This movie is the proof that the world is becoming a sick and dumb place

Better Late Then Never

The film makes a home in your brain and the only cure is to see it again.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

. . . not only because of the prophetic nature of its on-screen story, but also due to the World-Changing Dark Powers of the shenanigans taking place behind the scenes. John Wayne reveals his True Colors by the end of REAP THE WILD WIND, and there's only one: an inky Black. During the first few reels, Wayne's "Captain Jack" appears to be the Hero. He's already got the Belle of the Ball, and he's on track to become a wealthy shipping mogul. But by the end credits his Ugly Spirit is laid bare; his transformation from Community Pillar to Craven Killer is far more convincing that Fred MacMurray's in DOUBLE INDEMNITY. In Real Life, between "takes" here, Wayne was plotting with co-star Hedda Hopper ("Aunt Henriette") to subvert American Society forever. While Hitler's Third Reich lasted less than a decade, the Wayne\Hopper New World Order is still marching along in its Jackboots today, 74 years later. Among the first of thousands of John and Hedda's early victims were the murdered GENTLEMEN'S AGREEMENT hero John Garfield and Paul Revere's several-times-great granddaughter Anne, Oscar-winning mom to NATIONAL VELVET. Hundreds of lesser-known war heroes returning Home from World War Two also would be destroyed by John & Hedda. TRUMBO puts the SPOTLIGHT on this whole sordid tale, but this year's Oscar voters--who didn't give a second thought to Dissing the Roman Catholic Church--would not dare to go after the still-entrenched John & Hedda Clique by giving TRUMBO a well-deserved Best Picture nomination. So the racist ilk portrayed in REAP THE WILD WIND is still having its way with us, like a giant squid squeezing the life out of America!

Reap the Wild Wind (1942) *** (out of 4) Cecil B. DeMille's over-the-top but fun adventure takes place in the 1840s as ships try to reach the Atlantic ocean but often end up wrecked on the shoals of Florida. Southern belle Loxi Claiborne (Paulette Goddard) has Captain Jack Stuart (John Wayne) and Stephen Tolliver (Ray Milland) battling for her before the men end up battling a giant squid. REAP THE WILD WIND is a pretty fun movie, although there's no question that it doesn't rank among the director's best work and there are some fairly big flaws scattered throughout the picture. I love Milland but I thought he just wasn't right for this role. In later years John Wayne would say that he was cast in the movie to make Milland seem more like a man and perhaps that's true. There just wasn't a single second where I bought Milland and Wayne battling each other for this woman and their fight scenes aren't very believable either. Milland gives a good performance, don't get me wrong, but he just wasn't right for the part. Wayne, still not a star, does a nice job in his role, although there's a scene early on where he gets knocked out and the way Wayne does this is somewhat laughable. Goddard is her usual good self and we get nice support from villain Raymond Massey, Robert Preston, Charles Bickford and Susan Hayward. The visual effects ended up winning an Oscar when this was originally released and I'm sure people only used to CGI effects are going to think these here are awful. For 1942 they're actually pretty good and this includes the scenes with the ships on the sea. I'm not exactly sure what DeMille put into the pool that they were shooting these scenes but the water looks beautiful. As for the giant squid at the end, it's certainly very fake looking and I was a little surprised that they didn't do more with it as the fight is pretty small. REAP THE WILD WIND isn't a classic by any stretch of the imagination but it's certainly worth watching.

I liked this film very much, it is a wonderful tale about the old south, the rich ship-owners , the captains of the ships, and the pirates who destroy these ships. It is a romantic story, but also an adventure and an action film, so it has something for everyone. I personally liked most the scenes in the rich houses in Charleston, the tea parties and the dances, they were magnificently shot and most realistic. Some great actors and actresses give their best performances to make the characters believable. The leading man, Ray Milland, portrays with gusto and charm Steeve Tolliver, a clever sea lawyer, head of a big ship owner firm. He seems interested only in frivolous games, an eccentric who dresses in the latest fashion for men, goes to dances and promenades always with his "son", a dog that "speaks" , and his impeccable manners fool everyone into believing that he is not cut for rough action. Later on, we see that this is not the case. His love, Loxy,(Paulette Godard) is a head strong girl that loves , or thinks she loves, captain Stuart, a "real man" (John Wayne). Later on, we see that this is not the case with him, as well. There are a lot of other characters, all played very well by great actors. What I did not like so much was the sequence with the giant squid underwater. The danger of the deep, the struggle of the two men could be shown without using this "special effect" that diminishes the credibility of the story. Also the end scene was somewhat abrupt and short. I would have liked a little more development on how Loxy made the comparison between her two "suitors" and understood her real feelings. All in all, it is a film worth seeing, mostly for the scenery, the costumes, the colors, and the acting. Ray Milland is the most credible of all, he never over-acts, despite his difficult and contradictory role, and manages to maintain a perfect balance between the romantic, the daring and the comic, that is not to be missed. Paulette Godard is trying a little too much, but she is undeniably very beautiful and spontaneous, while John Wayne has got the correct expression of the man of force but lacking in intellect and self control.

This colorful sea action yarn of shipwreck and illegal salvage in 1840s Key West was directed by Cecil B. De Mille so you shouldn't expect subtlety. When a woman is supposed to look "frightened," her eyeballs extrude as she claps her hands to her cheeks and gasps. A man who is "mean" looks like a Turkish pederast.It isn't slow, though. It zips along, plowing through the seas, charging through the courtroom scene, brawling through fist fights, lacking anything like pauses for character, humor, or whimsy, as bloodless as if drained by a vampire.The model work is pretty good for the period. It's true that the texture gradient is ignored, so that a distant splash of sea water throws up spray with drops as big as basketballs, but compared to a contemporary movie like "The Sea Hawk" it's convincing enough. And the color photography is above average. In some of the model shots, the many-masted rigs seem to sail under lenticular lavender clouds glowing with underbellies of a soft rose in the setting sun. The seas scintillate. The image is as pretty as a travel poster. Take Your Next Vacation In San Placebo, Getaway Of The Stars!It's taken from a story in the magazine founded by Benjamin Franklin, "The Saturday Evening Post." The weekly magazines were the source of many stories made into screenplays. "Stagecoach," for another instance, was from an Ernest Haycox story in "Collier's" magazine. The public used to READ MAGAZINES in the 1940s! I no its hard 2 believe.John Wayne has the role known as second male lead in this one -- second to star Ray Milland -- and it's just as well. Wayne would shortly turn into a serious performer but he wasn't there yet in 1941. Milland doesn't walk around in a cloud of pheromones either but he's animated, hits his marks, and delivers his lines with vigor.The two principal Southern ladies -- the charming and innocent Susan Hayward and the spirited, unconventional Paulette Goddard, whose character owes a lot to Scarlet O'Hara -- are amusing on screen together. Hayward was from Brooklyn and Goddard was born in Queens. They never forgot their New York background. Goddard left most of her estate to New York University when she died.The racial relations remain as stereotyped as ever. May I mock them? If Goddard resembles Scarlet, Louise Beavers resembles Mammy -- always shaking her head, mumbling about voodoo drums and scolding her charge -- but she's a pale imitation. De black folk, day neber called "slaves." Day be de friends of de buckra who hob de ballroom full wit people dat be dancin round in circles called de waltz in de Big House. I done forgit who be the darkie wit de big white eyes but he ain't de same booger who say in annudder movie, "Feets, don't fail me now!" One of the most memorable lines occurs when the indefatigable Ray Milland is pursuing the spunky young Goddard and she slaps him or something and he says, "You're very desirable when you're angry." That translates as, 'You're cute when you're mad," in case you missed it.It's not often that John Wayne plays a heavy, even a confused one, but he does here. He sells his integrity to spite Milland, whom he has been led to believe is his enemy. Wayne pays the price the code of the time demanded.Despite the portentous narrative introduction by De Mille himself, there isn't much in the way of spiritual nourishment to be had from this flick but you're not likely to be bored. It's designed specifically to prevent that from happening.