Way for a Sailor

Way for a Sailor (1930)

** (out of 4)

Early talkie from MGM suffers from a lot of technical issues and the story really lets down the cast. In the film a drunken sailor (John Gilbert) argues with his buddy (Wallace Beery) but soon falls for a questionable woman (Leila Hyams). Soon Gilbert is trying to win her heart but she doesn't want a sailor so the man must try and form a new life but finds out he is what he is. According to legend MGM was really sticking it to Gilbert and trying to ruin him with movies like this. I'm really not sure how true that is because legend also has it that he had a horrible speaking voice but the more sound films I watch I'm starting to realize that wasn't the case at all. In fact, I think the sometimes soft-toned voice perfectly fits some of these rough characters he's playing because he had the body of a tough guy but that voice allows him to work well in the more romantic sequences. In fact, during one of the love scenes he's saying one love line after another and it was actually quite effective as he was clearly very passionate and this really come through on screen. I'm not sure what people in 1930 were expecting but I can only guess that silent movies had people imagining what their favorite stars sounded like and when talkies came along and these voices didn't match, people were left disappointed. Either way, Gilbert is the only reason to watch this film as everything else is pretty bad. Hyams to me was way too flat and I really didn't care too much for the character or performance. Beery isn't too bad but he's pretty much just here to start fights, drink and be loud. We get Ray Milland in a brief, uncredited bit but the rest of the supporting cast are pretty forgettable. I think the biggest problem is the actual screenplay, which is quite boring, predictable and at times laughable. You really can't blame it too much as many of these early talkies were simply made for talking. The story never really progressive in a believable way and by the time it is over you can't help but feel you've been watching it for hours. The technical quality is another disaster as there are several scenes taking place outdoors where it's hard to hear what the actors are saying because of everything else the microphones are picking up. We also get some early rear-projection but it looks quite poor and often doesn't match up with the "real" footage. In the end, this isn't a disaster but it's certainly only recommended to those who want to see some of the Gilbert films that were laughed out of theaters back in the day.

WAY FOR A SAILOR (Metro-Goldwyn-Mayer, 1930), directed by Sam Wood, is not so much a movie about Navy recruits during peacetime, but a comedy-drama dealing with Merchant Marines. Considered to be the worst movie to star John Gilbert, having never seen his entire filmography, silent, talkie or otherwise, it would be hard to determine which films to be his worst. Taken from the book by Albert Richard Wetjen, it's far from masterful as Gilbert's silent war-drama, THE BIG PARADE (1925), yet with Wallace Beery sharing billing over the title with Gilbert, the film did much to establish Beery on the rise to stardom as it did with Gilbert on his way to decline. I give Gilbert credit for trying to reinvent himself with roles that might have given him a career boost. Without the chemistry he had with Greta Garbo, or possibly a super production sound remake of THE BIG PARADE for 1930 to compete with Universal's classic war-drama, ALL QUIET ON THE WESTERN FRONT, it appears WAY FOR A SAILOR would be the best the studio had to offer an actor with a reasonably fine speaking voice to be falling out of favor by this time with both his public and critics.

Opening title: "The Merchant Marine - AFLOAT ... a sweating loyal crew transporting food, machinery, mail, medicines, the very needs of life ... to half of the world. ASHORE: A rollicking pay-spending, 'love 'em and leave em' gang." The story opens with the daily routine of Merchant Marine buddies, Jack Burley (John Gilbert), Tripod (Wallace Beery) and Ginger (Jim Tully) who, after months of hard work afloat, take leave on land. They come to Singapore where the trio and others find themselves in barroom brawls, gambling and women. The same routine follows on ship before taking shore leave in London where more of the same occurs. Jack tries to make an impression with Joan (Leila Hyams), a clerk at a shipping office. She ignores him only to eventually take to Jack now in his civilian clothes and becoming his wife. Believing Jack has given up his Tripod, Ginger and his rollicking sea life to work on land does Joan begin to be aware of Jack having second thoughts. Others in the cast include Polly Moran (Polly); Doris Lloyd (Flossie); and Sojin (Proprietor of Shanghai House). Look quickly for future film star, Ray Milland, playing a Canadian officer. He is more identifiable through his voice than his physical appearance.

WAY FOR A SAILOR may be a bit overlong at 85 minutes, but whether it would have been acceptable at shorter length is uncertain. Playing in the Victor McLaglen and Edmund Lowe mode from their WHAT PRICE GLORY? (Fox, 1926) success and its three sequels, it's a wonder whether WAY FOR A SAILOR might have improved having Chester Morris in the role played by John Gilbert instead. Even in support, Beery gets the best attention down to his amusing conclusion. Leila Hyams is fine as Gilbert's girl, but the Ginger part, played by the unknown Jim Tully, might have added some character has Cliff Edwards was used instead. Though Gilbert (sans mustache here) did improve his stature in latter talkies as DOWNSTAIRS (1932), and a final reunion with his popular co-star, Greta Garbo starring in QUEEN CHRISTINA (1933), it was too late for the magic power Gilbert once established on the silent screen a decade ago to be rectified. Had he lived to assume the John Halliday part in the Marlene Dietrich and Gary Cooper starrer of DESIRE (Paramount, 1936), maybe Gilbert might have proven favorable through his second phase of his career in secondary character parts that would be of more interest to the audience than the leading players. Sadly, it wasn't meant to be.

Being one of the very few John Gilbert movies to play on late night commercial television prior to 1970, WAY FOR A SAILOR's availability for viewing comes either on DVD format or occasional broadcasts on Turner Classic Movies. (**)

...but let me warn you that the first half hour of this 85 minute film is a long hard slog. Gilbert plays "Jack", a sailor on a commercial line, who seems to have some kind of beef with fellow sailor "Tripod" (Wallace Beery), although the origin of this rift is never revealed. The boat lands, the sailors are on leave, and there is drunken brawl after drunken brawl for no reason. Someone will just insult someone else or break a bottle over someone's head for apparently no reason. Then everybody starts fighting. This got repetitive, plus the dawn of sound soundtrack is so bad that trying to hear these players speak, during storms, out of doors, in crowded bars, is nearly impossible. I had to rewind several times to get what was even going on. The bright spot in this part of the film - Polly Moran showing up all disheveled in a bar carrying a mallet of all things. Considering how rowdy things got and how quickly they got rowdy, maybe she was smart to be carrying a mallet after all.

During the next hour things improve considerably as the ship lands in London and we meet the object of Jack's affection, Joan (Leila Hyams), a clerk in the shipping company office. She wants nothing to do with him because he is a sailor. Hyams could have come off as snooty in this role, but she doesn't, even without an exact explanation of her rejection. I felt that she might have been hurt or lied to by a sailor before, or she might have seen that happen, enough that she is simply not going to consider a sailor as a suitor. The point is, she plays the part vulnerable and it works. Likewise, Gilbert's character, though rough around the edges, is actually likable. He wants to marry the girl, so his intentions are honorable. He just thinks that lying is OK in the pursuit of this honorable intention. It's at this point the first half hour of the film - which has seemed pointless up to now - begins to make sense. It shows the rough and tumble kind of temporary port to port life Jack is accustomed to and helps explain his actions. He borrows money from the other sailors, buys a suit, and gives Joan a total lie of a story about him quitting the sea and getting a job in the shipping office. Now on the surface this seems despicable, but then you think back to the first half hour and remember in Jack's world the end justifies the means. How does this work out? Watch and find out.

I'd say it is worth it to see that John Gilbert did understand how to act and project a character in the talkies, and also this film gives a supporting role to Wallace Beery that he was just made to play before MGM pretty much promoted him to leading man status after Min and Bill came out later in 1930.

Looking at a list of actors who failed to make the transition from silent to "talkies," John Gilbert is one of the names on top of the lineup. There was no bigger movie star in the mid-1920's than Gilbert, most notably in his films with Greta Garbo. But Gilbert's problem was his employer, Louis B. Mayer, who headed the MGM studio. The two constantly bickered about his salary, the type of roles he was given, and other disagreements that escalated into shouting matches between them heard throughout the hallways. One particularly nasty incident encapsulates their tension. Gilbert and long time live-in girlfriend Greta Garbo planned to hold a dual wedding with director King Vidor and his fiancee, actress Eleanor Boardman. At the appointed time to exchange vows, Garbo failed to show up. More than a few witnesses swear that Mayer said something not complimentary about Garbo to the despondent Gilbert just outside the restroom. The actor smacked the MGM president so hard it sent him sprawling onto the floor of the bathroom. According to some Mayer swore he was going to get even with his star, "Even if it costs me one million dollars."

Gilbert had just signed a very lucrative six-picture deal with MGM for $250,000 per movie, with his name above anyone else's-a deal Mayer had opposed. Gilbert was given a string of weak roles in a series of bad movies in 1929 and 1930. Typical of the quality of films he had to appear in was November 1930 "Way for a Sailor." Although the part was strong on masculinity than his previous talking roles, the movie was so bad its director, Sam Wood, didn't want his name listed in the credits. The motion picture did have one of MGM's biggest star, Wallace Berry, as well as a whopping $900,000 budget. Gilbert plays a wise-cracking womanizer, Jack, who lands in jail in almost every port his ship docks. In one foreign port, Jack falls in love with London-native Joan (Leila Hyams), who doesn't reciprocate his many overtures.

Legend has it that Mayer ordered his audio technicians to speed up the film in the scenes where Gilbert speaks to make his voice sound pitchy. But film analysts insist the actor's voice was somewhat light and thin, but not unlike other silent movie actors who made the successful transition to talkies. Another account has Mayer ordering his sound men to turn off the base while recording "Way for a Sailor" so his voice would register higher than normal. The technique wouldn't have affected the women voices nor would it do much to Wallace Berry's ultra-low, gravely voice.

What probably hurt Gilbert more than his less than assertive voice were the types of roles he found himself. Also, Hollywood's major studios had an underground network called 'greylisting' that had them avoid hiring any actor Mayer called troublesome, placing a damper on any film opportunities. MGM tried several times to cancel his contract, but the actor was determined to see the deal through, even though there were long stretches between each picture. Gilbert began to drink heavily, he became mentally exhausted and his physical health began to show a decline during his personal bouts with the studio. That is, until his former girlfriend, Greta Garbo, in 1933 gave him a new chance at resurrecting his stardom in "Queen Christina."

John Gilbert has been hammered for the alleged quality of his voice since his first sound film HIS GLORIOUS NIGHT (1929). Which was a disaster in MANY ways. This film shows this for the lie that it is. There is nothing wrong with his voice. He had regular speaking voice with good intonations at the correct time. Nor does he 'ham it up' with silent film pantomime. His acting style is natural and suited for the sound medium.

The film features a strong supporting cast which includes Wallace Beery and the attractive Leila Hymans. In a minor role as a 'Brothel Manager' is character actor, Sojin. There is plenty of action and romance. This film has a gritty early 1930's realism very much in the style of WARNER BROTHERS, enhanced by the M.G.M. special effects department who used the Williams 'Traveling Matte Process' too good effect. Something they had been familiar with since BEN-HUR (1925). This integrated live action plates with com-posited filmed action sequences. Occasionally though you can pick up where the 'matte' bled through and the composite failed.

The film is of good quality and a solid 'B' film. These were important in filling out the Studio's schedule of fifty (50+) plus features a year. In the early years of the 'Great Depression' even major stars made such films. ANNA Christie (1930) was of no better quality. The difference, Louis B. Mayer backed Greta Garbo, unlike Gilbert whose career he wished to destroy. The plot of this film would be recycled just one (1) year later with Mr. Mayer's new 'fair haired boy' Clark Gable. Seemed the material worked for you when the Studio backed you up.