User Reviews

There have been many theories of what comes during that transition from life to death, and in this first film version of the successful British play, it is an early variation of Albert Brooks' "Defending Your Life". Instead of one man comically defending his existence on that third rock from the sun, you get seven of them, all quite different, and all destined for immortalities that reflect the lives that they lead. There's the young couple in trouble who seem destined for a world in between life and death because of a double suicide, the young alcoholic afraid of facing his own immortality, the lonely char woman who gave up her child so he could have a better existence, a ruthless businessman who refuses to accept the fact that his earthly power can't be transfered further, and the snooty society matron who despises the idea of spending eternity with a husband she married for position and ultimately despised in spite of his undying love for her.

All of these people must face the judgment of the examiner, a raucous every man (played with great gusto by Dudley Digges), and to some, he will be their best friend, to others, their worst nightmare. He has no patience for fools, and that will not sit highly with the obnoxious Montagu Love or the uppity Allison Skipworth. Reverand Lyonel Watts is delighted to find that he's an old acquaintance, certain that past mistakes that got him ex-communicated will doom his soul, while young lovers Helen Chandler and Douglas Fairbanks Jr. fret over the examiner's refusal to talk to them. Cockney Beryl Mercer's destiny seems almost certain, her saint-like presence and love for a son she gave up clear in her desire to reach out to everybody around her. As for Leslie Howard, he is so insecure about past mistakes, he has no idea that all he has to do is want to repent in order to be saved.

Some biblical scholars may choke over the message of the film, but the script seems to utilize more theorizing from the life of Jesus Christ and his simple message of salvation than the more complex old testament. It basically tells you that all you need to do to make it past the examiner's judgment is to wish for your own salvation and it shall be granted. In the case of Love and Skipworth, their characters are not repentful at all, while the love of the two suicides is all it will take to redeem them. As fantasies go, it is sweetly written and filmed, and as supernatural films go, it is beautifully photographed with some images that may haunt you as you reflect on it after it is over.

We watch as several different passengers board and wander about the decks of a ship. The exterior is covered in fog and the characters are confused about how they got on board or where they are going. The whole place is shrouded in mystery, but we slowly learn that all of them are dead and are sailing to their judgment. Henry (Douglas Fairbanks Jr.) and Ann (Helen Chandler) are a married couple determined to stay together. Tom Prior (Leslie Howard) is a bit of a drunk, but an astute and generous man. Mrs. Midget (Beryl Mercer) is an elderly woman from the slums who is snubbed by many of the passengers. Most of the wealthy people are selfish and snobby (Montagu Love, Alison Skipworth).

The dialogue is almost as enchanting as the setting and the actors really bring their characters to life. Most notable is Howard who appears here in his first feature film. He seems well suited to film although his lyricism certainly stems from his experience on the stage. Chandler and Fairbanks are a bit less natural but their story is interesting and heartbreaking. What is great about this movie is that although we know a big twist from the start, the fact that the passengers are dead, it is not without surprises. The ending throws several unexpected wrenches that further liven the story. Do not miss this one.

The written prologue before the credits in "Outward Bound" asks the audience to cordially put themselves in the same position as the first night audience and believe the deep sincerity that Warners tried to bring to their talkie feature. Sutton Vane's eerie, allegorical stage melodrama about the destination of the human soul was certainly the most striking Broadway play of the 1924 season (144 performances) but it really polarized audiences of the time. When Warner Bros. bought it to the screen they retained Beryl Mercer, Dudley Digges, Lyonel Watts and in his film debut Leslie Howard, all from the original cast but even though the New York Times listed it as 6th best film of the year it was not a success.

The film starts out conventionally enough with young lovers Henry and Ann (Douglas Fairbanks Jnr. and the lovely Helen Chandler) planning to leave on a trip and worrying about what might happen to their dog, Laddie - the truth is they are planning to leave life itself.

They find themselves on a fog enshrouded boat along with a group of assorted passengers - alcoholic writer Tom Prior (Leslie Howard), a snobby dowager, Mrs. Cliveden-Banks (Alison Skipworth), a nervous priest (Lyonel Watts), a kindly charwoman, Mrs. Midget (Beryl Mercer) and a ruthless industrialist (Montague Love). They are all greeted by the steward, Scrubby (Alec B. Francis) but, oddly enough, none of them can remember their destination. Despite drinking heavily Prior soon sobers up to the fact that they are all lost souls on their way to Heaven - "and Hell too" Scrubby confirms his fears.

The first half is an extremely static movie that would be enjoyed a lot more by the viewer who knew nothing about the story. Prior spends a lot of time trying to convince the skeptical passengers of their true destination. The boat has no captain or crew or lights. The only lights are eerie rays that come from the cabin and light up the boat like a halo. The film brightens up a bit when "The Examiner" comes on board and Dudley Digges plays him as a weather beaten old rascal. All the passengers are to be interviewed by him to determine their placing (whether they go to Heaven or Hell). It definitely quickens the pace of the movie and there are no prizes for guessing where Skipworth and Love are bound for!!! The vicar and "The Examiner" are old friends and the latter is quick to reassure him that he will always have a job continuing on his missionary work helping the poor. Beryl Mercer's role is a real surprise packet and unlike other comments I have read I did not find her whiney!!! I thought she was one of the more humane characters in the movie. Funnily enough, Ann and Henry's names are not on the list - that is because they are "Half Ways" and cannot be judged. Because they are suicides they are destined, like Scrubby, to sail forever on the boat greeting new arrivals.

For many who saw it in 1930, the slow moving narrative and talkiness did not detract from the spirituality but today it definitely does not hold up that well. Helen Chandler was very popular in 1930, 1931. She had a quirky, little girl lost appeal, you couldn't mistake her uniqueness for any other actress. Even though her role was small, she convinced Hollywood that she was someone to watch out for in "Outward Bound" and she found her niche as the "new Lillian Gish". Unfortunately after a couple of years her movie heyday was finished and it was back to the stage.

SPOILER ALERT!!!!! To really discuss the movie adequately, it's practically impossible not to mention that the film is about the afterlife. A small number of people find themselves on a cruise ship and they have no idea where they are headed or why. After a while, it becomes obvious to one passenger that they are all dead but most won't believe him. In the end, they arrive and are judged and sent on to their respective destinations (though conceptually, it's nothing like traditional notions of the afterlife).

I am a huge opponent of movie remakes. In the 1930s and 40s, films were often remade--sometimes only a few years after the original film debuted. In practically every case, the remake was really unnecessary and did nothing to improve the original idea, so I am a huge fan of originals. However, to most rules, there are exceptions and OUTWARD BOUND is such a film. This original treatment of the play was a bit stagy but its main problem was the last third of the movie. All the characters who were to be judged weren't nearly as likable or unlikable as they were in the remake (BETWEEN TWO WORLDS) and their final judgment seemed rather anticlimactic and dull. After all that buildup, the conclusion seemed to fall very flat for many. In particular, the selfish society woman was a big disappointment--and her husband wasn't present for this big "comeuppance". While not as big a letdown, the nasty business man was also a letdown. About the only characters who weren't that different were Leslie Howard's (along with the lady who chose to go with him) and the couple who attempted suicide.

While an interesting idea, the film falters not just because of the lousy payoffs for several characters, but also because the film was so stark and cheesy (though some of this can be attributed to the fact that this was such an early Talkie). In particular, there is no incidental music (not completely unheard of in some 1930 films) and it all seems so flat and staged. Also, the ship models might just be the worst I have ever seen on film since the very early days of cinema--with obvious paintings and toy-like ships that wouldn't fool anyone.

So overall, not a particularly good film. A bit dull, a bit stagy, a bit cheap and a bit of a letdown. While I am not a huge fan of the later film, BETWEEN TWO WORLDS, it was a good film and was light-years better than this turgid film.

Outward Bound is a film I have been wanting to see for many years. Why? I have seen the remake. Between Two Worlds and was curious to see how it compared to the remake. It is a movie that was worth waiting for ( I finally saw it online), but it is a rare original that is inferior to the remake. What makes the remake better? 1: Sydney Greenstreet as Thompson "The Examiner" is far superior to Dudley Digges. Why? A much more imposing character. 2: Eleanor Parker ( Ann) was a better actress then Helen Chandler, and it not even close. 3: Much more stagy then Between Two Worlds. My favorite characters here? The bad ones ( unlike Between Two Worlds where it was Thompson and Ann). The socialite Mrs. Cliveden-Banks ( Allison Skipworth ( an actress I generally do not care for). She was a nasty piece of work who "The Examiner" called "A bad harlot." She ended up getting hers being put in a castle all by herself. Close behind was. Mr. Lingley ( Montagu Love ( despite the last name of "Love" he usually played bad guys and ( or) arrogant characters) and here he was both. He was dishonest and never gave people a second chance and he too got his. The main character alcoholic Tom Prior here played by Leslie Howard and in the remake by John Garfield were very comparable as were his mother Mrs. Midget Beryl Mercer here and Sara Allgood in the remake. I give Outward Bound 8/10 stars. Not as good as the remake but certainly worth waiting for.