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When the passengers disembark, two are no longer with them – the countess, who has been taken to an island prison, and the doctor, who has died.

A woman unhappy in her passionless marriage leaves her husband for a younger and more ardent lover.

Ship of Fools won Academy Awards for Best Art Direction-Set Decoration, Black-and-White (Robert Clatworthy, Joseph Kish) and Best Cinematography, Black-and-White (Ernest Laszlo). Leigh won the L'Étoile de Cristal for her performance in a leading role.[13][Note 3] Marvin won the 1966 National Board of Review Award for male actors, while Werner received the 1965 New York Film Critics Circle Award.[14]

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Don't look now, but as you might expect with message-mad Kramer at the helm of this adaptation of Katherine Anne Porter's novel, there's a heavy allegory aboard.

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Lee Marvin was very fond of sharing the screen with Vivian Leigh; the four things he always kept by his side, no matter how much he moved around, were his Oscar, his golden record for Wand'ring Star, a plaque from American Society of Westerners (citation for his role of Liberty Valance), and a memento of this movie - the shoe that Vivian Leigh beta him with

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Werner and Signoret were wonderful, and deserved their nominations.

During World War I, believing her fiancé to be dead, a young ballerina loses her job and is forced to turn to prostitution.

Katherine Anne Porter's novel Ship of Fools was published in 1962.[3] The celebrated essayist and short story author's sole novel was the culmination of a 20-year-long project that was based on her reminiscences of a 1931 ocean cruise she had taken from Vera Cruz to Germany.[Note 1][5]

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A woman seeking revenge for her murdered father hires a famous gunman, but he's very different from what she expects.

Great write-up, Terry! I'm not a huge fan of this film on the whole. I find it somewhat boring and very slow. However, there are some good performances, as you mentioned. Vivien, Simone and Oskar all do well. It's sad seeing Vivien in the ageing women roles, but so many actresses of her time fell into them eventually. It's definitely a performance I'll be talking about in my dissertation

The black-and-white overlong, dated and uneven film, a less than endearing talk-fest, is rescued from drowning in a sea of words by its fine cast.

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Great review!We're linking to your article for Academy Monday at SeminalCinemaOutfit.comKeep up the good work!

Director-producer Stanley Kramer and scenarist Abby Mann have distilled the essence of Katherine Anne Porter's bulky novel in a film that appeals to the intellect and the emotions.

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Ship of Fools was highly regarded, with reviewers praising the cast's performance but also noted the movie's overlong runtime. The film was nominated for eight Academy Awards in 1966, including for Best Picture, Best Actor for Oskar Werner and Best Actress for Simone Signoret, and won for Best Art Direction, Black-and-White and Best Cinematography, Black-and-White.

Father Rivard is a priest in a small, economically depressed coal mining town. Working on what he thinks is a "controversial" work, he lives with the brutal lives of his poor parishioners, ... See full summary »

Ship Of Fools (1965)

Superb acting in an Abby Mann script that seldom descends into bathos.

The characters board a German ocean liner in Veracruz, Mexico, for a voyage to Bremerhaven, Germany, along with 600 displaced workers in steerage, being deported from Cuba back to Spain, and a not-so-exotic band of entertainers, for whom the voyage is just a job. Some are happy to be bound for a rising Nazi Germany, some are apprehensive, while others appear oblivious to its potential dangers.

It makes for OK drama all the same, but it's all on the heavy-handed side. Well, subtlety was never Kramer's strong suit.

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As glib as Stanley Kramer often is, there is probably nothing glibber in his entire output than this Abby Mann adaptation of Katherine Anne Porter's novel.

A beautiful but amoral model sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties.

An ambitious young accountant schemes to wed a wealthy factory owner's daughter, despite falling in love with a married older woman.

The film is recognized by American Film Institute in these lists:

In the mirror scene (is that really what men find attractive?), I believe Mary was mocking the make-up of the Spanish dancers, not the make-up of her youth.

An aging actress travels to Rome with her husband; after he suddenly dies during the flight, she begins a passionate affair with a young gigolo.

Other actors made up the ensemble. The character of the fat man was portrayed by Henry Calvin and Lt. Huebner was portrayed by Werner Klemperer.[9]

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A middle-aged iconoclast, doggedly avoiding the tedium of employment and conventional life, faces the prospect of losing custody of his young ward.

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