As the reviewers who used to get paid for writing this stuff would have said: "The real star of this picture is the ship!" Truly. The freighter has a life and personality all its own and all its gritty secret parts and workings are breathtakingly rendered in Conrad Hall's (Outer Limits) moody black-and-white, fabulous sound, and an amazing Jerry Goldsmith score.The 2 human stars are spot on--and we even get a cameo by the great Martin Kosleck!Two beefs: 1) the shameful misogynist treatment of the luminous Janet Margolin. 2) What has been an absorbing thriller, 7/8 of the way through suddenly turns philosophical/moral/political as Yul the Good German gets it on with his Bad German first mate and meanwhile the American POWS are even more swinish than the Nazis.But the ending is cool.And Like I said, the ship rocks this house.

An exciting spy thriller, produced on a remarkably lavish budget. Filming aboard a real freighter adds tremendously to the film's sense of authenticity and realism. The spectator really feels caught up in the events on the screen. Skillful performances help a lot here. Although Marlon Brando is still inclined to mumble — with a German accent yet — one soon forgets about his mannerisms and concentrates on the double role he is playing. Other performers also register strongly, particularly Yul Brynner as the principled captain, Martin Benrath as his unprincipled first officer, Hans Christian Blech as a mutinous donkeyman, Oscar Beregi as the suspicious Admiral and Janet Margolin whose portrayal of a girl with a death wish is one of the film's most memorable. Actually it is wrong to describe the performances with a single adjective, as each contributes a rounded, realistic portrait. One of the signs that the film is adapted from a novel is this development of characters who are realistically sketched with more than one side to their nature. This characterization is preserved in Daniel Taradash's concentrated screenplay. Most of the action takes place on the freighter. In fact, the introductory scenes are a trifle slow and one was evidently designed to build up a role for Trevor Howard whose part is confined to the introduction. But once on board the freighter with the camera prowling down cramped companionways and infiltrating the greasy, grime-laden passages of the engine room, excitement mounts both from the interplay of character and external action.Bernhard Wicki's direction is extremely capable and uses his real locations most effectively. The action scenes are thrillingly handled with some spectacular explosions and extras milling about realistically, topped by some breathtakingly effective tracking and crane shots obviously filmed from a helicopter. Conrad Hall's atmospheric black-and-white photography, is, despite the hazardous conditions of filming in confined quarters, technically flawless. Composer Jerry Goldsmith has contributed a haunting leitmotif, the sets are enormous and realistic, the film editing is as smooth as silk. Production values, as said, are exceptionally lavish. It's rather odd that a movie featuring two super-stars like Brynner and Brando seems to have disappeared. Even more odd, when that movie offers such terrific entertainment. Perhaps the title is no help. And of course it's in black-and-white!

Surely one of the greatest war movies ever made. Brando and Brynner have both flawless performances. Brynner is a giant in his role. The film addresses a relatively unexplored subject, the need to supply the Nazi army. in this case, with rubber would be transported to Germany in a cargo ship that sets sail from Japan. It infiltrated the freighter a member of the British intelligence (Brando) in order to derail the mission. Brynner is the ship's captain, honest and conscientious man who no longer has illusions with Nazism. Janet Margolin, beautiful, plays a Jew who during the trip is collected along with other refugees on the ship. Film made in black and white has a great shot and was made exactly 50 years ago. It is a powerful movie with great acting of the cast and I think it is a film that did not have the deserved welcome as it is of great value as a cinematographic work. A great movie!

Finally saw this flick from the beginning by streaming it on Netflix. Slow pace by today's standards but worth slowing down for. Various motivations complicate and drive the plot.Was surprised it was in B&W in the mid-sixties but adds to atmosphere.Some good camera angles such as the one following a conspirator as he races from bow to stern to warn our hero.I find suspenseful and worth the viewer's "wait" for something to happen.But I'll admit I'm amused that Trevor Howard is "guest staring" like it's a series.As I noted at first, it can be seen with a Netflix account. Too bad that's the only way but that's where you'll find lots of good movies.BTW: look for Starfish Island on the Web and see what you get.