What happens when a US warship in combat is skippered by a dangerous psychotic, if the crew has no practical means of challenging his authority? It's a fascinating premise, at least until the Production Code intervenes in the final scene. Ironically, it also proves awkward for Hollywood to challenge the sanctity of military hierarchy.
This adaptation of Herman Wouk's bestseller doesn't broaden its scope to take on social hierarchies generally; this was the era of the blacklist and director Edward Dmytryk had already been to jail once! It is an analysis of the improvised, unchecked power of command under the impact of war.
The seagoing psychodrama is lifted by Humphrey Bogart's landmark portrayal as the erratic Captain Queeg. His performance is hugely overstated, but the final courtroom scene wouldn't work otherwise. Van Johnson, Fred MacMurray and Robert Francis are the officers who mutiny and are put on trial.
We get Technicolor and a rousing score from Max Steiner. The action at sea is exciting and realistic and builds to a powerhouse climax during the court-martial. The social dynamics are scrutinised in some depth. This is more about the interpersonal warfare than WWII; like an update of Mutiny on the Bounty (1935).
Humphrey Bogart is the reason you’re here, and he delivers: Queeg starts brittle and officious, then slowly comes apart. Bogart’s got balls of steel — he just forgot to bring any of the other kind. Fred MacMurray might be even better. Keefer’s smart enough to spot what’s wrong with his captain, persuasive enough to push Maryk into acting on it, then suddenly allergic to responsibility once the consequences arrive. Deliciously slippery.
Van Johnson gives Maryk real decency, so relieving Queeg mid-typhoon feels less like a power grab and more like a man out of options. José Ferrer turns up late as Greenwald and nearly steals the film outright — his cross-examination of Queeg is the best stretch in it.
The trouble is Willie Keith, who gets a decent stretch as the apparent lead before the film realises everyone else is more interesting. The Yosemite romance can sink with the ship for all I care.
Still: tight interiors, real moral mess, and a captain who talks himself right off the bridge.