A fact little appreciated about the McCarthyite "white terror' in the US is the degree to which its long-term effects have been so long-lasting that one might reasonably describe them as permanent. What is remarkable about all the many commentaries on this film, there is virtually no awareness of its significance in the US politics of the 1940s, this despite the fact that director Curtiz and composer Korngold weer both refugees from Nazism (a fact that Curtiz would dramatise in a remarkable way a few years later in Casablamca), that scenarist Rossen was a Communist, that Robinson was probably Hollywood's most outspoken anti-Fascist, that Garfield would be a leading figure in the resistance to McCarthyism...So forget the vague and confused talk about capitalism and anti-capitalism (although evidently the ultra-capitalist system in the US is relevant) or the talk of the importance of social Darwinism "at the time it was written (Rooseveltian eugenics -Teddy of that ilk). Social Darwinism had never been a more importance issue than it had become in 1941. Leading US eugenecist Leon Whitney's The Passing of the Great Race (1916) was described by a young German fan (Hitler, Adolf by name) as "his Bible" and the Nazis greatly admired the eugenicist systems (compulsory sterilisation) in operation in many US states, and particularly) the model system in force in....California.This version of the Jack London novel is not precisely a political allegory; Wolf Larsen, in many ways a sympathetic figure, is not Hitler although there are inevitably important points of similarity. He is, after all, only the younger brother of "Death". But it is a film noir of sorts rather than just "a ship film" because of its relevance to the political situation both - and that needs to be emphasised - both in Nazi Germany and in the US. The little hell of The Ghost bears a resemblance certainly to the thug-rule of the Nazis but beyond that, in the frame-story, Rossen has built on London's already socialist base a vision of an encroaching police-state (similar to that portrayed in London's later dystopic novel The Iron Heel). It is no coincidence that both the character played by Garfield and that played by Lupino are the subject of police-hunts for reasons we do not know but which we are invited to assume are unserious. The Ghost itself is, as the name applies, is only the reflection of real society (in a premonitory version) . "Inside or out it is all the same"Rossen, Garfield, Robinson (grey-listed despite his eminence) and Knox (obliged to leave the US) were all later victims to some extent or another of McCarthyism, guilty of Communist sympathies or what the witch-hunters would call "premature anti-Fascism" which mean anti-Fascist held prior to...well, any time really.Curtiz, who laid very low, escaped. His communist sympathies went back to his time in Hungary (see the remarkable little propaganda film Jön az öcsém 1919) and was not known about in the US. Although, in the forties, he would also make the strongly pro-Russian Mission to Moscow he could claim (correctly) that this was at the behest of the Roosevelt government (Franklin of that ilk) and, although this was still regarded by the McCarthyites as un-Ameican, it was the studio that was hauled over the coals not the director (one suspects Warners were deliberately protecting Curtiz)."Informing", a systematic weapon of all police-states but particularly important in the case both of Nazism and of McCarthyism, is one of the subjects raised in The Sea Wolf. Brutal interrogation is another theme. "I had a dream, horrible dream. Someone kept on hitting me. I begged them to stop but they just kept on hitting...(sees the captain) it was NO dream". Another theme, relevant to both societies - that of Nazi Germany and the US - is that of the oppression of the already oppressed, the persecution of the already persecuted....Most USians are aware that McCarthyism existed but prefer to regard it (as they do segregational racism!!) as some sort of passing phase. Relatively few seem really aware of the degree to which its ethic remains ingrained in US attitudes. Robert Rossen, constantly interrogated, sick, alcoholic and depressed, who ended by naming names (57 varieties) to the HUAAC, was the most typical victim of McCarthyism, lacking even the dignified response of Dr. Louis J. Precott in the film. He made one very fine film thereafter (The Hustler) but died, in a remarably fitting manner, in 1966 at the age of just....57.

Talk, talk, philosophize, throw a punch, talk, philosophize, throw a punch, philosophize, talk some more. Good gawd this movie is tedious. Waste of a good performance by Robinson. He should have been in every scene. Instead we get a pointless Garfield, that simp writer, and the wimpering Lupinon. I also wanted to punch Barry Fitzgerald in the face for two reasons: that stupid Irish accent and, well, that stupid Irish accent.

No doubt this film is perfectly watchable, mostly due to its relatively short running time, but yet is a very flawed film. The character's development is very shallow, and definitely it lacked depth to explain the supposed 'love triangle'. There is also no explanation of the why the 'brother' was chasing the villain. Even if there is a deep symbolism on it, still does not make any sense. The captain was a very despicable being, but i didn't understand why the prisoners were waiting him to became blind. They were the majority against one. It didn't make sense, and neither the sacrifice of the protagonist in the end as well. I did understand he loved the woman, but i don't understand why he loved her. Didn't make sense. There is no hint in the film that their relationship was even convincing, to be sincere. The special effects were good for the age, i think. Good use of fogs. The fact that it's a black and white film also helped in that aspect. A watchable film. 5.6/10

Intensely atmospheric and well-crafted adaptation of Jack London's famous novel featuring a strong cast starring Edward G. Robinson in one of his greatest roles, wonderful black-and-white photography and an absorbing and fast-moving (though maybe a bit too condensed) storyline.Some narrative weaknesses here and there - what about Larsen's brother? - and some hasty character development prevent this solid movie from being a minor Warner classic.Still the best version of London's story as far as I know and miles ahead of Raimund Harmstorf's potato crushing.7 out of 10 foggy days at sea