Captain Scarlett (1953) is a run-of-the-mill swashbuckling yawn, excuse me, yarn set in 19th century France, but you will be forgiven if you quip, "A nice day for a fiesta in sunny Mexico" as you watch it. It was filmed in Mexico, and there was little, if anything, to suggest a French setting except place names. The story is an obviously hybridized bastardization of Robin Hood, the Scarlet Pimpernel, and — given the Mexican flavor of the costuming, architecture, and landscape — even Zorro. In short, Robin Hood, I mean Captain Scarlett, with the help of Friar Tuck, I mean Fray Felipe, I mean The Friar, frees a number of wronged people (including one Princess Maria) who become his band of merry men (or rather his band of one merry man and one woman who can allegedly pass as a merry man) as they rescue peasants from the guillotine, the toll road collector, and harassment by a couple of soldiers. The evil Alcalde, I mean Sheriff of Nottingham, I mean Duke de Corlaine tries every diabolical trick at his disposal to neutralize the destabilizing effect Captain Scarlett is supposedly having on the populace by neutralizing Captain Scarlett himself, but the wily swordsman is not such an easy pest to remove, and there is more than altruism to Scarlett's motives, for it was the Duke who unlawfully deprived him of his land and led him to this life of highway robbery, adventure, camaraderie, etc. in the first place.
The plot is derivative, the dialogue is inept, and the acting causes irritation, discomfort, and drowsiness. Other symptoms may include disbelief, disapproval, and disdain. Attention paid to the action scenes will cause disappointment. Use only as advised: with the intent to mock.
Writing: TerribleDirecting: Terrible
Acting: Terrible
Cinematography: Terrible
Stunts: Terrible
Swordplay: Poor
Panache: Mediocre
Overall Rating: Terrible
Swashbuckling Rank: Poor
[Originally posted in Cuparius.com on 13 April 2011.]
Addendum
Directed by: Thomas Carr
Performed by: Richard Greene, Leonora Amar, Nedrick Young, Manolo Fábregas, Eduardo Noriega, et al.
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