I don't know of any other Wayne film before the forgettable '47 "Tycoon" that was filmed in color. All those classic '40s Republic westerns and war movies were filmed in B&W. After his epic B&W western "Union Pacific", DeMille had the clout to insist all his future works be filmed in Technocolor, a rare luxury treatment in the '40s. Color became much more common and eventually standard as the '50s rolled on. This was a very important edge Hollywood had over TV in the '50s, until color TVs became common in the '60s.<br /><br />This film is perhaps my favorite Wayne flick(if we can consider it a Wayne film, as he didn't get top billing). I've seen it several times. The Technicolor treatment is certainly one reason, but I'm also hooked on DeMille's better films(In spite of several other fine '39 westerns, "Union Pacific" is my clear favorite for that year). The general style of the present film apes that of "Gone with the Wind", to which it is often disparagingly compared. I've never been a big fan of the latter. If given a choice, I would see DeMille's film again. It is also commonly compared to Wayne's latter film,"The Wake of the Red Witch", which I have not seen, but is said to be largely a reworked version of the present film.<br /><br />Considering the age of this film, I thought the DVD transfer quality excellent, with vivid colors. From the included background extras, we learn that much of the shooting took place on location in Charleston and the Key West area. However, the under water scenes were done in a huge tank. Both Paulette Goddard and Susan Hayward tried out for the role of Scarlett in "Gone with the Wind". It is speculated that Ms. Goddard lost out partly because of her uncertain official relationship with her lover of recent years, Charlie Chaplin. By the time the present film was begun, this relationship was over.<br /><br />There are many complexities to this film and so many interesting, if sometimes stock, characters. I thought all the main characters and most of the supporting characters were well cast. Captain Jack and Steve Tolliver seemed destined to be at each other's throats throughout the story. Yet, occasionally they fought together against a common enemy and helped the other in a desperate situation. Captain Jack is a tragic character, sometimes in hot water through no fault of his own, yet performing a dastardly deed to help win his love that precipitates the demise of many of the main characters. Raymond Massey sheds his Lincoln and John Brown images to become an engaging masterful villain. I found his performance in the courtroom, as Captain Jack's lawyer, riveting. In fact, the whole courtroom scene was masterfully done. In one of the many convoluted relationships, Susan Hayward's character falls for Massey's handsome younger brother, who lives in his brother's shadow as a marginal villain. This romance, on the sneak, will become central to the tragic and redemptive events near the end of the story. I thought the talking dog and mischievous pet capuchin served well to provide some comic relief. I also enjoyed Lynne Overman's portrayal of Captain Phil, a classic old salt and grandfatherly figure. My main gripe is I didn't like the ending: the parting scene specifically. It just didn't ring plausible or just.