The Prisoner of Zenda (1937) Reviewed

The Prisoner of Zenda (1937) is a superlative example of the cinematic swashbuckler removed from the traditional period setting, for it takes place neither in the golden age of swashbuckling (the 15th through 18th centuries) nor even in an actual place. Based on the popular 1894 novel by Anthony Hope, it is situated firmly in the mid to late 19th century in the fictional European country of Ruritania. It is a tale of royal intrigue, adventure, and love, with the central theme of a protagonist who is forced to assume the identity of another. Ronald Colman has the dual role of Rudolf Rassendyll, an Englishman, and his identical cousin, the future king of Ruritania. In both roles, Coleman shines without overpowering his scenes. Rarely, in fact, does one see so well-balanced a job of casting. C. Aubrey Smith and David Niven are exceptional as the king's friends and advisors; Raymond Massey is excellent as Black Michael, the king's brother and nemesis; Mary Astor is equally suitable as Antoinette de Mauban, Black Michael's inamorata; and Madeleine Carroll gives a performance of sublime yet understated beauty as Princess Flavia, the Prisoner of Zenda's betrothed. It is Douglas Fairbanks, Jr., however, who gives perhaps the most stunning performance as a quintessential swashbuckler who is a villain. As Rupert of Hentzau, Fairbanks crackles with energy and ensures that no encounter will be dull. In all ways, he provides a perfect clash of personality and arms with the less flamboyant—but no less decisive—English gentleman. Nominated for two Academy Awards (Best Art Direction and Best Music, Score), it honestly deserved greater recognition in other categories as well. The Prisoner of Zenda, as an adventure, as a romance, and as a drama (with a healthy amount of humor), stands as one of the greatest swashbuckling movies of its time or any other era.

Writing: Good
Directing: Great
Acting: Great
Cinematography: Good
Stunts: Good
Swordplay: Good
Panache: Superb

Overall Rating: Great
Swashbuckling Rank: Great


[Originally posted in Cuparius.com on 27 May 2011.]


Addendum

Written by: John L. Balderston, Edward E. Rose, Wells Root, Donald Ogden Stewart, et al.
Based on: The Prisoner of Zenda by Anthony Hope
Directed by: John Cromwell and W.S. Van Dyke
Performed by: Ronald Colman, Madeleine Carroll, Douglas Fairbanks, Jr., Mary Astor, C. Aubrey Smith, David Niven, Raymond Massey, et al.

The Musketeer (2001) Reviewed

What would happen if you combined a film adaptation of the greatest swashbuckling epic of all time, Alexandre Dumas' The Three Musketeers, with a Chinese kung fu flick? Apparently the makers of The Musketeer (2001) asked such a question, and the answer is nothing good.

The stunts, which are likely the reason (or excuse) for the film being made at all, are intended to awe and amuse the audience, but merely bore with their ridiculousness. There are two basic schools of martial arts films. One emphasizes the true physical mastery of the martial artist (such as Bruce Lee or Tony Jaa); the other emphasizes the martial artist as a fantasy hero, with wires to enable the characters to perform superhuman feats and various techniques to convey superhuman speed and agility. The greatest swashbuckling movies, for the most part, can count themselves as kin to the first type of martial arts movie, going all the way back to the derring-do of Douglas Fairbanks, with stunts that were all the more shocking for their audacity because they were real. In much the same way that one is astounded by the skill and courage of trapeze artists, the best of the classic swashbuckling films had actors who did all their own fencing, climbing, leaping, diving, chandelier-swinging, and precipice-balancing. Replace all that with wires, stunt doubles, and very careful editing, and you rip the soul out of swashbuckling. And you get The Musketeer.

The inappropriate stylings of stunt choreographer Xin Xin Xiong aside, The Musketeer manages to reduce its greatest strength, its source material, to a bland and predictable tale of revenge, halfheartedly and wearily performed by its better actors (Catherine Deneuve) and woodenly performed by its lesser actors (the rest of the cast). Characters who had a richness of complexity are impoverished by the writers to a state of two-dimensionality that could have been just as easily fulfilled by cardboard standees. Whether assessed as an adaptation or revision of The Three Musketeers, The Musketeer is a uniform failure.

Writing: Terrible
Directing: Mediocre
Acting: Poor
Cinematography: Fair
Stunts: Poor
Swordplay: Mediocre
Panache: Terrible

Overall Rating: Poor
Swashbuckling Rank: Poor


[Originally posted in Cuparius.com on 28 February 2010.]


Addendum

Written by: Gene Quintano
Directed by: Peter Hyams
Performed by: Catherine Deneuve, Mena Suvari, Stephen Rea, Tim Roth, Justin Chambers, et al.

Double Crossbones (1951) Reviewed

Double Crossbones (1951) is a moderately amusing musical comedy that lampoons the swashbuckling pirate movie of its day as well as its staple plot: the double cross, especially the kind that involves upstanding fellows who are mistaken for pirates. The upstanding fellow in pirate's clothing in this case is Davey Crandall (played by Donald O'Connor), a mere shopkeeper's assistant, who, through a series of misadventures, becomes a prince among buccaneers. I am giving away nothing in mentioning this, as his status is clearly stated by the narrator at the beginning of the film (which is, incidentally, by far the most humorous part of the film). Donald O'Connor is most famous for his part in Singin' in the Rain and his recurring role in the Francis the Talking Mule series of movies. As Davey, O'Connor unleashes his skills as a dancer, singer, and comic, but a weak script and weak performances by most of the cast prevent this film from being more than somewhat memorable. It is light entertainment with only one outstanding feature: O'Connor's incredible agility.

Writing: Mediocre
Directing: Mediocre
Acting: Mediocre
Cinematography: Fair
Stunts: Great
Swordplay: Fair
Panache: Fair

Overall Rating: Fair
Swashbuckling Rank: Good


[Originally posted in Cuparius.com on 6 July 2013.]


Addendum

Written by: Oscar Brodney and John Grant
Directed by: Charles Barton
Performed by: Donald O'Connor, Helena Carter, et al.

Swashbuckling Thought of the Day 2023-08-26

Having recently finished the first season of Zorro (the Disney television show from the 1950s), I intended to write a review of it and update it after watching the second season, but I decided to wait until I've finished the entire series (minus the later television movies, which are currently unavailable). I watched the first episode of Season 2 yesterday, and it appears the quality did not suffer. The seasons are long, though, and I'm not sure when I'll reach the end. Patience, my friends.

Z

Robin of Sherwood (1984-1986) Semi-Reviewed

For some reason, I can't bring myself to write a formal review of Robin of Sherwood. I watched too many episodes in too short a span too long ago to compose a comprehensive review. So, what follows will be a jumble of thoughts. I apologize to my handful of readers for the lack of thoroughness. Perhaps, if I ever have access to the entire series without commercial interruptions, I shall one day share my observations in greater detail.

Robin of Sherwood, a British television show first broadcast in the mid-1980s, is a tantalizing mixture of history, folklore, and fairytale. In this incarnation, Robin Hood is motivated equally by a personal moral vision shaped by circumstances and by a sacred bond to a pagan deity, Herne (John Albineri). There is, of course, highway robbery, political intrigue, daring rescues, and well-intentioned swashbuckling aplenty, but there is also an impressive variety of magic. The addition of the fantastical brings something new and, perhaps more importantly, something unpredictable to the legend of Robin Hood. One of the most impressive examples is the character of the Baron de Belleme (Anthony Valentine), about whom no more will be said lest ye watch it...

For the first two seasons, Robin (of Loxley) is played exceptionally well by Michael Praed. He is replaced in the third season rather less ably by Jason Connery, who plays the other version of Robin Hood, Robin of Huntingdon. It's a clever solution to Praed's departure, but the execution was less than satisfactory. The story seemed to lose momentum and the characters became tired caricatures. Before the end of the third season, I found myself wishing it had ended with the second.

My least favorite aspect of Robin of Sherwood, apart from the third season, is the music, which was scored by the Irish band Clannad. I have enjoyed some of their music and even some of their film scores, but their music for Robin of Sherwood is monotonous and more reminiscent of New Age—not the Middle Ages. At one point, there's a scene where the characters are actually supposed to be dancing to music being performed in their midst, but instead of music appropriate to the time period, the musicians are somehow producing sounds that could only be created by synthesizers. If it were a Blake Edwards production (or a Mel Brooks production), I would understand. In a drama, the choice is a failure. It would have been better to have cast real folk musicians in the scene playing period appropriate instruments.

Overall, I enjoyed the first two seasons immensely and found the third to be a disappointment. The score is regrettable, but at least I can mute the theme music.

Writing: Good (S1-2); Poor (S3)
Directing: Good (S1-2); Fair (S3)
Acting: Good (S1-2); Fair (S3)
Cinematography: Good
Stunts: Good
Swordplay: Fair
Panache: Great (S1-2); Mediocre (S3)

Overall Rating: Good (S1-2); Fair (S3)
Swashbuckling Rank: Good (S1-2); Fair (S3)

Written by: various
Directed by: various
Performed by: Michael Praed, Judi Trott, Phil Rose, Clive Mantle, Mark Ryan, Ray Winstone, Peter Llewellyn Williams, Jason Connery, et al.

[Read this article from The History Files for more information about Robin of Sherwood.]

The Adventures of Robin Hood (1955-1960) Reviewed

Series/Season 1

The early episodes of The Adventures of Robin Hood (of which there were 39) ran from September 1955 to July 1956 and give an account of the legendary figure's career beginning with his return from the Crusades. Unjustly deprived of his land and title, he becomes an outlaw and retreats to Sherwood Forest, gradually gathering a band of misfits who share his vision of wealth redistribution. Made for family viewing, the violence is mild and the romance is tame, but there is an earnest subversiveness in its writing due partly to its source material and partly (perhaps) to the fact that two of the writers were blacklisted in Hollywood during the communist witchhunt of the 1950s.

Robin Hood (Richard Greene) is portrayed with self-assurance, a sense of humor, and a consistent concern for the welfare of others regardless of their station or background. You would be forgiven if you mistook him for an archtypical father figure of 1950s family television rather than a swashbuckling adventurer, for he could easily pass as such with a change of costume, but he is cunning and quick to act when an innocent life is in danger or a rich purse is in need of lightening for a good cause.

Archie Duncan and Alexander Gauge are fine as Little John and Friar Tuck respectively, but Bernadette O'Farrell is especially good as a courageous and clever Maid Marian. The camaraderie of Robin's band of outlaws is believable, although the frequent re-use of actors in different roles is less so.

The first season (series) of The Adventures of Robin Hood is an entertaining and intelligent re-telling of the tales suitable for all ages. With any luck, the later seasons are equally enjoyable. Someday, perchance, I'll be able to watch them and review them.

Writing: Good
Directing: Good
Acting: Good
Cinematography: Fair
Stunts: Fair
Swordplay: Fair
Panache: Good

Overall Rating: Good
Swashbuckling Rank: Fair/Good

Written by: various
Directed by: various
Performed by: Richard Greene, Bernadette O'Farrell, Victor Woolf, Archie Duncan, Alexander Gauge, Alan Wheatley, et al.

Robin Hood (2010) Reviewed

First, let it be stated that Robin Hood, the film directed by Ridley Scott, is less a swashbuckling adventure in the traditional sense than an attempt to reimagine the legendary hero's origin in an historical context that discards much of the romantic mythology surrounding the reign of Richard Coeur-de-Lion. Inasmuch as the earliest legends of Robin Hood place his activities during the reign of an unspecified King Edward, the retelling of the story with an accurate portrayal of King Richard's reign is hardly less faithful than a purely fanciful portrayal of the same. Naturally, much of the conflict arises from King John's depredations, but unlike the popular reinterpretations of the Robin Hood myth that began in the 16th century, the return of Good King Richard, crusading in the Holy Land, is not awaited like the Second Coming of Christ to deliver England from evil. Unlike the myth as it has evolved in later centuries, Robin Hood is not a dispossessed nobleman, but a yeoman, a commoner, just as he was in the earliest tales. Unlike the character as it has been portrayed in film since the beginning (with the exception of Robin and Marian), Robin Hood in this film is a man, albeit a remarkable one, whom one could plausibly believe really lived.

Russell Crowe, as Robin Hood, is eminently qualified to imbue the character with a degree of realism almost without precedent. His is a Robin Hood with a lifetime's worth of experiences even before he has embarked on the path that will bring him immortality in folklore. Cate Blanchett, as Marian, has perhaps the more daunting challenge of giving life to a character who is not only entirely fictional, but was not even originally part of the Robin Hood legend. The script gives Marian a better grounding than she has ever enjoyed in any other telling, and Blanchett adds believability and strength to the character's noted beauty. Together, Crowe and Blanchett create a Robin and Marian who are individuals with their own complexity, whose relationship evolves humanly rather than arbitrarily. This is no small achievement for anyone tackling a story with such a long history and an audience with such deeply-ingrained expectations.

Although the trappings of this film suggest the pursuit of historical accuracy, there is also an allegiance to the spirit of the tales of Robin Hood, from the inclusion of such fictional characters as Marian and Alan-a-Dale, to the sentiments of true justice, compassion, and opposition to hypocrisy and tyranny. By choosing to set the film during the latter part of King John's regency and the early part of his reign, it was possible to link Robin Hood directly to historic events that epitomize a rejection of the absolute rule of monarchs and the rise of a unique English identity beyond Saxon and Norman divisions.

All in all, Scott's Robin Hood is the greatest film adaptation of the legend since Robin and Marian, and certainly the greatest film depicting Robin Hood at either the beginning or height of his career as the bandit who "steals from the rich to give to the poor."

Writing: Great
Directing: Great
Acting: Superb
Cinematography: Great
Stunts: Good
Swordplay: Good
Panache: Great

Overall Rating: Great
Swashbuckling Rank: Good


[Originally posted in Cuparius.com on 11 June 2010.]


Addendum

Written by: Brian Helgeland, Ethan Reiff, and Cyrus Voris
Directed by: Ridley Scott
Performed by: Russell Crowe, Cate Blanchett, Max von Sydow, William Hurt, Mark Strong, Oscar Isaac, et al.

Robin and Marian (1976) Reviewed

Robin and Marian (1976) is a different kind of Robin Hood tale. It is the story of an older Robin Hood, one who left his Marian twenty years ago to follow his king, Richard Lionheart, in the Crusade to free the Holy Land. The film begins with the last siege of Robin's military career, against a ruined castle with no soldiers to defend it, to appease King Richard's mad hunger for gold. The setting here is clear. Although Robin Hood is folkloric, the film presents an historical context for his later years, one in which King Richard was a bloody tyrant whose sole concern for England was to bleed her of her wealth to pay for his expeditions (and his ransoms when he was captured) and bleed her of her able-bodied men, most of whom would die in the Crusades far from their native land.

Robin returns to England intent to put the horror and disillusionment of the last two decades behind him and retire, as it were, from the battlefield, but events lead him to return also to his former life as a hero of the oppressed when he learns of the plight of his true love, Marian, who is now the abbess of a convent. Robin is still valiant and idealistic, but alas he is also twenty years older. Fortunately, so is his archenemy, the Sheriff of Nottingham. There is action and adventure aplenty, but the challenges are greater (and perhaps a bit more humorous) when met by men of their age.

Sean Connery gives one of his best performances as a Robin Hood at the end of his career, and Audrey Hepburn gives an equally excellent performance as Marian in a role that had previously never been endowed with so much humanity. Nicol Williamson (who would later play Merlin in Excalibur) gives a sober, subtle performance as Robin's loyal comrade, Little John. Robert Shaw's Sheriff of Nottingham is both formidable and approachable as a character with believable motives and discernable virtues even in his opposition to Robin. Richard Harris deserves especial mention for his portrayal of the last king of England to rule before the adoption of the Magna Carta. Harris simmers with the omnipotence and instability of absolute monarchs harkening back to the Roman emperors, and it is his interaction with Robin that best enables the audience to envision the hardship and insanity that consumed twenty years of Robin's life abroad.

Director Richard Lester once again proves his mettle as one of the greatest directors of period action movies of the 20th century. If this film has a weakness, it is John Barry's score, which is both unambitious and overwrought.

Although there are moments of levity bordering on swashbuckling parody, Robin and Marian is a serious film that confronts issues of war, religion, class, and, perhaps most of all, love's endurance.

Writing: Great
Directing: Great
Acting: Great
Cinematography: Great
Stunts: Good
Swordplay: Good
Panache: Good

Overall Rating: Great
Swashbuckling Rank: Good


[Originally posted in Cuparius.com on 7 October 2011.]


Addendum

Written by: James Goldman
Directed by: Richard Lester
Performed by: Sean Connery, Audrey Hepburn, Robert Shaw, Nicol Williamson, Denholm Elliott, Ronnie Barker, Kenneth Haigh, Ian Holm, Richard Harris, et al.

Robin Hood (1922) Reviewed

Robin Hood was one of the great swashbuckling epics of its time when it was made in 1922. Its production values are lavish, its scale is huge, and it's long. In fact, it's a bit too long. Fifty percent of the film is devoted to the story of Richard the Lion-Hearted (Wallace Beery), the nefarious Prince John (Sam De Grasse), and how the loyal Earl of Huntingdon (Douglas Fairbanks) just wants to do what is right, but is misunderstood. The story, to put it with merciful brevity, meanders, stalls, and meanders again throughout the first half of the film. The audience is, however, treated with views of truly magnificent sets and impressive pageantry with a cast of hundreds if not thousands. After a seemingly interminable prologue dominated by pomp, evil posturing, and kingly presidings, the Earl of Huntingdon finally becomes Robin Hood, fighting for justice in England until King Richard can return from the Crusade and liberate his land from the usurper.

Let us ignore the historical facts concerning King Richard I, his brother John, the Crusades, and England under both rulers for the purpose of this review, for the legends of Robin Hood are themselves steeped in a mythical interpretation of the period.

The film certainly picks up pace during its second half when Robin Hood is "born." Immediately, there is a spring to its step. I mean that literally. Robin Hood and his Merry Men spring into the scene and spring all throughout the rest of the film, until one thinks one is watching a stage production of Peter Pan. It's a little too springy for my taste. The stunts are amazing as always whenever Fairbanks is around, and he carries himself as the usual happy-go-lucky god of derring-do, but he and his Merry Men just seem a little too merry. I am not exaggerating this! It sounds like an exaggeration, but there is entirely too much frolicking hither and thither to be taken seriously as a grand adventure. They are simply over-the-top full of merriment. If it were a musical, it would be more appropriate, but it's a silent film. Don't misunderstand me; it's very entertaining, and it's funny, and I think the humor of it is intentional, but I'm not quite sure.

The DVD includes a short subject by Will Rogers in which he good-naturedly pokes fun at the smash hit film, and his portrayal of the Merry Men rather confirms my description. It is truly hilarious.

Without intending any disrespect to Fairbanks' work, it is one of his more amusing efforts...

Writing: Fair
Directing: Good
Acting: Fair
Cinematography: Great
Stunts: Great
Swordplay: Mediocre
Panache: Good

Overall Rating: Good
Swashbuckling Rank: Good


[Originally posted in Cuparius.com on 21 August 2006.]


Addendum

Written by: Douglas Fairbanks (as Elton Thomas), et al.
Directed by: Allan Dwan
Performed by: Douglas Fairbanks, Wallace Beery, Sam De Grasse, Enid Bennett, Paul Dickey, William Lowery, et al.

The Adventures of Robin Hood (1938) Reviewed

Original Review

The Adventures of Robin Hood from 1938 is a film that owes its reputation, I believe, to faulty memories. This is a film I would like to like. But I can't. It ought to be a great film. But it isn't. Errol Flynn as Robin Hood and Basil Rathbone as Sir Guy of Gisbourne are both excellent in their roles, and the legend of Robin Hood is rich with possibilities for tales of adventure, romance, treachery, and heroism. Alas, this version is a drudgery to behold, nay, a torture. Claude Rains' talent as a general anaesthetic permeates the film until the last scene. Flynn may be charming as the hero, but the combat scenes defy believability even for swashbuckling fare. I'm sure the garish Technicolor was dazzling in its day, but the film never gives one a sense of place other than that of a Hollywood set. The writing is unforgivably bland, the directing is uninspired, and the all-around inferior quality of the acting is a sad consequence of both. Somehow, though, Flynn's panache shines through the dismal shambles in which he finds himself, and perhaps it is this alone that has contributed to this film's undeserved status as a classic. At all other levels, one can't help thinking it could have been done better—much better.

Writing: Terrible
Directing: Poor
Acting: Mediocre
Cinematography: Fair
Stunts: Fair
Swordplay: Fair
Panache: Great

Overall Rating: Mediocre
Swashbuckling Rank: Fair Good


[Originally posted in Cuparius.com on 21 August 2006.]

Extended Review

It has been 17 years since I wrote my first review of The Adventures of Robin Hood, and in the interest of fairness and an awareness of how my perception may have changed after having seen many more swashbuckling movies in the intervening years, I thought it would be wise to give it another viewing. My opinion of it has indeed changed. I chuckle now at the offense I took at its shortcomings—as if it ever aspired to be anything more than what it proclaimed itself to be (and succeeded at being): a romantic adventure movie clothed in legendry. It really is better than I remembered, and I'm not sure whether it's because I've seen so many more movies that fall short of it or because I have greater understanding of the importance of it in the context of the era in which it was made: a world in the grip of the Great Depression and on the brink of another World War. It truly was an inspirational movie as well as an escapist one. And it was genuinely well made. In many regards, it was good enough, but in others it was excellent. It is a marvel of set design and, in some scenes, fight choreography. The final duel between Robin Hood and Sir Guy is spectacular. It's an exciting and heartfelt movie that may not be the best swashbuckling movie or the best Robin Hood movie or the best Errol Flynn movie, but it's a good movie in all of those categories. I can appreciate it now.

Writing: Fair
Directing: Fair
Acting: Fair
Cinematography: Good
Stunts: Good
Swordplay: Good
Panache: Great

Overall Rating: Good
Swashbuckling Rank: Good/Great

Written by: Norman Reilly Raine and Seton I. Miller
Directed by: Michael Curtiz and William Keighley
Performed by: Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude Rains, et al.

The Story of Robin Hood and His Merrie Men (1952) Reviewed

In 1952, Walt Disney Productions released its second live-action film, The Story of Robin Hood and His Merrie Men. It is a colorful and well-produced spectacle to be sure, with good pacing and excellent music (thanks largely to Elton Hayes as the minstrel Allan-a-Dale), but the story is stale and much of the acting workmanlike. "Good King Richard," whose absence from England as he participates in the Crusades sets the stage for Prince John's ambitious plans to seize power, is predictably placed on a pedestal as the popular champion of the people. Yes, it's propaganda. Yes, it's lazy. Yes, it diminishes Robin Hood's story. Richard Todd is unremarkable as Robin Hood, which is unfortunate, but it's hard to imagine any actor being able to do much with the script provided. The film may be a feast for the eyes and ears, but it lacks flavor and offers little food for thought. As an escapist adventure, it is moderately entertaining.

Writing: Fair
Directing: Good
Acting: Fair
Cinematography: Good
Stunts: Good
Fight Choreography: Good
Panache: Fair

Overall Rating: Fair/Good
Swashbuckling Rank: Good

Written by: Lawrence Edward Watkin
Directed by: Ken Annakin
Performed by: Richard Todd, Joan Rice, Peter Finch, Martita Hunt, et al.

Against All Flags (1952) Reviewed

Against All Flags (1952) is a story of swashbuckling espionage set in Madagascar in the year 1700. Brian Hawke, played by Errol Flynn, is an officer in the Royal Navy whose mission is to infiltrate a fortified settlement of pirates who threaten trade in the Indian Ocean. Presenting himself as a deserter who now desires to join the pirates and sail "against all flags," Hawke must allay suspicions that he is a spy as he attempts to learn the pirates' defenses.

There are, however, complications, and foremost among them is the daughter of the Grand Mogul whom he saves from a burning ship and whose true identity he must conceal lest the pirates ransom her or worse, which would put at risk the life of every Englishman in India. Mistress Stevens is the other complication. Otherwise known as "Spitfire" (and played accordingly by Maureen O'Hara), Stevens is a strong-willed woman with her own ship, which entitles her to a place amongst the captains who rule the pirate port. Both women take an interest in Hawke and, well, that accounts for half the story.

There are many attempts throughout the film to convey the bravado, wit, and charm of Flynn's classic swashbuckling forays, but it is merely superficial when there is no greater drama to support it. The importance of stopping the pirates is undermined by both the lack of commitment by the Royal Navy (one ship to destroy an entire fortified port?) and the buffoonery of its officers (of a kind more in keeping with Gilbert and Sullivan than with reality). The importance of defending the honor of the Grand Mogul's daughter is rather compromised by the lighthearted portrayal of women being sold at auction as "lawful wedded wives" to pirates, one of whom asks upon purchasing his spouse, "Now that I got her, what does I do with her?" The importance of any serious aspect of the story whatsoever is utterly deflated by the stilted dialogue, the unconvincing sets, the freshly laundered costumes of nearly every ne'er-do-well inhabitant of the pirate port, and the clownish acting of every actor in the film with the exception, to a degree, of Flynn, O'Hara, and perhaps the two actors playing Hawke's subordinates, Jones and Harris (Phil Tully and John Alderson).

Flynn seems obviously tired in this film, but O'Hara manages to infuse her role with as much subtlety and energy in the right places as the shallow writing will allow. Anthony Quinn, who plays Captain Brasiliano, the chief villain, plays his role as it was probably written: as a loud, cloddish bully. The worst performances belong to Bill Radovich as Hassan, the eunuch on the Grand Mogul's ship (giving what appears to be an impersonation of Curly Joe Dorita), and Paul Newlan as Crop-ear, the pirate who doesn't know what do with the "wife" he bought. They were undoubtedly intended as comic relief, but the only relief they provided was their absence.

At another time, with another writer, another director, another studio, and a change of almost the entire cast, Against All Flags might have been a good romantic adventure in the swashbuckling tradition. Instead, it is a lighthearted musical with only one song (a sea chantey sung by Flynn) performed as if by a local community theatre. Against All Flags is not entirely without its merits, but they are easier to observe if one's expectations are low.

Writing: Poor
Directing: Mediocre
Acting: Poor
Cinematography: Fair
Stunts: Fair
Swordplay: Fair
Panache: Fair

Overall Rating: Mediocre
Swashbuckling Rank: Fair


[Originally posted in Cuparius.com on 29 March 2011.]


Addendum

Written by: Æneas MacKenzie and Joseph Hoffman
Directed by: George Sherman
Performed by: Errol Flynn, Maureen O'Hara, Anthony Quinn, et al.

Fanfan la Tulipe (1952) Reviewed

It would be easy in a review to spoil the fun of a film such as Fanfan la Tulipe by offering even the barest of descriptions of its plot. Much of the delight in watching it is derived from the simplest surprises, so much so that one cannot even describe how its titular protagonist, Fanfan, earned the sobriquet of la Tulipe without depriving the audience of one of the film's pleasures.

Suffice it to say that Fanfan (played by Gérard Philipe) is a happy-go-lucky rogue, meaning no one any harm, who is merely minding his own business (i.e., having a tumble in the hay with the farmer's daughter), when he is rudely interrupted and pursued by a mob with the intent of forcing him to marry said daughter. Set in France during the reign of Louis XV, it is a time of war, and recruiters for the King's armies are working hard to replenish their ranks so the grand game of war can continue. This, Fanfan decides, is his opportunity to escape imminent matrimony, so he makes his break to enlist. Fanfan, alas, is not the soldierly type, but he is the swashbuckling type, and his antics are the stuff of legend against the backdrop of earnestly waged European warfare.

Being a French (and Italian) film set in France during a romantic era, there is, of course, l'amour, and it is naturally the prime motivator. Without revealing too much, the cast includes Sylvie Pelayo as Princess Henriette, Geneviève Page as the Marquise de Pompadour, and Gina Lollobrigida as Adeline, all three of whom are distractingly beautiful, and all three of whom play their parts perfectly.

Philipe is flawless as the iconic hero of the film. Whimsical, rambunctious, charmingly naïve, and disarmingly wise, his Fanfan propels the story like a charging D'Artagnan. To his credit, Philipe performed most of his own stunts—of which there were many—and performed them extremely well. (Fanfan la Tulipe is replete with daring stunts and combat scenes, and its carriage chase sequence is one of the best chases ever filmed.)

If the film were a triptych, the Folly of War would be the third panel accompanying Love and Adventure. Indeed, beginning with the introduction, the 18th century European institution of (ostensibly) civilized warfare is roundly mocked, and this mockery continues throughout the film with satirical depictions of recruitment, training, tactical planning, battles, and espionage. The primary antagonists, as all three elements converge, are Marshal d'Estrées (Henri Rollan) and Louis XV (Marcel Herrand), both of whom are played impeccably.

Fanfan la Tulipe is deservedly regarded as a classic of French filmmaking and the swashbuckling genre. In both regards, its greatness is undimmed and it remains a joy to behold.

Writing: Great
Directing: Great
Acting: Great
Cinematography: Superb
Stunts: Great
Swordplay: Good
Panache: Superb

Overall Rating: Great
Swashbuckling Rank: Great/Superb


[Originally posted in Cuparius.com on 28 September 2012.]


Addendum

Written by: René Wheeler, René Fallet, Christan-Jaque, and Henri Jeanson
Directed by: Christian-Jaque
Performed by: Gérard Philipe, Gina Lollobrigida, Marcel Herrand, Olivier Hussenot, Henri Rollan, Nerio Bernardi, Jean-Marc Tennberg, Geneviève Page, Sylvie Pelayo et al.

The Flame and the Arrow (1950) Reviewed

The Flame and the Arrow (1950) was Burt Lancaster's first foray into the swashbuckling genre. Set in medieval Lombardy, Lancaster plays the role of Dardo Bartoli, a man naturally inclined to live by his own rules, apart from civilization, and who, like Robin Hood, finds himself at odds with the authorities and ultimately destined to lead others in rebellion. The authorities in this case are the Hessian invaders led by Count Ulrich, otherwise known as "The Hawk" (Frank Allenby). In addition to territorial invasion, "The Hawk" has also encroached on Dardo's marital bliss. Although Dardo has given up hope for his faithless wife (and indeed has no shortage of fair village damsels willing to take her place), the center of Dardo's world is his son, and it is only when his son is abducted by Count Ulrich that he takes up arms. Further outrages, however, will force him to consider the larger scale of events and cause him to assume his predestined role.

The story is a perfectly suitable framework for a swashbuckling film, but there are elements that render it surprisingly unconventional. Our hero Dardo, for instance, is not a swordsman. As the title implies, he is likelier to fight with a bow (in which his expertise is unchallenged) or, if it comes to close combat, a torch or anything else handy. This makes for an unusual climactic duel in which Dardo apologizes for his genuine lack of expertise.

Lancaster's performance is convincing and more complex than is normally the case for such roles, but there are moments when one wonders whether the screenwriter meant the character to be Dardo Bartoli or Burt Lancaster himself. One of the greatest strengths of The Flame and the Arrow is its creative and effective use of stunts. The fact that Lancaster and Nick Cravat (who played Piccolo) did their own stunts is a testament to their talent and training as acrobats. This is to be applauded in any swashbuckling film. The fact that there is no explanation for how Dardo came to master these specialized skills — skills so specialized that he is able to impersonate a professional acrobat and execute stunts before an audience — is a failure of writing or editing. This error is further underscored by Dardo's spontaneous gymnastic routine later in the film. It is entertaining in its own right, but it breaks the spell.

Although most of the parts are somewhat simplistic, much of the cast is above average. Nick Cravat is well cast as Dardo's mute friend Piccolo, who communicates in pantomime. Frank Allenby is effective as Count Ulrich. Robert Douglas is convincing as the foppish Marchese Alessandro de Granazia, the local Italian nobleman who defies Ulrich only when it comes to taxes. Norman Lloyd is darkly amusing as the Troubador (and imaginative with insults). Last but far from least, Virginia Mayo is quite engaging as Anne de Hesse, the beautiful and strong-willed niece of Count Ulrich. The remaining members of the cast are basically functional.

The Flame and the Arrow is not a masterpiece and not without flaws (halberds that fall apart at the slightest impact spring to mind), but it successfully introduces new ideas to an old genre without trampling it, which is a worthy goal.

Writing: Fair
Directing: Good
Acting: Good
Cinematography: Good
Stunts: Superb
Swordplay: Fair
Panache: Great

Overall Rating: Good
Swashbuckling Rank: Great


[Originally posted in Cuparius.com on 3 September 2012.]


Addendum

Written by: Waldo Salt
Directed by: Jacques Tourneur
Performed by: Burt Lancaster, Virginia Mayo, Robert Douglas, Aline MacMahon, Frank Allenby, Nick Cravat, Lynn Baggett, Gordon Gebert, Norman Lloyd, et al.

Captain Kidd (1945) Reviewed

Captain Kidd from 1945 is a lopsided classic of the pirate genre, with the bulk of its favor being the weight of Charles Laughton's highly entertaining performance as Captain William Kidd. Although it departs from historical accuracy more often than not, it stands as a classic pirate movie with buried treasure, brazen treachery, terrible butchery, and sea battles galore. Some of the roles and those cast to play them are weak and workmanlike, but Reginald Owen complements Laughton nicely as Kidd's manservant, Shadwell (employed to teach his master the social etiquette he aspires to use in his climb to the peerage), and Henry Daniell succeeds in giving his role as King William III a convincing air of authority and royal puissance. Captain Kidd would have profited from more appropriate casting [in some cases] (Randolph Scott was not the optimum choice for the part of the hero, Adam Mercy), and a few more examples of bloody mêlée would not have gone amiss, but all in all it is worth watching just to see Laughton strutting the deck on the high seas again.

Writing: Fair
Directing: Fair
Acting: Fair (Mediocre to Good)
Cinematography: Good
Stunts: Good
Swordplay: Fair
Panache: Great (Laughton), Fair (Scott)

Overall Rating: Good
Swashbuckling Rank: Good


[Originally posted in Cuparius.com on 12 May 2009.]


Addendum

Written by: Norman Reilly Raine and Robert N. Lee
Directed by: Rowland V. Lee
Performed by: Charles Laughton, Randolph Scott, Barbara Britton, Reginald Owen, Henry Daniell, et al.

Pirates of Tortuga (1961) Reviewed

Pirates of Tortuga (1961) does not so much revel in swashbuckling clichés as wallow in them. Revelry would at least have indicated an appreciation for the genre. Instead, we have a reliance on stereotypes that are as tiresomely executed as they are uninspired. We have the hero of the picture, Bart (or Captain Paxton as he is more commonly addressed), played standoffishly by Ken Scott. We have the wild-mannered yet presumably alluring object of every man's desire, the pickpocket and self-described actress Meg, played incomprehensibly by Letícia Román. And we have the villain, the rapacious and bloodthirsty pirate (and former governor of Jamaica) Henry Morgan, played with comical fervor by Robert Stephens.

We also have the two plots. In this version of history, Henry Morgan has established a pirate kingdom in Tortuga (instead of answering the summons of King Charles II concerning his sacking of Panama), has blockaded the royal colony of Jamaica for the past year, and has been plundering His Majesty's merchant ships with impunity. Paxton (or "Bart") has been given the mission of putting a stop to Henry Morgan's depredations, and he plans to do so by passing himself off as a pirate so he can better observe the defenses of Morgan's fortified port. First, however, we must watch him save Meg from the clutches of a butcher who claims she has stolen from him. Paxton, it seems, is both gallant and kindhearted, although both qualities are strained by his desire to cast her overboard when she is discovered on his ship after setting sail. Meg may be the only woman on the ship, but she is not a lady. Nonetheless, the cultured officers of the ship take it upon themselves to tutor her in ladylike manners (cue: comic relief). Suffice it to say, Meg and "Bart" are supposed to fall in love.

Pirates of Tortuga is fraught with the common failings of many other low-grade pirate movies. Accents bear no relationship to region or time period (especially where Letícia Román in concerned). The work of officers, sailors, and gunners has nothing to do with reality and everything to do with incompetent blocking. The fight choreography is a lazy pantomime. The love scenes are a lazy pantomime. The entire movie would have been more entertaining if it really were a pantomime. The only satisfaction a lover of pirate movies will derive from this one is that it ends... eventually.

Writing: Terrible
Directing: Poor
Acting: Terrible
Cinematography: Mediocre
Stunts: Poor
Swordplay: Mediocre
Panache: Poor

Overall Rating: Poor
Swashbuckling Rank: Poor


[Originally posted in Cuparius.com on 28 October 2011.]


Addendum

Written by: Melvin Levy, Jesse L. Lasky, Jr., and Pat Silver
Directed by: Robert D. Webb
Performed by: Ken Scott, Letícia Román, Dave King, John Richardson, Rafer Johnson, Robert Stephens, et al.

Swashbuckling Thought of the Day 2023-02-28

I just had an absurd idea for a swashbuckling game utilizing tiddlywinks. I have always maintained that in any gaming medium a swashbuckling game ought to emphasize action, and tiddlywinks is a dexterity game, which literally requires action, so... I must further ponder this.

Accessible Gaming Quarterly Year 4 Crowdfunding Project

I shall be posting this to each of my five gaming blogs because the cause is worthy and time is of the essence. Jacob Wood of Accessible Games has launched Accessible Gaming Quarterly Year 4, a crowdfunding project on Kickstarter to produce four more issues of Accessible Gaming Quarterly, "a zine about accessibility and inclusion in tabletop RPGs." As it states on the project page, "This project will only be funded if it reaches its goal by Thu, March 9 2023 11:59 PM EST." AGQ provides a much-needed service in this hobby, and I hope you will join me in lending support.

Jacob Wood is also the designer of several role-playing games based on Fudge including Monster Kart Mayhem, Psi-punk, and Survival of the Able.

Purchase Accessible Games products here.

Walking the Plank into 2023

Here are a few of the topics I would like to write about in Theoretical Swashbuckling in the year 2023:

• Robin Hood
• The Three Musketeers and The Four Musketeers directed by Richard Lester
• pirate-themed board games
• naval war games
• swashbuckling novels and short stories

And I will continue to post reviews of swashbuckling movies of all kinds throughout the year. Other messages may be stuffed into bottles and thrown to the sea as I deem necessary.