The Ghost Ship ( The Ghost Ship ) is a film produced by Val Lewton and directed by Mark Robson , released in 1943 . In terms of genre, the film combines elements of a psychological thriller , a detective and a horror film . The film tells about a young merchant marine officer, Tom Merriam ( Russell Wade ), who suspects that ship captain Will Stone ( Richard Dix ) is mentally ill and deadly for the rest of the crew. At the same time, the team, despite a series of strange deaths, does not believe in the captain’s guilt and continues to support him.
Ghost ship | |
---|---|
The ghost ship | |
Genre | horror psychological thriller |
Producer | Mark Robson |
Producer | Val luteon |
Author script | Donald Henderson Clark Leo Mittler (story) |
In the main cast | Richard Dix Russell Wade |
Operator | Nicholas Musuraka |
Composer | Roy webb |
Film company | RKO Radio Pictures |
Duration | 69 min |
A country | USA |
Tongue | English |
Year | 1943 |
IMDb | ID 0035937 |
After the release of the screens on the eve of Christmas 1943, the film was a commercial success, but received mixed reviews from critics. In February 1944, playwrights Samuel R. Golding and Norbert Faulkner filed a lawsuit against Lewton on charges of plagiarism, arguing that the film’s script was based on their play, which was referred to Lewton for consideration as a basis for a possible film. After filing a lawsuit, the film was removed from hire and was not shown for 50 years, until the copyright expired, after which in the 1990s it was again rented [1] .
Story
A young naval officer Tom Merriam ( Russell Wade ) arrives at the port of San Pedro to take up the post of third mate of the Altair merchant ship. Before boarding the ship, Merriam meets a blind beggar, who warns him that this is not a good ship. Disregarding his words, Merriam climbs the ramp and sees a sailor nicknamed Dumb Finn ( Skelton Naggs ), who stabs Merriam with a knife towards the captain’s cabin.
Captain Will Stone ( Richard Dix ) fatherly takes Merriam, saying that he chose him among many graduates of the maritime school, because he saw himself in Merriam in his youth: they are not only similar in appearance, but both are ambitious, willing to work hard and besides, both are orphans. Further, the captain emphasizes that it requires the crew members to ensure cleanliness and order, and, most importantly, recognition of its undisputed authority on the ship. During his acquaintance, Merriam tries to kill the night butterfly that flies around the lamp, but Stone categorically forbids him to do this, which causes some surprise to the young officer. Going into his cabin, Merriam learns that he was the successor to the officer who died unexpectedly in the port, presumably from a heart attack. During the roll call, the absence of one of the sailors is found, who some time later is found dead on the deck. After these events, Mute Finn prophetically remarks (his voice sounds off-screen) that death and agony will soon take possession of the ship.
When the ship sails, the recently painted huge hook comes loose from the anchorage and starts swinging threateningly over the deck. The team at risk to life is trying to grab it and stop it. Merriam tells the captain to fix the hook, but he does not take his advice, arguing that then fresh paint will be smeared off the hook. This approach surprises a young officer, but the captain once again emphasizes that his authority can never be questioned. Soon one of the sailors begins an attack of appendicitis , and he needs an urgent operation. The operation should be done by Stone, guided by the instructions that the doctor will transmit from the shore on the radio. However, when it is necessary to make an incision on the body, Stone covers a stupor. Then Merriam takes the scalpel in his hands and successfully performs the operation. In order not to undermine the authority of the captain, he tells the team that Stone did the operation.
Due to the loss of two people, the team began to experience difficulties in work. Then the cheerful and lively sailor Louis Porter ( Lawrence Tierney ) invites the captain to go to the nearest port and replenish the crew. Stone replies: "You know, there are captains who could have claims against you, Louis." Soon, when Louis puts in a special compartment a huge chain of descending ship's anchor, Stone passing by locks the hatch outside, leading to this compartment. Unable to escape from the enclosed area, Louis shouts upstairs to the sailors, but they do not hear him because of the rattle of the metal. As a result, the metal chain crushes Louis to death. Merriam has a suspicion that Captain Stone, obsessed with power, deliberately arranged for Louis to die. Merriam shares his concern with the first assistant of Bounce ( Ben Bard ), who strongly disagrees with the words of the young colleague. Then Merriam talks about the same thing with the radio operator Sparks ( Edmund Glover ), but he advises Merriam to go about his business.
Mute Finn
Sailors on deck
Captain Stone ( Richard Dix ) is about to kill officer Merriam ( Russell Wade )
When the Altair moors in the port of San Sebastián, Merriam lodges a complaint against the captain’s actions against the head of the shipping company, Charlie Roberts (Boyd Davis). Roberts collects a special commission to review this case. At the meeting, all team members are in support of the captain, noting in particular that Stone saved the sailor by making him an operation. They also claim that Merriam behaved incorrectly in the situation with a detached hook. After the meeting, Merriam leaves the ship. Worrying about the unfortunate Merriam, Ellen ( Edith Barrett ), Roberts' daughter, decides to introduce him to her younger sister and arranges a meeting. Later, on board the Altair, Ellen meets with Stone, saying that the issue with her divorce is finally decided, and soon they will be able to get married. To which Stone unexpectedly replies that he fears that he is going crazy.
Meanwhile, in the port, Merriam gets involved in a fight, defending one of the sailors of the Altair. After one of the blows, he loses consciousness, and the members of the Altair team, not knowing that Merriam has already quit, carry him on board the ship. Merriam wakes up in his cabin after the ship goes out to sea. He feels that Stone is going to kill him, especially after he hears the words: "You know, Mr. Merriam, there are some captains who would use this against you." Merriam asks Sparks to send a telegram to the shore with fears about the unpredictability of Stone’s actions, but is refused. Merriam sees that someone has removed the lock of his cabin, and she now does not lock. Hearing strange noises, Merriam secretly sneaks into the captain's cabin, where weapons are stored to arm for self-defense. However, at this moment Stone enters the room, which again begins to argue about the inviolability of his power. Challenging a young officer, Stone invites him to try to enlist the support of crew members, but from their side Merriam gets a categorical rebuff, moreover, they accuse him of intending to organize a riot.
Soon, Roberts sends a radiogram to Altair asking whether there is Merriam on board, to which Stone transmits to the radio operator the answer that there is no Merriam on board. Suspecting something wrong, the radio operator shows Stone’s response to Merriam, saying that he no longer trusts the captain and will now send a message to the company expressing concern about Stone’s mental condition. Coming out of the cabin Merriam, Sparks collides with the captain. While they walk along the deck together, Sparks shoots a captain's radio message, which is picked up by the illiterate Finn. Some time later, Stone comes to Merriam in the cabin, ordering him to send a radio message to the company's office that the radio operator Sparks swept away overboard. A young officer accuses Stone of killing a radio operator, after which a fight begins between them. Arriving team members tie Merriam and put him on a cot in his cabin. Then the captain instructs the first assistant Bounce to inject Merriam soothing.
Soon Finn comes to the cabin to Bounce and sends him Stone's message. The first officer understands that something is wrong with the captain. He consults with several members of the team, who are also starting to suspect that Stone has gone mad. Captain Stone overhears Bounce's conversation with the team, which leads him to an insane state. He takes the dirk and enters Merriam’s cabin to kill the young officer, but Finn appears and stops his hand with a dagger brought over Merriam. While the unsuspecting crew is having fun on the deck, Finn enters a deadly fight with the captain and eventually slaughters him. After the death of Captain Merriam is restored in his rights, and upon returning the ship to the home port of San Pedro, the young officer is met by his sister Ellen.
Cast
- Richard Dix - Captain Will Stone
- Russell Wade - Tom Merriam, Third Mate
- Ben Bard - First Assistant Bounce
- Edmund Glover - Jacob "Sparks" Winslow, radio operator
- Edith Barrett - Ellen Roberts
- Skelton Neggs - Mute Finn ( Uncredited )
- Boyd Davis - Charles Roberts, Dunhen Line Agent (Uncredited )
- Sir Lancelot - Billy Redd (not listed in credits)
- Dewey Robinson - Boats (not listed in credits)
- Lawrence Tierney - sailor Louis Parker (not listed in the credits)
Making a movie
Val Lewton film producer
Film critic Manny Farber, in an article about producer Val Lewton , published in The Nation in 1951, points out that Lewton's idea of good cinema implies reliance on literary sources, in particular, works by authors such as William Shakespeare and John Donn , the introduction to fabric narrative folk songs, the transfer of national and ethnic color and competent construction of disturbing scenes. At the same time, Lewton always makes sure that the actor has even the make-up of the corresponding time on his lips, and not modern lipstick [2] . Film historian Mark Frankel notes that all Lewton films for the RCO studio were categorized as B and lasted no more than 80 minutes, but “despite the limited budget, they were outstanding.” According to Frankel, the main advantage of his paintings was their “almost literary stinginess of expressive means”; another film critic, Manni Farber, noted the ability to build a terrible episode without a bloated budget and to remove it in a journalistic impartial manner [2] . Director Robert Wise , who put on several films with Lewton, said about him in 1963 that Lewton “did not just frighten people without feeling, he felt responsible to millions of viewers of our films. He sought to do more than just scary movies that were suitable for viewing, and he wanted their effect to be based on reliable psychological conflicts ” [2] .
Film making history
In 1942, with the Lewton film Cat People (1942), the RKO studio achieved major financial success: with a creation cost of $ 142,000, he made a profit of almost 4 million in the first two years and thus saved the studio from a financial catastrophe [3] . RKO hoped to take advantage of the success of the film and quickly release a sequel, but producer Val Lewton wanted to make a fantasy comedy “Ghost of Love” [4] . In order not to waste time on disputes, Lewton took up the production of the horror-detective "The Seventh Victim ", and on May 12, 1943, RKO announced that it was postponing the production of the sequel " The Curse of the Cat People " because it was impossible to assemble key performers [5] .
After the end of filming "The Seventh Victim", not wanting Lewton to make a comedy, general producer RKO Charles Kerner instructed him to shoot a marine horror film using the ship that was built for the filming of the film " Pacific Liner " (1939) [6] . According to Robert Wise, who worked with Lewton for many years, it was these scenery that gave Lewton the idea of the film. “He made a film, as they say, in one scenery, fitting the whole script under it ... Going to the set, he came up with the idea of a ship with a killer captain” [7] . The budget of the film, as well as almost all films of Lewton, amounted to 150 thousand dollars [8] .
According to Lewton himself, the original idea of the film belonged to him personally [9] . Leo Mittler did screenwriting, and Donald Henderson Clark wrote the script, although Lewton made significant changes to it, and a significant part of the replicas wrote independently [9] .
Film director and creative team
In June 1943, the director of the film was approved by Mark Robson [10] , who, as was thought at the studio, “understood Luton’s ideas about psychological horrors” [11] better than others. Prior to this, Robson had just completed editing the film Noir, Journey to Fear (1943), with the participation of Orson Welles , which also largely takes place on the ship. According to film expert Edmund Bansak, among the films “Journey to Fear” is most reminiscent of the work of Val Lewton (and especially “The Ghost Ship”), and for Mark Robson, this picture of Wells became the “cinematic predecessor of the Ghost Ship” [12] .
In 1942, Robson had already worked with Lewton as an editor of the film “People-Cats”, and in 1943 he produced his film The Seventh Victim. In total, Robson collaborated with Lewton in eight films, including the director of five of them - “The Seventh Sacrifice” (1943), “ The Leopard Man ” (1943), “ Unchained Youth ” (1944), “ Isle of the Dead ” ( 1945) and Bedlam (1946) [13] . However, a real breakthrough for Robson came a few years later with the champion sports noir (1949), in which the main role was played by Kirk Douglas . Later, Robson put on such popular films of his time as Toko-Re Bridges (1954), “ The Harder Fall ” (1956), Peyton Place (1957) and Dolly Puppet (1967), about which the New York newspaper The Times wrote: “No matter how bad Jacqueline Susan 's book“ The Valley of Dolls ”was, but the film that made Robson on it was even worse.” As Frankel notes, “although this film was not evaluated at the time of its release on the screens, today it has become a cult classic” [2] .
Artists Albert D'Agostino and Walter Keller , music composer Roy Webb , as well as cameraman Nicholas Musuraka [14] [15] , who drew a lot of enthusiastic reviews with their contrasting production of light [16], took part in making the film. To make the film more intriguing, its creators decided to use lighting from only one source, and set the scenery in such a way as to maximize the effect achieved in this way [17] .
Actors cast
Actor Richard Dix , who made his film debut as early as 1921, was one of the great stars of silent Hollywood . In 1923, Dix played the role of a hero in the modern part of the bible tape “The Ten Commandments ”, directed by Cecil De Mille . At the turn of the 1920–1930s, Dix became one of the few stars who managed to successfully go from silent to sound film [18] . However, despite being nominated for an Oscar in 1931 for one of the first sound films " Cimarron ", Dix began to get decent roles less and less often and until the end of his career he was forced to play only in B films and film series [2] . Richard Dix was taken on the role because he already had a valid contract with RKO for several “fast” films at a fixed rate for the role, and the shooting in “Ship ghost” allowed the studio to close his contract without much tension [19] . However, as noted by Frenkel, “The Ghost Ship” was the return of Dix to high-quality cinema, and the image of Captain Stone he created with his murderous inclinations was one of the achievements of this film [2] .
Since his debut in 1933, the performer of the role of Merriam Russell Wade has been filming a lot, but has played mostly episodic roles. In 1943, in the film “The Leopard Man,” his voice sounded just behind the scenes, like the voice of a man passing behind a fence. In "The Ghost Ship" he played his first starring role [20] . His play in this film gave him the opportunity to play later in the Lewton film The Body Reaver (1945) [21] . In 1947, he played a major role in the film noir “ Shoot to Kill ” (1947), after which in 1948 he left the cinema and became a successful businessman in real estate [22] .
Secondary actors Edith Barrett, Ben Bard, Dewey Robinson and Charles Lang have already worked with Lewton [4] . Sir Lancelot, a well-known calypso performer, had previously appeared in singing roles in three films, including “ I was walking with zombies ” (1943) [23] . In this film he performs three songs [2] . Skelton Naggs, Edmund Glover and future film star noir Lawrence Tierney were debutants. [4] According to Frankel, Tierney, who later became known for playing the roles of tough guys, played here (without mentioning in the credits) the role of the cheerful sailor Louis Parker. “The role is small, but important, and Tirny’s face, when he finds himself crushed by a chain, of course, becomes one of the most memorable images of the film.” Two years later, Tierney will play the title role in the gangster movie “ Dillinger ” (1945), which will make a star. He will then star in the film Noir's “ Born to Kill ” (1947), “ The Devil Hitchhikers ” (1947), “ Extortion ” (1950) and “ Hooligan ” (1951), although the younger generation probably remembers his role as criminal boss Joe Cabot in the Quentin Tarantino film " Reservoir Dogs " (1992) " [2] .
Production
The production of the film began on August 3, 1943 [4] . According to film historian Mark Vieira, many aspects of acting, light, angles, action and effects were worked out in advance in order not only to keep within the budget, but also to achieve maximum suspense [17] . The final scene of the fight between Finn and the mad captain was filmed in barely lit scenery to heighten the tension and make the public guess who could be the winner. Lewton used a similar technique in a similar scene in the movie “People-cats” [24] .
Movie Screening and Trial
The film was released in cinemas on the eve of Christmas 1943 [25] and had commercial success [26] until, in February 1944, plagiarism was brought against Lewton. The lawsuit was filed by playwrights Samuel R. Golding and Norbert Faulkner, who argued that the script was based on their play, which they sent to Lewton to consider the possibility of making a film on it [9] [17] .
In connection with the filing of the claim, the Ghost Ship was withdrawn from rental in cinemas [17] . Lewton disputed this claim, but the court decided against it [27] . As a result, the RKO studio paid the plaintiffs 25 thousand dollars in compensation for damages, as well as a lawyer's fee of 5 thousand dollars, lost all applications for the film from the distributors for the future and the right to sell it for demonstration on television [9] . Because of this lawsuit, the film was not shown for almost 50 years [11] [28] .
Technically and legally, the “Ghost Ship” could not be distributed, but after the RSO’s owner, Howard Hughes, sold the General Tire’s studio in 1955, in the 1970s and early 1980s the film made its way to several regional TV stations, particularly in Philadelphia . When Turner Entertainment bought the entire RKO library, in the course of its analysis, all legal obstacles to showcasing the film were removed, and in the late 1990s, when the rights to the film were not renewed, it was transferred to the public domain [29] .
Movie evaluation by criticism
Overall film score
Immediately after the release of the screens, the film received a generally positive review from the New York Times film critic Crosayer . Crowther, however, expressed surprise that the premiere of such a terrible film was appointed on Christmas Eve , calling it “a pretty collection of pathological abnormalities wrapped in darkness”, further noting that “the film is generous with bloody scenes and loud words usual for category B” [30 ] .
Much attention was paid to the film by modern critics. In his book about Lewton, published in 1973 (that is, almost twenty years before the film officially returned to hire), Joel Siegel noted: “The Ghost Ship was one of Lewton's best achievements. But, unfortunately, this is literally a lost film ” [2] . In 1977, John Brosnan described the film as "an ordinary detective thriller with several deaths on board, which, however, was made with Lewton's signature attention to creating the right atmosphere" [31] , and later Paul Mihan called the picture "a boring trash of office crimes and murder on the high seas ” [32] .
However, the vast majority of reviews of modern criticism are positive. So, TimeOut magazine wrote that although “this film of Lewton in its scale may not reach the heights of“ Cat People ”or“ I was walking with zombies ”, but it also contains its impressive moments”. Describing the picture as “the grim history of mysterious deaths on board the ship, commanded by a mad sullen captain Dix, ” the magazine highlighted the scene in which the sailor crushes a huge chain, as well as “wonderful offscreen comments like the all-knowing deaf-and-dumb sailor” [33] . According to Frankel, although the film is a bit atypical for the producer due to the absence of supernatural moments in it, it became “a great example of Lewton's skill” [2] . Film critic Dennis Schwartz wrote that producer Val Lewton , "nicknamed" shivering master "and" category B sultan, "known for being able to better scare others with his low-budget horror films, created an impressive, alarming psychological story in this film [18 ] . Bruce Eder calls the Ghost Ship, perhaps the best of Mark Robson ’s films, and notes that the film was considered lost for several decades, it is the least known and most mysterious Lewton thriller. According to the critic, if today the film looks like a relic, because the elements of acting and structures used in it were copied for decades after its release, then “in 1943 it caused genuine alarm and quiet horror”. But even today, after a few minutes of viewing, it becomes clear “that he practically did not lose his strength” [29] .
Some feature film features
Film composition
According to TimeOut reviews, the first half of the film, which is developing in the sea, was better, it is distinguished by a gloomy atmosphere and harsh poetry. “When the action is transferred to the shore, everything becomes a bit mundane, but by that time the charm of the film is already acting on the viewer.”
Dennis Schwartz draws attention to the fact that even the story itself in the film is unusual, from the face of the all-knowing deaf-and-dumb. Like the TimeOut reviewer, he emphasizes the “startling, shaking scene” of the death of Louis Parker, whose cry in a closed room is not heard from outside due to the rumble of an iron anchor chain [18] .
Psychological Aspects
Modern critics point out that the film “largely serves as evidence of Hollywood’s obsession with psychology, which was typical of the 1940s” [29] . Many emphasize that the film is “entirely devoted to a purely male conflict” [34] and “unlike most films of the 1940s, it has an almost exclusively male cast” [35] . Special attention of critics attracted the image of Captain Stone, who was compared with such movie characters as Captain Quig from “ Mutiny on Bounty” , Captain Ahab from Moby Dick and Captain Wolf Larson from Sea Wolf [34] [36] .
Harry Benshoff believes that the film is one of the most homosexual scenes among all the films of its time. Her focus is on sailors, sexual repression and split personality , and this picture reminds of her homoerotic literary predecessors, including Herman Melville 's novel “ Billy Budd ” and the story of Joseph Conrad “ Secret accomplice ”. According to Benshoff, one of the most remarkable episodes of the film is associated with a swaying huge cargo hook, which acts as a metaphor for the uncontrollable phallic force released into the wild, symbolizing Captain Stone's obsessive monomania , which only increases during the film [37] .
Actor Assessment
In assessing the main actors and performers of the film, Crowther notes that " Richard Dix plays a rather unusual role for himself as a captain-maniac, and Russell Wade - a passionate young man who has to overcome hardships in order to bring the captain to clean water" [30] . According to John Stanley, Dix almost unanimously received laudatory reviews for the deep disclosure of the image in the dark and pathetic role of Captain Stone [36] . Eder argues that Russell Wade also demonstrates the best game in life as an innocent man who fought a crazy captain. According to Eder, the soft, dignified behavior and the resounding voice of Captain Stone make the picture of his further mental disintegration and transformation into a mad killer even more terrible. With praise, Eder speaks about the cast of supporting roles: Laurence Tierney , Skelton Negggs (for whom the role of Finn the Mute became the largest in his career), Sir Lancelot, Dewey Robinson, Herb Wygran, Edmund Glover and Edith Barrett [29] .
Notes
- ↑ Shirley, Eric. "December 10: Val Lewton's The Ghost Ship 'Sets Sail" on Yahoo.com (December 10, 2011)
- ↑ 1 2 3 4 5 6 7 8 9 10 Mark Frankel. The Ghost Ship (1943 ) . Turner Classic Movies. The appeal date is December 9, 2015.
- ↑ Fujiwara, 1998 , p. 72.
- ↑ 1 2 3 4 Bansak, 2003 , p. 206.
- ↑ Bansak, 2003 , p. 222.
- ↑ Bansak, 2003 , p. 204.
- Oted Quoted in Lovell, Glenn. “Chillmaster Classic Fright Movies Suggest Rather Than Show Evil.” San Jose Mercury News . November 1, 2000.
- ↑ Worland, 2007 , p. 73.
- ↑ 1 2 3 4 Bansak, 2003 , p. 217.
- ↑ "Screen News Here and in Hollywood"
- ↑ 1 2 James, Caryn. "Old Hollywood Horror, But With Depth And Flair." New York Times July 2, 1993
- ↑ Bansak, 2003 , p. 218.
- ↑ Most Popular Feature Films With Val Lewton And Mark Robson (Eng.) . International Movie database. The appeal date is December 9, 2015.
- ↑ Fujiwara, 1998 , p. 303.
- ↑ Mank, 2001 , p. 232.
- ↑ Turner, George. “Wrap Shot [Origins of Film Noir].” American Cinematographer . October 1997; Naremore, James. More Than Night: Film Noir In Its Contexts. Berkeley, California: University of California Press, 1998. ISBN 0-520-21294-0 ; Sultanik, Aaron. Film, A Modern Art. Bridgewater, NJ: Associated University Presses, 1986. ISBN 0-8453-4752-7
- ↑ 1 2 3 4 Viera, Mark. “Darkness, Darkness: The Films of Val Lewton.” Bright Lights Film Journal . November 2005
- ↑ 1 2 3 Dennis Schwartz. ... an impressive brooding psychological sea adventure story (English) . Ozus' World Movie Reviews (17 August 2006). The appeal date is December 9, 2015.
- ↑ Mank, 2001 , p. 218.
- ↑ Dyson, 1997 , p. 264.
- ↑ Dyson, 1997 , p. 151.
- ↑ Russell Wade. Biography (English) . International Movie Database. The appeal date is December 9, 2015.
- ↑ Bansak, 2003 , p. 148.
- ↑ Bansak, 2003 , p. 128
- ↑ "Of Local Origin" New York Times (December 24, 1943)
- A Weaver, James B. and Tamborini, Ronald C. Horror Films: Current Research on Audience Preferences and Reactions. Florence, Ky .: Routledge, 1996. ISBN 0-8058-1174-5
- ↑ Golding v. RKO Radio Pictures, Inc. , 193P. 2d 153, 162 (Cal. App. 1948) affd , 35 Cal. 2d 690, 221 P. 2d 95 (1950)
- ↑ Tibbetts & Welsh, 2010 , p. 199.
- ↑ 1 2 3 4 Bruce Eder. The Ghost Ship (Eng.) . AllMovie. The appeal date is December 9, 2015.
- ↑ 1 2 Bosley Crowther. The Ghost Ship (1943). A Chilly Christmas (eng.) . The New York Times (25 December 1943). The appeal date is December 9, 2015.
- ↑ Brosnan, 1977 , p. 75
- ↑ Meehan, 2010 , p. 69
- ↑ 1 2 Time Out Says (English) . TimeOut. The appeal date is December 9, 2015.
- ↑ 1 2 Giddins, Gary . How Val Lewton Made Horror Movies Into Fine Art . The New York Sun (October 11, 2005)
- ↑ Bansak, 2003 , p. 214.
- ↑ 1 2 Stanley, John. “Val Lewton Retrospective.” San Francisco Chronicle . November 14, 1993.
- ↑ Benshoff, 1997 , p. 104-106.
Literature
- Edmund G. Bansak. Fearing the Dark: The Val Lewton Career . - McFarland & Co Inc, 2003. - ISBN 978-0-7864-1709-4 .
- Harry M. Benshoff. Monsters in the Closet: Homosexuality and the Horror Film . - Manchester University Press ND, 1997. - ISBN 978-0-7190-4473-1 .
- DeWitt Bodeen. From Hollywood: The Careers of 15 Great American Stars . - AS Barnes, 1976. - ISBN 978-0-498-01346-1 .
- John Brosnan. The Horror People . - New American Library, 1977. - ISBN 978-0-7190-4473-1 .
- Jeremy Dyson. Bright Darkness: Supernatural Horror Film . - Cassell, 1997. - ISBN 978-0-304-70037-0 .
- Dennis Fischer. Horror Film Directors, 1931-1990 . - McFarland 1991. - ISBN 978-0-89950-609-8 .
- Wheeler Winston Dixon. A History of Horror . - Rutgers University Press , 2010. - ISBN 978-0-8135-5039-8 .
- Chris Fujiwara. Jacques Tourneur: The Cinema of Nightfall . - McFarland, 1998. - ISBN 978-0-7864-0491-9 .
- Peter Hutchings. The A to Z of Horror Cinema . - McFarland, 2009. - ISBN 978-0-8108-6887-8 .
- Glenn Kay. Zombie Movies: The Ultimate Guide . - Chicago: Chicago Review Press , 2008. - 352 p. - ISBN 978-1-55652-770-8 .
- Gregory W. Mank. Hollywood Cauldron: Thirteen Horror Films from the Genre's Golden Age . - McFarland, 2001. - ISBN 978-0-7864-1112-2 .
- Paul Meehan. Horror Noir: Where Cinema's Dark Sisters Meet . - McFarland, 2010. - ISBN 978-0-7864-4597-4 .
- John Patrick. Raw Recruits . - STARbooks Press, 2004. - ISBN 978-1-891855-41-2 .
- Annie Janeiro Randall. Music, Power, and Politics . - Psychology Press, 2005. - ISBN 978-0-415-94364-2 .
- Joel E. Siegel. Val Lewton: The Reality of Terror . - New York: Viking Press, 1973. - ISBN 0-436-09930-6 .
- John C. Tibbetts, James M. Welsh. American Classic Screen Features . - Scarecrow Press, 2010. - ISBN 978-0-8108-7679-8 .
- Rick Worland. The Horror Film: An Introduction . - John Wiley & Sons, 2007. - ISBN 978-1-4051-3901-4 .
Links
- Ghost ship on IMDB site
- Ghost ship on Allmovie website
- Ghost ship on the website of the American Film Institute
- The ghost ship on the Turner Classic Movies website