This is truly awful stuff from MGM for two of its most popular stars during the forties--and even the presence of CAMERON MITCHELL in a supporting role--where he must listen and listen to VAN JOHNSON rambling on and on about his childhood past and his attachment to sweetheart JUNE ALLYSON, doesn't save the film from floundering in a sea of sentimental mush. Nor does the presence of THOMAS MITCHELL as Johnson's uncle help matters.
A plane crash has the two men (Johnson and Cameron Mitchell) sitting on a raft in the middle of the ocean awaiting uncertain rescue and much of the story is told in boring, sentimental flashbacks to the Navy flier's early life and subsequent romance. Johnson has long-winded monologues and all of them are dreadful to listen to. It's a wonder he and Allyson kept their box-office popularity as long as they did with flimsy material like this.
Even the good support from CAMERON MITCHELL and MARILYN MAXWELL doesn't help overcome the weak script, an odd blend of fantasy about an island called High Barbaree and idealized romance. Unfortunately, it doesn't work on any level at all, let alone as a vehicle for Van Johnson and June Allyson.
A plane crash has the two men (Johnson and Cameron Mitchell) sitting on a raft in the middle of the ocean awaiting uncertain rescue and much of the story is told in boring, sentimental flashbacks to the Navy flier's early life and subsequent romance. Johnson has long-winded monologues and all of them are dreadful to listen to. It's a wonder he and Allyson kept their box-office popularity as long as they did with flimsy material like this.
Even the good support from CAMERON MITCHELL and MARILYN MAXWELL doesn't help overcome the weak script, an odd blend of fantasy about an island called High Barbaree and idealized romance. Unfortunately, it doesn't work on any level at all, let alone as a vehicle for Van Johnson and June Allyson.