Mare Nostrum

This is a lavishly produced wartime romance and, as is typical of Ingram, quite stylishly handled (benefiting also from the fact that it was filmed in Europe, the director himself being based in France). The plot places its old-fashioned impossible and, inevitably, tragic love story against the backdrop of a nostalgic view of the sea and the simple fisher-folk who live and die in it, the bourgeoisie with their stuck-up attitude and high ideals and, naturally, an impending world-war situation; for all that, it's most interesting when dealing with the various espionage elements and especially the two submarine attacks (which must have been a novelty at the time) led by a bald-headed and aristocratic German officer, obviously inspired by Erich von Stroheim!

Still, Alice Terry's poignant performance as the female spy (who has mixed emotions about her mission and who happens to be the spitting image of Amphitrite, the Sea Goddess who protects fishermen) is the core of the film; this was perhaps the best role she ever had (directed, naturally, by her husband). Antonio Moreno is less impressive as the male lead, though his disheveled appearance when forced to work for the enemy and following his son's death (for which he is partly to blame) is appropriately world-weary. The beautiful and poetic finale, then, sees the drowning Moreno (after his ship was torpedoed by the sub he helped fuel!) being picked up by Amphitrite herself. Reportedly, this was Ingram's favorite among his own films - as well as Terry herself and Moreno, too!

Mare Nostrum (1926)

*** (out of 4)

Lavish MGM production takes a rather routine screenplay and turns it into something rather unique. Seaman Ulysses Ferragut (Antonio Moreno) falls for a woman (Alice Terry) who turns out to be a German spy and their relationship leads to one disaster after another. That's pretty much all you need to know in terms of story because there's no question that the main reason to check this out is the visual style. Even though the story is pretty routine, director Ingram at least pumps plenty of style and gives us some terrific visuals along the way. The film has our Captain being fixated on the sea goddess Amphitrite and this is the reason he ends up falling for the spy as the two look quite a bit alike. This obsession was one of the most interesting things about the screenplay and I must admit that I was pulled in by the "old ways" involving the mysterious of the sea and the various folk tales that are brought into the film. One of the best moments happens at the very start of the film when we see some items at the bottom of the sea. This certainly isn't anything we haven't seen in earlier films but Ingram shows it in such a striking way that it's very memorable. The same is true of the ending, which I won't ruin but there's no question the image is perfectly filmed. Some of the stuff goes a tad bit too far into melodrama including the relationship between the Captain and his wife. There's also a German officer that's a tad bit too silly and it's made even worse by the fact that it's played by an Erich von Stroheim look-alike. I'm sure had Erich been on good terms with the studio then he would have been playing the part. I do wonder why the studio and director cast someone like they did as I'm sure folks in 1926 saw the resemblance. As far as the performances go Terry clearly steals the film. She's extremely passionate, sexual and dramatic so she perfectly captures whatever it is she needs to do. I thought she really brought her character to life and managed to easily steal the film. Moreno is pretty much forgotten today but at the time he was Valentino's rival. His looks probably brought the majority of the women to the film but he turned in a nice performance. There's no question that the screenplay isn't the greatest but the cast and especially Ingram make this something a lot better than it would have been in lesser hands.

Ulysses (handsome Antonio Moreno) owns a boat called the Mare Nostrum. He also has an uncaring wife but a son Estaban (Mickey Brantford) whom he loves. An evil, sexy German spy Freye (Alice Terry) seduces Ulysses and convinces him to help bring supplies to a German sub. He does and the sub ends up destroying a ship that Estaban is on. Ulysses vows to kill all the people responsible.

This silent film was believed lost for many years. Thankfully it's been found and beautifully restored. Basically, this is a tragedy so it's hardly a happy film but still it's extremely well-made and directed by Rex Ingram, one of the best silent film directors. There are some very amusing miniature ships and subs in some sequences, but this WAS 1926--that's probably the best they had!

The acting is good too. Moreno was a very popular star in his day--sadly, he's forgotten today. He's good-looking and gives one hell of a performance--some of his reaction shots were incredibly good. Terry was obviously hired because she was married to director Ingram, but she was a good actress and she's good here. She was cast against type playing an evil woman (she usually played the good girl) and she pulls it off. Her scene in front of the firing squad is just great. And young Brantford is very good as Estaban. The only bad thing was Caragol (Hughie Mack)--an obese man who provides unfunny comic relief. And it DOES have a silly ending.

Still, a great silent film. Well worth catching.

I have not seen many films from the silent period, but I know that Rex Ingraham was a major director in Hollywood in this time. SCARAMOUCHE, FOUR HORSEMEN OF THE APOCALYPSE.... This one is a tragedy, gloomy story and riveting too for a today's audience, at least me. It is also a sea adventure film, war film, helped by strong, convincing performances, that reminded me Joseph Von Sternberg's DISHONORED. I recommend it, because it is available on you tube and you have no excuse to miss it, despite the silent problem. It is such a shame that so many movies from the silent period are now lost. So don't miss this one.

Handsome seaman Antonio Moreno (as Ulysses Ferragut) grows up enthralled by the legendary goddess "Amphitrite". The bewitching blonde is described as "the mother and sweetheart of all Mediterranean sailors," and Mr. Moreno keeps a portrait of her in his Barcelona home. There, Moreno lives comfortably with dark-haired wife Kithnou (as Cinta) and their beloved son Michael Brantford (as Esteban). Moreno captains his freighter ship "Mare Nostrum" (Latin for "Our Sea") along the Mediterranean while his wife worries about their son's frequently absent father...

To be a better father, Moreno decides to give up the lovely "Amphitrite" illusion and his seafaring to spend more time at home. This would leave the "Mare Nostrum" in the hands of Frederic Mariotti (as Toni) and obese Christian cook Hughie Mack (as Caragol). But, two things alter Moreno's plans. First, the Great War (aka World War I) begins, making his shipping business more lucrative and important. Then, Moreno meets alluring Alice Terry (as Freya Talberg), who appears to be the sea goddess "Amphitrite" come to life. Alas, Ms. Terry is no goddess, she's spy for Germany!

Continuing to strive for art, director Rex Ingram slowed down his dramatic pace and vowed to film exclusively outside of Hollywood for "Mare Nostrum". It had all the ingredients of a blockbuster - successful director (Ingram), handsome star (Moreno), proved source material (Ibanez), and popular female (Terry) - all done at a healthy budget for MGM distribution. Trouble is, the film simply does not deliver the anticipated excitement. While it seems to presently be lacking its original soundtrack, the surviving print is great condition. It's beautifully shot in France, Italy and Spain.

****** Mare Nostrum (2/15/26) Rex Ingram ~ Antonio Moreno, Alice Terry, Hughie Mack, Mickey Brantford