Swashbuckling Thought of the Day 2026-06-30

Lately, I've been watching The Buccaneers (1956-1957), a British television show from the same studio that produced The Adventures of Robin Hood and The Adventures of Sir Lancelot. I just watched the seventh episode, "The Slave Ship," and I must say the show is getting better and better. I must find it on DVD or Blu-ray, if possible. So far, I'm enjoying it, and I look forward to reviewing it.

The Crimson Pirate (1952) Reviewed

The Crimson Pirate (1952) is a comedic action tale set somewhere in the Caribbean sometime in the 18th Century. Burt Lancaster is Captain Vallo, a pirate of undetermined origin who has a penchant for carefree acrobatics and extravagant heists. His closest comrade and co-conspirator is Ocho (played by Nick Cravat, Lancaster's friend and fellow former circus performer), a mute pirate who is perhaps Vallo's only equal. Vallo's latest elaborate plan is unexpectedly complicated, however, by the arrival of Consuelo (Eva Bartok), the daughter of a rebel leader. It would require a flow chart to describe the plot, but here is the basic structure: A prideful pirate captain undertakes a daring heist, adds a double cross, tops it off with a triple cross, falls in love at first sight, becomes moody and sullen because of confusing emotions that are obstructing his amoral moneymaking schemes, decides to help the rebels only because he has a crush on the rebel leader's daughter, and then a montage ensues wherein the pirate captain becomes an idealistic and inspirational leader who motivates the oppressed to work industriously towards an ingenious plan to free the rebel leader and topple their oppressors. When Vallo isn't grumbling and feeling sorry for himself for liking someone, he's swinging from ropes, jumping through windows, and generally engaging in joyous gymnastic shenanigans. The story takes another whimsical turn after the rescue of Professor Prudence (James Hayter), an academician with an enthusiasm for invention that rivals that of Leonardo da Vinci. His fascination with fabulous contraptions will be central to the montage and the ingenious plan.

The primary ingredients of a satisfactory swashbuckling movie are sadly lacking, though. Even with Lancaster's introductory monologue imploring the audience to indulge the film's flagrant use of poetic license, every single thing in The Crimson Pirate defies believability. The most fantastical Sinbad movie has more solid grounding than any aspect of this film. The characters are shallow, the dialogue is rudimentary, and the story lacks spirit. The only time Vallo picks up a sword is to cut a rope, and the swordplay that does occur is embarrassingly unconvincing. The stuntwork in itself is impressive, but—without the foundation of believable characters and meaningful story—it falls flat. We just don't care.

The swashbuckling romance of The Crimson Pirate seems less like a promise than a prank, which would be forgivable if it were funny, but it isn't. It's a bit of a drag.

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

Overall Rating: Fair
Swashbuckling Rank: Mediocre

Written by: Roland Kibbee
Directed by: Robert Siodmak
Performed by: Burt Lancaster, Nick Cravat, Eva Bartok, Torin Hatcher, James Hayter, et al.

7th Sea 3rd Edition Crowdfunding Soon to Be Launched

Studio Agate has announced an upcoming Kickstarter project for a new edition (3rd) of the fantasy swashbuckling role-playing game, 7th Sea. I have no experience with the game in any edition and have never read it, but it has been a popular topic of online discussion amongst a subset of gamers for years. Click here for more information.

The Spanish Main (1945) Reviewed

The true star of The Spanish Main (1945) is the color cinematography for which it received an Academy Award nomination. It is a visually beautiful spectacle that draws the viewer in only to abandon said viewer to the usual monotony of lower tier pirate movie clichés. If it were a book, it would be unremarkable except for its lavish illustrations.

The story (for want of a more accurate word) begins with the usual unjust treatment of a good-natured fellow by a colonial governor in the Caribbean and the good-natured fellow's inevitable rise to infamy as a pirate captain and thorn in the governor's side. In this case, the good-natured fellow/scourge of the Spanish Main is Captain Van Horn (played by Paul Henreid), and the comically tyrannical governor is Don Juan Alvarado (played by Walter Slezak). There must, of course, be a noblewoman who alternately and repeatedly finds herself besotted with and repelled by the hero, and that part is Contessa Francesca (played by Maureen O'Hara). In such a story, misunderstandings are the primary tool of the writer, and the writers are unsparing in its employment. In The Spanish Main, if anything can be misconstrued by anyone, it will be.

While Slezak seems to savor his lines as he chews the scenery (and his dialogue is usually the only entertaining aspect of most scenes), O'Hara's performance wavers between middling and exceptional, and Henreid's is uniformly uninspired. The best performance comes from Fritz Leiber in a comparatively minor role as the Bishop.

The least convincing scenes (and there is plenty of competition for that title) are those involving any two of the unlikely love triangle consisting of Van Horn (who, by this time, is known as the Barracuda, captain of the Barracuda), the Contessa, and historical pirate Anne Bonney (played by Binnie Barnes). Anne Bonney could have been an interesting character, but neither the writing nor the portrayal live up to the potential.

The cinematography alone, though impressive, cannot save this excessively produced B movie. Despite the vivid color, it is bland and lifeless.

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

Overall Rating: Mediocre
Swashbuckling Rank: Mediocre

Written by: George Worthing Yates and Herman J. Mankiewicz
Directed by: Frank Borzage
Performed by: Maureen O'Hara, Paul Henreid, Walter Slezak, Binnie Barnes, et al.

The Black Swan (1942) Reviewed

One of the most entertaining courtships in the history of swashbuckling films is that of Tyrone Power as buccaneer Jamie Waring and Maureen O'Hara as Lady Margaret Denby in 1942's The Black Swan. Although opposites attract (and socially they could scarcely be in greater opposition), they are far more similar in temperament, which leads to an amusing tug of war amongst the backdrop of warring pirates and privateers in the Caribbean during the reign of William III in England and Captain Henry Morgan in Jamaica. The fencing is excellent, as can be expected with Tyrone Power in the lead, although it suffers in at least one scene from the film having been unnecessarily sped up, which is certainly dismaying for those who appreciate Power's swordsmanship. Beautifully filmed and scored, The Black Swan ranks as one of the genre's enduring classics.

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

Overall Rating: Great
Swashbuckling Rank: Great


[Originally posted in Cuparius.com on 29 July 2009.]


Addendum

Written by: Ben Hecht and Seton I. Miller
Based on: The Black Swan by Rafael Sabatini
Directed by: Henry King
Performed by: Tyrone Power, Maureen O'Hara, Laird Cregar, Thomas Mitchell, George Sanders, Anthony Quinn, George Zucco, 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.

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.

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.

Raiders of the Seven Seas (1953) Reviewed

Raiders of the Seven Seas is another in a long line of perfunctory pirate pictures of the 1950s that is not a musical only because of its lack of song and dance. There is, of course, the Basic Guy, in this case a "legendary" French-Spanish pirate named Barbarossa played by John Payne in as basic a leading man capacity as is possible. He's a Good Guy, but a Rascal, which means he'll frustrate and annoy the leading lady until the inevitable happens. There is the Sidekick known as Peg Leg, played blandly by Lon Chaney, Jr., who is effectively a rescue dog after being saved by Basic Guy from the lash. There is the Hot-Tempered Rich Girl named Alida, played very capably by Donna Reed in spite of the limitations caused by a formulaic screenplay (and whose performance is the sole redeeming feature of the film). And, finally, there are the Bad Guys who act in standard Bad Guy fashion. Oh, and there is an Orphan thrown in for good measure in an attempt to maximize sympathy.

This film is not worthy of analysis or even summarizing. Apart from Reed, it offers nothing in the way of entertainment; apart from a hastily sketched backstory (if that), it contributes nothing to the swashbuckling genre. If you need background noise as you do household chores, you might find it tolerable. (And yes, Mystery Science Theater 3000 or Rifftrax could have made it nearly enjoyable.)

Writing: Poor
Directing: Poor
Acting: Mediocre (Donna Reed: Good)
Cinematography: Poor
Stunts: Mediocre
Swordplay: Mediocre
Panache: Poor

Overall Rating: Poor
Swashbuckling Rank: Mediocre

Written by: John O'Dea and Sidney Salkow
Directed by: Sidney Salkow
Performed by: John Payne, Donna Reed, Lon Chaney, Jr., et al.

Yankee Buccaneer (1952) Reviewed

Yankee Buccaneer (1952) is a forgettable swashbuckling movie loosely inspired by U.S. naval history. The plot has so little to do with reality that I'll dispense with addressing its multitude of historical violations and judge it solely on its lack of merits as a standard pirate movie. It is the 1820s and the United States Navy, determined to quash the outbreak of piracy that has been having a deleterious effect on the U.S. economy since the conclusion of the War of 1812, has sent Lt. David Farragut (Scott Brady) to deliver sealed orders to Commander David Porter (Jeff Chandler). The orders, as one may surmise by the film's title, require the ship and her crew to disguise themselves as pirates and infiltrate the hiding places of the Caribbean pirates so the Navy may better seek them out and destroy them. Breaking out what appear to be brand new Halloween costumes, the officers and crewmen sheepishly don their disguises and embark on a series of misadventures that will involve Portugese, Spaniards, native tribesmen (including one played by Jay Silverheels), a Portugese countess to supply the necessary romance (played by Suzan Ball), and a pirate. Yes, a — as in one — pirate, played with disgrace by Joseph Vitale. If ever an actor has played the part of a pirate more woodenly, then I have yet to see it. The standard comic relief is Chief Petty Officer Link (played by George Mathews), the good-natured oaf who gets into trouble and gets others into trouble, but is loyal to the end — predictably, uninterestingly standard.

Despite the "surprise" of the heroes masquerading as pirates in order to defeat pirates, there are no surprises whatsoever in this film. The dialogue tries strenuously to make everything as clear and obvious as possible, which provides little room for any actual acting to take place (not that I'm forgiving Vitale, who could have been out-acted by an amusement park automaton). The plot is far less interesting than the lives of the historical figures it abducts, and the liberties it takes with history are done neither for the sake of entertainment nor artistic license, but rather for the sake of conformity to formulaic filmmaking. Even for those whose swashbuckling yearnings are simple, there is little on offer here. There is but one brief scene of swordplay in the entire film, and none of the combat scenes involve pirates of any kind. Adhering to the real historical events would have yielded far more action (and pirates) than anything on display in Yankee Buccaneer. In more ways than one, there is nothing to see here. Move along.

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

Overall Rating: Mediocre
Swashbuckling Rank: Mediocre


[Originally posted in Cuparius.com on 20 August 2013.]

Addendum

Written by: Charles K. Peck, Jr.
Directed by: Frederick De Cordova
Performed by: Jeff Chandler, Scott Brady, Suzan Ball, Joseph Calleia, George Mathews, et al.

Buccaneer's Girl (1950) Reviewed

What happens when a woman from Boston stows away on a ship that is captured by pirates? In Buccaneer's Girl (1950), she sings and dances her way into everyone's heart, especially the pirate captain's, whilst guarding a secret that would rock her newly adopted home of New Orleans should it be discovered.

Yvonne De Carlo plays Deborah McCoy, the fearless, streetwise heroine whose life and fate become intertwined with the debonair buccaneer Frederic Baptiste played by Philip Friend. Baptiste is a humane and gallant pirate captain who inspires loyalty and respect. He is, in a word, a gentleman. McCoy, in contrast, is no lady. Any of the manners she displays were learned from Madame Brizar (Elsa Lanchester), the headmistress of a local school for women specializing in singing and dance instruction. Manners, for McCoy, are a means to an end, which, in her case, is a better life. Baptiste, on the other hand, is motivated by a sense of justice to commit crimes on the high seas, and the beneficiaries of his exploits are, as in the case of Robin Hood and Zorro, those who have been wronged by the rich and powerful.

There is, as a result, the mayhem of armed conflict and amorous conflict as different worlds collide, but in both instances the excitement is minimal. The combat scenes are bloodless, uneventful affairs, which is a fair description of the love scenes as well. The plot seems to be an excuse to give the lead actress some singing time in routines that are frankly more suited for a Bob Hope and Bing Crosby comedy than an historical action movie.

Buccaneer's Girl is a semi-comedic, semi-romantic, semi-adventurous near musical with piratical trappings. To call it a swashbuckling movie would be to dilute the definition. It could charitably be called a romantic comedy, but more by virtue of the filmmakers' intentions than by results. It may provide light entertainment or background noise for 77 minutes, but little more than that.

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

Overall Rating: Mediocre
Swashbuckling Rank: Mediocre


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

Addendum

Written by: Harold Shumate, Joseph Hoffman, Samuel R. Golding, and Joe May
Directed by: Frederick De Cordova
Performed by: Yvonne De Carlo, Philip Friend, Robert Douglas, Elsa Lanchester, et al.

Swashbuckler (1976) Reviewed

The generically named Swashbuckler (1976) is indeed generic, which does not, unfortunately, prevent it from being distinctly bad. Much of the credit for the film's shortcomings belong to the screenplay. There are limits to what even the greatest actors can do with a rotten script, which is why they are normally choosy (although there are occasional lapses of judgment as in the cases of Robert Shaw, James Earl Jones, and Geneviève Bujold). There is, however, no shortage of actors willing to turn in an appalling performance appropriate to the lousiness of their lines (for which we may be truly thankful to Peter Boyle and Beau Bridges).

Set in Jamaica in 1718, we are informed at the beginning of the film that this is the glorious age of piracy, when buccaneers fought the oppressive rule of colonial governors throughout the Caribbean, and that the most famous pirate of all was Captain Ned Lynch. This is straightforward enough. We have the setting, the conflict, the protagonist, and the antagonist neatly summarized. Undoubtedly there will be piratical antics, imperialist depredations, wrongs to be righted, and a love-hate romantic interest thrown in somewhere. But first things first. Something bad is about to happen to someone we don't know, but we know they don't deserve it because the townspeople we don't know appear to disapprove. In this case the victim is Nick Debrett (Jones), who is about to be hanged by the lazily named Major Folly (Bridges), which is contrary to the wishes of the general population of Kingston, Jamaica. As luck would have it (and as the music informs us in no uncertain terms), the heroes arrive just in the nick of time aboard the good ship Blarney Cock (played by the Golden Hinde II, a full-scale replica of Sir Francis Drake's famous ship) and save the day with cannon fire, rope-swinging, and piratey boisterousness. At this point we are introduced to Captain Ned Lynch (Shaw), who loves nothing better than fighting, robbing, wenching, and composing limericks.

In short order we are also introduced to Lord Durant (Boyle), the decadent, depraved, despotic governor of Jamaica whose 20th century American accent does nothing to undermine the quality of the fine script. We are also introduced to Lord Durant's most prominent oppressed citizens, our heroine Jane Barnet (Bujold) and her mother, Lady Barnet (Louisa Horton), who have been evicted from their mansion and deprived of their possessions after Sir James Barnet (Bernard Behrens) is found guilty of integrity and therefore imprisoned.

The story, of course, leads inexorably to encounters (and conflict) between Ned Lynch and Jane Barnet, conflict between them and Lord Durant, and the inevitable Daring Rescue Attempt followed by the inevitable Climactic Duel. (I'm not giving anything away. Every element of the plot is announced via semaphore by a flag-wielding screenwriter.)

It is a pity such beautiful cinematography and scenery were wasted on such an utterly banal story and apparently random casting. If Avery Schreiber can land a role in the film (as the pirate Polonski), it is surely an indicator that nothing should be taken seriously. The stunts and fight scenes are functional, but largely unremarkable. As a whole, despite the location and obviously substantial budget, Swashbuckler seems more like a 1970s made-for-television movie than a period adventure film intended for the silver screen. There is never that moment of immersion into the story that is so necessarily a part of any good movie, especially an escapist one.

Swashbuckler has one factor that simultaneously redeems and condemns it: Peter Boyle as Lord Durant. Playing his part just as dreadfully as it was written, Boyle reduces his character to the dimensions of a villain in a Mel Brooks comedy (coincidentally having starred in Young Frankenstein two years earlier). Amongst his lines, some of the most absurd include, "Let the bitch try and take me," "I serve one master, and his name is Darkness," and, fittingly, "Draw the curtains. The farce is ended!" — a line exclaimed just prior to falling off a balcony.

Writing: Terrible
Directing: Fair
Acting: Poor (Peter Boyle: Terrible)
Cinematography: Good
Stunts: Good
Swordplay: Fair
Panache: Mediocre

Overall Rating: Mediocre
Swashbuckling Rank: Fair


[Originally posted in Cuparius.com on 2 February 2012.]

Addendum

Written by: Jeffrey Bloom and Paul Wheeler
Directed by: James Goldstone
Performed by: Robert Shaw, James Earl Jones, Peter Boyle, Geneviève Bujold, Beau Bridges, et al.

The Black Pirate (1926) Reviewed

The Black Pirate, made in 1926, is a pirate fantasy starring and conceived by Douglas Fairbanks. That he had not made a pirate movie earlier in his career seems surprising for the king of the swashbucklers, but once he did, the result was another lavish and explosive epic. It was so lavish, in fact, that it was filmed entirely in Technicolor. It is, indeed, a pirate fantasy, as the extravagant use of Technicolor during the silent era might suggest, for the main characters are nobles, their countries are fictitious, and even the ships are of a design never seen in history. Fairbanks' costume looks specifically designed for the exploits of an acrobat, though he does not play one, and the legion of soldiers who appear later rowing a galley and leaping into battle more closely resemble guards of the planet Mongo or the Undersea Kingdom in their attire (and martial artists from a kung fu movie in their behavior) than soldiers of any historical period. The story is essentially a fairy tale — an action fairy tale. There is a loyal son vowing revenge for the death of his father, the infiltration of a gang of pirates, impossible deeds done with a sparkling smile, a damsel in distress, love at first sight, more impossible deeds done with a glint in the eye, etc. The story and acting are childish, but intentionally so. The stunts are impressive by any standard except, perhaps, Fairbanks' own. It is not the greatest pirate movie ever made, but it was certainly not made halfheartedly nor on the cheap.

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

Overall Rating: Good
Swashbuckling Rank: Great


[Originally posted in Cuparius.com on 27 September 2007.]


Addendum

Written by: Douglas Fairbanks and Jack Cunningham
Directed by: Albert Parker
Performed by: Douglas Fairbanks, Billie Dove, Tempe Pigott, Donald Crisp, et al.

The Son of Captain Blood (1962) Unreviewed

Today, I learned of the existence of a 1962 film entitled The Son of Captain Blood starring Sean Flynn, the son of Errol Flynn, who starred in the 1935 film Captain Blood. This is something I would be very interested in watching and reviewing, but alas it is currently unavailable in any format. The most I can share are these movie posters. If I am ever able to watch it, I will be sure to share the experience here.

How to Create a Swashbuckler in Pirates & Plunder

Pirates & Plunder, published by Yaquinto Publications in 1982, is "a role playing game of the golden age of piracy." As it says on the box,

PIRATES & PLUNDER offers you the unique opportunity to be a staunch and loyal pirate for the Queen, a swashbuckling buccaneer seeking personal glory and fame, or a degenerate scoundrel out for a good time. But more than anything, you are in it for the booty — mountainous, glittering heaps of it.

And this is my first character for Pirates & Plunder:

Name: Hilda Grogden

Height: 5'8"
Weight: 185 lbs
Hand Preferred: Right
Lucky Break/Adrenaline: 6
Strength: 18*
Encumbrance: 180 EP
Agility: 12*
Movement: 6
Stealth: 14 (-2)
Vision: 15*
Hearing: 12*
Senses: 14
Constitution: 15*
Stamina: 8*
Wounds: 8*
Musket Training: 12
Pistol Training: 16*
Swordsmanship Training: 13
Fist/Dagger Training: 9*
'To Hit' Musket: 14
'To Hit' Pistol: 16
'To Hit' Sword: 13
'To Hit' Fist/Dagger: 11
'To Hit' Throw: 14
Reload #: 10
Swimming: 12*
Drink: 20*
Nationality: Scottish
Intelligence: 5* (-2)
Languages: English
Reading & Writing: Illiterate
Religion: Protestant
Fervor: 17
Greed: 4 (-7 Money Is God)
Compassion/Cruelty: 10 (0 Cruel)
Emotional Stability: 10 (-1 Unstable)
Moral Character: 13 (+2 Normal)
Courage: 22* (+4 Brave)
Physical Appearance: Appalling

Character creation in Pirates & Plunder is by no means a straightforward affair as the relevant rules are spread haphazardly thoughout two books, Book I: The Basic Game and Book II: The Advanced Game. There is no clear distinction between what other games would designate as attributes or skills, but most abilities are generated by rolling 2d10. Players generally control a Major Character, a Supporting Character, and one or more Extras. Of these, Major Characters add +3 and Supporting Characters add +1 when generating the abilities marked with an asterisk above. Derived abilities (e.g. Stealth, Senses, 'To Hit' abilities, etc.) are usually generated by calculating the average of several other abilities. Everything is generated randomly except the character's name — height, weight, nationality, religion, emotional stability, morality, even the general effect of one's physical appearance. Personality traits for Major Characters can be modified by +5 or -5 before the dice are rolled if the player wishes to tilt them in a particular direction.

Generating a character is made somewhat laborious by the scattering of the rules through two books interspersed with introductory adventures and rules of play, and it isn't helped by the confusing character sheet (although I do appreciate the partial ability generation summary on the reverse).

Although I wanted this game as a lad, I'm sure I would have been as disappointed by it then as I am now. It seems like too much work to run for too little reward.

Determining Abilities

Height: 2d10 on Height Table
Weight: 2d10 on Weight Table
Hand Preferred: 2d10 on Hand Preferred Table
Lucky Break/Adrenaline: 2d10 on the Luck/Adren. Table
Strength: 2d10* + Weight modifier
Encumbrance: Strength × 10
Agility: 2d10*
Movement: Consult Agility/Movement Table
Stealth: (Agility × 3 + Strength) ÷ 4 (note modifier)
Vision: 2d10*
Hearing: 2d10*
Senses: (Vision + Hearing) ÷ 2
Training: Musket, Pistol, Sword, Fist/Dagger: two at 2d10 and two at 2d10*
'To Hit' Musket: (Vision + Musket Training) ÷ 2
'To Hit' Pistol: (Vision + Pistol Training) ÷ 2
'To Hit' Sword: (Sword Training × 3 + Agility) ÷ 4
'To Hit' Fist/Dagger: (Fist/Dagger Training × 3 + Strength + Agility) ÷ 5
Throw: (Agility × 2 + Strength) ÷ 3
Reload #: (Musket Training + Pistol Training + Agility) ÷ 4
Stamina: 2d10* + Weight modifier
Wounds: 2d10*
Constitution: 2d10*
Swim: 2d10*
Drink: 2d10* + Weight modifier
Nationality: 2d10 on Nationality Table
Intelligence: 2d10* (note modifier)
Languages: 2d10 + Intelligence modifier
Reading & Writing: 2d10 + Intelligence modifier
Religion: 1d10 on Religion Table
Fervor: 2d10
Greed: 2d10** on Greed Table (note modifier)
Compassion/Cruelty: 2d10** on Greed/Compassion Table (note modifier)
Emotional Stability: 2d10** on Emotional Stability Table (note modifier)
Moral Character: 2d10** on Moral Character Table (note modifier)
Courage: 2d10* or 2d10** on Courage Table (note modifier)
Physical Appearance: 2d10 on Physical Appearance Table

* Major Characters add +3; Supporting Characters add +1.
** Player may add or subtract up to 5 before rolling.

[For more articles in this series, visit How to Create a Swashbuckler.]

How to Create a Swashbuckler in Skull & Crossbones

Skull & Crossbones, published by Fantasy Games Unlimited in 1980, is a game of "Role Play on the Spanish Main," which means pirates, privateers, and general swashbuckling from 1680 to 1720. It asks:

Do you remember those old Errol Flynn movies where he was a bold adventurer chasing after a Spanish Galleon, usually captained by the villain. Or, how about the Robert Shaw thriller, 'The Buccaneer'? Wouldn't you like to be able to do that? With this game you can.

This, then, is my first character for Skulls & Crossbones:

Name: Howard Crowe

Strength: 7 (Hit Points -1; Damage -2)
Intelligence: 15
Agility: 13
Constitution: 10
Luck: 16
Leadership: 19 (rolled a 9, but Skills roll raised it to 19)

Hit Points: 16 (Strength + Constitution (- low Strength penalty))
Skills: Captain - includes the skills of a Navigator (roll of 98 on Skills table)
Money: 17 gold pieces (12 + 1d6)
Weapon: Rapier ("For those characters who have rolled an advanced skill, such as an Apprentice Sail Master, Navigator, or Captain, the choice of a Rapier is automatic and no roll is required on this weapons table [Weapons Chart].")

Character creation seems simple, but certain pertinent rules are scattered throughout the rule book. You roll 4d6 for Strength, Intelligence, Agility, Constitution, Luck, and Leadership. The score for each is divided into four categories of competence, each of which has special rules. In all cases, a score of 9-18 is considered Average. Hit Points are determined by adding a character's Strength and Constitution, but it may be modified by the category in which each of those scores fall. In the case of my character, his Strength of 7 is below average, so his Hit Points are reduced by one point.

Next, the character's special skill (or its absence) is determined by rolling percentile dice. A roll of 69 or lower indicates the character has no special skill. A roll of 70 or higher makes the character a Gunner's Mate, Sail Master's Apprentice, Navigator's Apprentice, or Captain ("In addition to his leadership abilities, which automatically rise to at least 19, this character has the skill of a Navigator.."). Furthermore,

It should not be assumed that just because a character has the abilities of one of the more advanced ranks that he also has the experience points and enhanced abilities of that rank. He does not. Each character begins as a sailor and must work his way up the chain of command when first signing on a ship as a pirate or privateer.

Following this, a specialty must be chosen for the character (and it is unclear whether it must match the character's rolled special skill). The choices are Gunnery, Mastery of Sail, and Navigation. This will determine the experience point chart the character uses and the abilities and ranks they gain at certain levels.

Naturally, you can flesh out your character with as much or little detail as you desire, but the character reference sheet relegates this information to "Notes."

At 32 pages, it would not be difficult to familiarize oneself with the rules. The combat rules are inelegant, but not ponderous. Still, they lack the flow of action I prefer in a game that simulates swashbuckling adventure. I would play it to get the feel of it, but probably not longer than one campaign. In many ways, Skull & Crossbones strikes me as more of a simulation board game with optional role-playing than a dedicated role-playing game.

[For more articles in this series, visit How to Create a Swashbuckler.]

Booty: Skull & Crossbones Classics

The first issue of Bob Brinkman's Skull & Crossbones Classics, a role-playing game in zine form compatible with Dungeon Crawl Classics RPG, has arrived, answering my prayers for a piratey DCC RPG. Further writings on the matter will follow...

Calico Jack Rackham's Flag

The flag of "Calico Jack" Rackham. [Edit: Allegedly.]

Captain Blood (1935) Reviewed

Original Review

The first of the great swashbuckling films of the sound era, Captain Blood (1935) provided the first major roles for its two stars, Errol Flynn and Olivia de Havilland. It contains all the right ingredients in mostly the right proportions: gallantry, piracy, duels, sea battles, politics, and romance. Nothing about the film is perfect: the accents are of mixed authenticity, the quality of the acting is variable, and the fight choreography wavers between natural and wooden, but the film's totality outshines its components. Greater swashbuckling films would follow, but Captain Blood carved a wider path for them.

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

Overall Rating: Good
Swashbuckling Rank: Good


[Originally posted in Cuparius.com on 27 March 2010.]

Extended Review

Captain Blood, directed by Michael Curtiz and adapted from the novel by Rafael Sabatini, is the story of one Dr. Peter Blood (played by Errol Flynn), an Irish physician in England who is charged with treason for administering medical aid to a rebel. Reviews, in my view, are not the place for spoilers, but suffice it to say that one thing leads to another and the good doctor becomes the eponymous Captain Blood, scourge of the Caribbean.

This is a movie that I appreciate more with each viewing. It's a solid pirate movie that served as the opening salvo of Flynn's career as the quintessential swashbuckler of the talkies. Most Hollywood adaptations of novels are as faithful as their depictions of history, and adaptations of historical novels are doubly damned, but the Hollywood swashbuckling film, judged as a unique genre in its own right, has had an enormous and continuing impact on filmmaking and popular culture. Captain Blood can rightly claim a share of the credit.

Written by: Casey Robinson
Based on: Captain Blood: His Odyssey by Rafael Sabatini
Directed by: Michael Curtiz
Performed by: Errol Flynn, Olivia de Haviland, Basil Rathbone, et al.