CheerupSilver Very Cool!!!

Lawbolisted Powerful

Donald Seymour This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Portia Hilton Blistering performances.

HotToastyRag Good grief, what were editors Tom Priestley and Desmond Saunders doing when they compiled Voyage of the Damned? The film ended up being two and a half hours, and it easily could have been ninety minutes. Each scene was painfully slow; each shot could have been cut shorter or eliminated to get to the meat of the movie quicker.I could say that without the slow pacing of the film it would have been entertaining, but not only is that a useless "what if", but it wouldn't be true. Most of the acting in this film is extremely over-the-top, from the leads to the extras in the background. It's a true story about the "good will" voyage in 1939, during which Germany sent 937 Jewish refugees to Cuba, and the disasters the political climate took on the passengers. As in all disaster movies, there's an all star cast with equally brief screen times, giving the audience a taste of their various plights to make them endearing. Faye Dunaway, Oskar Werner, Lee Grant, Sam Wanamaker, Lynne Frederick, Wendy Hiller, Luther Adler, Julie Harris, Maria Schell, Nehemiah Persoff, and many others make up the passenger list; Max Von Sydow, Helmut Griem, and Malcom McDowell are the featured members of the crew. In Cuba, other movie stars provide cameos, including Orson Welles, Ben Gazzara, Katharine Ross, Denholm Elliott, Jose Ferrer, and James Mason. The basic premise of the story is interesting from a historical perspective, about the bigwigs in Cuba, the United States, and Germany, but those portions of the film are brief compared to the different families' on the ship screen time. With exception to the absolutely adorable romance between Lynne Frederick and Malcom McDowell, everyone else on board irritated me to no end. As sweet and darling as the young couple were, they didn't take up two and a half hours and therefore couldn't save the movie. The characters who were supposed to evoke the most sympathy, like Lee Grant who earned an Oscar nomination, were the most annoying. There were many scenes that were written to make the audience cry, and I didn't even get a lump in my throat. In short, this movie is incredibly boring and overrated. If you insist on watching it, make sure you have something else handy, like a doodle pad or someone entertaining to talk to, because you'll need it.

clanciai An ambitious effort to tell the true story of SS St.Louis in May-June 1939 on a cruise to Cuba with only Jewish German passengers as a Nazi propaganda display in all its polyphonic complexity, has above all succeeded in rendering and making the horrible sadness about it real. Sam Wanamaker takes the lead as the most desperate of them all, who, when it becomes clear that they were sent to Cuba only to be returned to certain death in Germany, tries to kill himself jumping over board, while Max von Sydow stands for some uprightness and honor in a hopeless situation, Oskar Werner and Faye Dunaway make a nice couple of some refinement and elegance but with their integrity sadly lost, Orson Welles dominates the corruption in Havana, Ben Gazzara is the indefatigable fighter for some human rights where there are none, and we have the tragedy of the steward (Malcolm McDowell) and his tragic love, and of course the Nazi villains, apart form other outstanding actors like James Mason, Julie Harris, Maria Schell, Wendy Hiller, Jonathan Pryce, Katharine Ross, Denholm Elliott as Admiral Canaris and many others. Still the film is not overloaded with stardom, but they are all almost discreet, dwarfed by the overwhelming tragedy of the drama situation. What adds very much to the quality of the film is how the music is composed - the very sensitive and adequate but still discreet music of Lalo Schifrin is contrasted with very typical and catchy dance music of the times, Cuban rumbas, Glenn Miller, Strauss waltzes and things like that, illustrating the grotesqueness of the cruel Nazi practical joke on ordinary and innocent Jewish Germans who are kept completely unknowing of what grim play they are being used in. The film is very conscientiously made in an evident effort to strike at the completeness of the indescribable sadness of the inhuman fake luxury cruise, which effort definitely has succeeded.

lastliberal Despite the fact that this film had three Oscar nominations, and several Golden Globe nominations with one win (Katharine Ross), and a boatload of stars, it is not worth watching so much for it's quality (marginal) but for the story of how we knew what was happening to the Jews before World War II and did little to stop it.This is the story of 937 Jews that were put on a boat to Havana with useless documents, as the German government had no intention of letting them off the ship. They were denied entry into Cuba, and the US also denied them entry before they finally were saved by a social service agency and allowed to land in Belgium. Of course, that would prove ultimately fatal for two-thirds of them as the war started just two months later.Why would Germany do this? Simple. By sending a ship of Jews to the America's and having them turned away, they negated any right the US would have to complain when they started exterminating Jews. Clever of them, and our government fell right into their trap. Our support for Israel is not so much that we love the Jews, but a massive guilt for our participation in their extermination.There were some great performances in this otherwise mediocre film: Lee Grant and Katherine Ross; some good performances: Ben Gazzara, Faye Dunaway; and the film debut of Jonathan Pryce (POTC 1. 2. & 3, Tomorrow Never Dies).Check it out.

Theo Robertson This has all the feeling of a 1980s disaster movie with its big name all star cast . Alas British audiences will be distracted by the opening sequence where a cruel Nazi is played by the legendary Leonard Rossiter . These type of casting choices can sometimes ruin a movie and iut's not helped by having cameos by megastars like Orson Welles and James Mason in blink and you'll miss them roles . That said the cast do seem more interested in giving good performances rather than enjoying themselves which isn't always the case with movies with a large cast of big names . Special mention should go to Paul Koslo was very prolific in 1970s B movies and who appeared in some utterly pathetic movies in the 80s and 90s , while the always excellent Johnathan Pryce shows us what he can do in an early role . Max Von Sydow as Captain Schroeder gives the best performance in the movieAll the cast do their best but it's really the script that is at fault . I did mention Von Sydow's acting performance as Schroeder , but you often feel his character is written as a litery point illustrating party member = bad , non party member = good , this point feels too forced and unsubtle . Remember it's when people become indifferent that bad things happen , not when they join a political party . I don't want to mention this but Erwin Rommel was a member of the Nazi party and he was the most respected German general by the allies because of his code of chilvary while many Wermacht non party members committed war crimes every bit as brutal as their SS counterparts so don't be fooled that everything is as black and white as seen here , as the caption at the end shows Schroeder himself was questioned about crimes against humanity after the war There's a couple of other flaws with the script . Aaron Pozner is shown being beaten to a pulp by some SA brownshirts in 1939 which is strange considering the SA were liquidated by Hitler in 1934 and lets be blunt in saying that the movie is at least half an hour too long . This is often a problem with a great number of movies featuring anti semitism 1933-45 in that by showing us mans inhumanity to man they often feel the need to labour the point home of the cruelty of the regime and the victims fear when in fact less would been more . It could also be that this is always not a very good subject to base a movie around especially when there's documentaries like THE WORLD AT WAR that shows the very real horrors of what the Nazis did to their victims