has fallen in love with Ulysses, convinces Fedelmann that her subordinate can no longer be trusted. She sends Freya to Marseilles, intending to betray her to the French. Freya suspects as much, and begs Ulysses to take her to safety aboard his ship. Ulysses is torn, but a vision of his son shaking his head makes him refuse. Freya is later captured, convicted, and shot by a firing squad at dawn. As he is leaving Freya's apartment, Ulysses encounters Count Kaledine. After a brief struggle, he chases Kaledine through the streets, gathering a mob. Kaledine is caught and taken into custody. Ulysses then employs the Mare Nostrum in the service of the Allies, arming her with a deck gun, replacing his crew with French military sailors, and transporting munitions to Salonica. Only longtime family friend and sea cook Caragol refuses to leave him. On the voyage, they are intercepted by the U-35. With the Mare Nostrum torpedoed and doomed, Ulysses mans the abandoned deck gun and sinks the U-35. As Ulysses descends into the ocean depths, Amphitrite rises to embrace and kiss him. Cast Production Rex Ingram's reputation as an outstanding Hollywood director rested on the enormous success of his 1921 The Four Horsemen of the Apocalypse, a film adaption of Spanish novelist Vicente Blasco Ibáñez ’s work that had, according to Kevin Brownlow “made a star of Valentino, saved Metro Pictures from bankruptcy, and earned the director the undying gratitude of the head of Metro, Marcus Loew.” Ingram was determined to adapt another Ibáñez novel, his 1918 Mare Nostrum, “an epic tale of World War I espionage and naval battles.” The title was taken from the Latin term used by ancient Romans for the Mediterranean Sea. Ingram purchased the former Gaumont studio located in Nice, France, financed by M-G-M preliminary to making Mare Nostrum. The facility required extensive upgrades, and regional technical services support was inadequate. Film archivist Kevin Brownlow writes: The film adaptation required location shooting in France, Italy and Spain, obliging Ingram to allot the sequences shot in Barcelona to his cinematographer John F. Seitz. Mare Nostrum took 15 months to complete. A highly regarded sequence in Mare Nostrum depicts spy Freya Talberg's execution by German authorities for treason. Film archivist Kevin Brownlow describes it as “perhaps the finest sequence Ingram ever shot.” Film historian Charles Higham describes Ingram's cinematic handling of her demise: From the over