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: FairDirecting: 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.
