancaster.

1. Was this successful adventure film? What captivated audience interest? the initial sea-adventure, the court case, the final climaxes? How important were the two stars for the film? The competent supporting actors? The use of wide screen colour?

2. Why are sea-adventures always interesting? Why do court cases always raise interest?

3. How well communicated was the Navy background of the film? The initial storm, the sea-witch, the Mary Deare and its difficulties? The roughness of the sea, Sam’s inability to return, the need for survival, the ditching of the Mary Deare?

4. What did the film have to say about integrity and principle? The integrity of Patch? The integrity of Sands? The interaction between the two providing the drama?

5. How was Patch the central character? The initial mystery of his presence on the ship? his courage in beaching the ship? his quest for truth? His lack of trust In Sands? His trying to get the records clear, his visit to Miss Taggart, his discretion about his father’s involvement? His behaviour, involving Sand’s help and trust in the trial, audience sympathy? What should he have done? his insistence on the truth? The difficulties of his past record?
The clash with Higgins? His courage in returning? Audience reaction to his vindication? In his integrity of his wanting his ship again?

6. How was Sands a balance for Patch? The same kind of enterprise and courage, the search, his ability and inability to trust Patch? His scepticism during the trial? The renewed faith and the sharing of danger? The vindication at the end?

7. Was Higgins a credible villain? His arrogance and behaviour at the trial? His villainy in trying to kill Patch and Sands? The justice of his death?

8. What comment did the film make on the owners and their double-dealing? The espionage for the change of cargo? What was at stake?

9. The introduction of Miss Taggart into the film, in relation to Patch, the truth about her father, her eventual helping of Patch?

10. The very British court sequences, the behaviour of the judge, the prosecutors? The search for the truth in British style? The matter of form and everything subjugated to form? Patch’s inability to understand and his reaction to this?

11. How important were the adventure situations at the end? Were they credible? Exciting?

12. How successful was the film, as entertainment and as exploration of values and principles?