StunnaKrypto Self-important, over-dramatic, uninspired.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

MisterWhiplash Stanley Kramer was never really known for his subtlety, which is why it's good to say that in the case of Ship of Fools he did cast a few people to try and convey some moments and emotions that weren't as big and decidedly un-subtle as in Judgment at Nuremburg or Guess Who's Coming to Dinner. I'm not saying that being brash and overly dramatic with the story's message is necessarily a bad thing in and of itself, and with Nuremburg it worked (in Dinner it just didn't for me). But with Ship of Fools what works is that it's like changing the channels between about seven or eight channels with each one having different characters in the same time period, so if one channel starts to drag a little it can flip to another and it might be more interesting or compelling.The film doesn't have a strong story, which is both to its benefit and detriment. If there was something that was at the core that this was all working or building towards (I'm not saying it needed an iceberg or some contrivance, just some goal or spine), then you could follow these characters with this or that. But it's all about just the context of the people on the boat and the time period: 1933 on a ship going from Mexico to Europe, transporting Spaniards who were working in Mexico and now returning home, and mostly Germans and some Americans (i.e. Lee Marvin) and there is the whole 'upstairs downstairs' aspect. The white people, mostly, get the better level while the Spanish don't, but they end up mingling together for various reasons, such as there's a dancing scene at dinner one night that really is mind-blowing and the most entertaining part of the film, and there's a woman who becomes kind of a prostitute on the ship.There's a wide array of Characters with a capital C, and some of them really *mean* things while others maybe not so much. Vivien Leigh is the (just slightly) older woman who was once probably to die for and now time has sort of passed her by from her jazz days; the Southern boozer (Marvin) who doesn't get why Jews are put down by the Germans but can't help but drop n****er a few times without even seeming to notice; Oskar Werner is a doctor who becomes a sort of friend to Simone Signoret (I say sort of since it unfolds into what may be a romance for him, and for her is more mysterious); and George Segal is an artist who can't seem to really make a living at that job since he works for money elsewhere, and Elizabeth Ashley as his flustered would-be lover.I may have neglected to mention some of the German characters, of which there are many, including a dwarf, one of the more interesting people in the movie who sort of opens the film with a 4th-wall breaking moment (not really to repeat itself, and I wish either Kramer had more of it or dropped it altogether as it's unnecessary). The main message is pretty clear: when you throw together this group of people, especially when it's Germans in 1933 right as Hitler is going to take power in the election and it's the sort of thing that, as one character says, "Hey, I'm not anti-semetic" (as if saying "I'm not racist, which usually means someone is) and in the midst of these fellow Germans and others adrift in life or, of course, the Spaniards, you get some mixed emotions and high tension and passions.But I think that because of the lack of some core story or something to work towards it's just a character portrait. That would be fine, to be sure, and at times watching this I wondered what Robert Altman would've made of the novel (probably a lot more, I'd wager). Some scenes really do stand out, such as the man who cries out against some of the Germans due to his wife being Jewish (though the scene that really works with him is a little later, when he admits to the one apologetic older German lady that he and his wife separated), and of course people like Werner and Signoret are perfect together. Marvin I liked a lot as well, though it's more his screen presence to bring something else to the character. Leigh and Segall are fine, but also with characters that, again, have a lot of screen time but not too much depth otherwise.The film is photographed beautifully (it won an Oscar subsequently), and many moments of dialog are enjoyable and fun and sincere enough to not be taken melodramatically, but it's a thing of the 'parts more than the whole'. In other words, it's like the more serious, slightly shorter and less ambitious (in terms of cinematic scope) version of Kramer's own It's a Mad Mad Mad Mad World. Worth watching, especially if you like the actors, but not essential.

deacon_blues-3 Stanley Kramer made some really great films in the 50s and 60s, but this ain't one of 'em. The film suffers from an over-pretentious egotism about existential angst and finding meaning in a meaningless existence—really tired fair, especially when it is not done well. The really tired, dated subplot is that of David (George Segal) and Jenny (Elizabeth Ashley). Their silly conversations about gender roles, self expression, and "belonging together" get really old very fast. The thread dealing with Lowenthal, Glocken, and Rieber is the most relevant, entertaining, and thought provoking. Lowenthal is the most telling role of the film. A truly tragic figure who has no idea of the enormity of his delusions about being a German Jew in 1933.But the whole thing is a mess when all is said and done. The thread about Wilhelm and La Condesa is really a waste, since I can't imagine leaving my dog for the mega-frumpy Simone Signoret, never mind a wife and two sons. Oskar Werner is very genuine, but Signoret is her usual over-rated, tedious self. The two performances just don't mesh, and the result does not ring true.Tenny (Lee Marvin) really is an ape, as Mrs. Treadwell observes. A truly ugly American in the most stereotypical sense. The thread dealing with the wheelchair preacher, his nephew, and the flamenco whore seemed really worthless to me, just a cheap shot by Kramer at religion and morality. But the acting really is brilliant all around, I must admit. Leigh is especially poignant as Mrs. Treadwell, probably the meatiest role in this film. She is thoroughly reprehensible, and without sympathetic appeal. And yet….. we pity her even if she won't pity herself.

ma-cortes This Soaper is a stirring story dealing with a dramatic as well as tragic voyage ; displaying a stellar cast formed by Hollywood actors and notorious German players . It's an enjoyable but overlong screen rendition based on Katherine Anne Porter novel of the same name . In 1933 (during election of 1933, in which the National Socialist German Workers Party received 43.9% of the overall vote, an increase of 10.8% on the previous election) , a varied and vast group of passengers on a ship en route from Mexico to Germany represent society at large in that era . Carrying hundreds of Spanish refugees , German (Heinz Ruhmann was not Jewish but he was a very rabid anti-Nazi and anxious to play the part) and Jewish people that seemingly are destined to certain doom . The crew is German , including Capt. Thiele (Charles Korvin) , Lt. Huebner (Werner Klemperer) and doctor Schumann (Oskar Werner features most memorable acting) who falls in love with one of the passengers , the neurotic Contessa (Simone Signoret) . Furthermore , the once famous but now a disappointed and despairing divorcée named Mary Treadwell (Vivien Leigh's last film , she replaced Katharine Hepburn who was first choice for the aging Southern belle, but because of Spencer Tracy's bad health she opted to continue to care for him), a punchy as well as forceful baseball player (Lee Marvin) and a wise dwarf (Michael Dunn) . A young American woman, Jenny (Elizabeth Ashley) , is traveling with the man she loves, David (George Segal) . The passengers have mixed emotions about their voyage , some are happy about freedom , some are sad to leave their homeland, some become involved into illicit loves and some are angry about their next fates . Some of the crew (Jose Ferrer) , those that sympathize with the Nazis , are also angry that authorities would allow Jews to sail to freedom and are bigotries about having to share place with their inferior passengers .This is a penetrating drama with all-star-cast gives superb interpretation and realized in ¨Grand hotel¨ at sea style . Special mention to the extraordinary couple acting as illicit lovers magnificently played by Simone Signoret and Oskar Werner who would make a similar film 11 years later ,¨Voyage of the damned¨ by Stuart Rosenberg , also was about a boatload of refugees heading back to Germany before the outbreak of the Second World War ; it would prove to be Werner's final film . The picture is overlong and a little boring ; being occasionally interesting . Picture almost dissolves into separate stories but ship's captain and doctor hold it together . It deservedly won Academy Award for art direction (Robert Clatworthy , Joseph Kish) and cinematography (Ernest Laszlo) .This old-fashioned motion picture was well produced and directed by Stanley Kramer . He directed 14 different actors in Oscar-nominated performances .He was a notorious producer and director who gave big successes . Kramer formed his own production company in 1947, in conjunction with Carl Foreman . He had a reputation for being frugal, working well within his budgetary limitations . Many of his films reflected social or political concerns and were often controversial . Stanley was consequently tagged as a "message film maker" and "Hollywood's Conscience" . Among his most popular films are : The pride and the Passion¨, ¨On the beach¨, ¨ Judgment at Nuremberg¨, ¨Ship of fools¨, ¨World is mad , mad ,mad¨ and ¨Guess Who's Coming to Dinner¨ . Rating : Acceptable and interesting drama . Worthwhile watching

EJ Verh Ship Of Fools is not an easy film by any standard; too many characters, multiple story lines, the main theme and its length all present certain challenges for a casual viewer. However, if you invest yourself from the beginning, I promise you it is a rewarding ride and you will be glad that you have seen it. Of all the Oscar nods it has received were well deserved, especially Oscar Werner and the magnificent Simone Signoret, who are the heart and soul of the picture. In fact, the film truly began for me with the Signoret's entrance. I found myself anticipating her scenes throughout the film. The other actors are all quite good, even if not fully developed. Until the last 30 mins or so I kept wondering why Vivien Leigh took this micro-minor, underdeveloped role in the first place. Except for her monologue towards the end, she was rather wasted in the picture. There is a certain beauty and class in the film's cinematography (the glorious black and white serves the story well), art direction and the costumes (although not correct for the period, I thought). The director did a nice job in keeping it all together while telling the story; in someone else's hands running these many characters and story lines would have been a disaster. "Ship" is not for everyone, but if you appreciate the history, well written screenplays and strong acting performances, you will have all of it and then some. Take a chance, get on board, relax and appreciate this film for what it truly is: a work of art!