It's worth observing at the top that this is a film where some aspects have not aged well. Not that there's any scale to such things, yet that there's some needless racist language employed, which is rather dumbfounding in the moment, might be one of the least bothersome facets. There's no missing the prominent title card in the first moments that proudly declares "Produced in New Bedford, Massachusetts by The Whaling Film Corporation"; shilling for corporations, and dressing the propaganda of repugnant values in more palatable vestiges, has clearly been a part of cinema from its earliest years. That's to say nothing of how the glorification of whaling, written into the story itself, comes off very differently one hundred years later. Moreover, even if we accept that the expression of further antiquated values is a reflection of the story's setting in the mid-nineteenth century and not the world of the 1920s, the picture leans awfully hard into affirmation of an excruciating patriarchal worldview: men choosing what women can or cannot do, or who they can marry, regardless of their wishes; bluntly valuing male children over girls; infantilizing and patronizing women. Even recognizing that for better or worse such fare of more dubious elements is a part of revisiting the silent era, there were also choices made in the construction of the feature - including some moments that were inessential to the whole - that surely mark this as nothing to change the mind of those who have difficulty engaging with older movies.
In fairness, with all this having been said, by and large 'Down to the sea in ships' is overall well done. Paul H. Allen and A. G. Penrod's cinematography is plainly admirable, especially in those lengthy sequences shot at sea. Though swimming in familiar waters, the broad strokes of the narrative are duly compelling and enjoyable. Though ill-gotten, I can't say the resources at the production's disposal weren't appreciable, for the spotlighted ship is gorgeous in and of itself, and the sets and costume design are lovely. Those stunts and effects that are employed look fantastic, and along with Elmer Clifton's vivid orchestration of scenes, an earnest sense of adventure is thusly infused into this drama. The cast give strong performances, with Marguerite Courtot standing out most as beleaguered Patience, and Raymond McKee not far behind as male love interest Allan; the picture is also noteworthy as only the second ever role of screen icon Clara Bow. Clifton also at times illustrates a keen eye for shot composition that adds a slight sense of artistry to it all. In fact, though the unsavory components here must be discussed, the strength of the film-making and storytelling is such that I think the title is better and more worthwhile than not. It may not be anything particularly special among its kin, but in general the excellence of the craft is never in question. The viewing experience is one to which an asterisk must necessarily be attached, yet for those who love what the silent era has to offer and who can abide the difficulties on hand, it still stands fairly well on its own merits.
True, even the most stout of cinephiles may be sidelined by one other glaring flaw on hand. A central whaling sequence drags on so long, far beyond the needs of the script, that I genuinely fell asleep in the middle of it (albeit with the foresight to pause). I can't help but think of the ten-minute sandstorm sequence in 'Hercules against the moon men,' mercilessly mocked in 'Mystery Science Theater 3000' as "DEEP HURTING," for sure enough the noted scene here is right about ten minutes long, too - a considerable fraction of the runtime. This sequence could have been trimmed quite a bit while losing nothing, and it goes without saying that strictly speaking the brunt of the tale would have been left intact even if some of the less welcome aspects had been altered to a small degree. That one can readily see room for improvement shows the limitations of the feature, and its weaknesses. Still, when all is said and done, 'Down to the sea in ships' remains a surviving silent film that deserves remembrance - for that survival alone, for what it does well, and definitely for what it does not. It bears repeating that this is suggested only for those who are already enamored of the era, but at that, if one happens to come across it, it's ably entertaining and also interesting as a study of where it fits into contemporary culture. Don't go out of your way for it, but one way or another it's worth a look.
