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.

The Scarlet Pimpernel Reviewed Elsewhere

Readers of Theoretical Swashbuckling may find it both edifying and entertaining to read the reviews of several adaptations of The Scarlet Pimpernel in Ellsworth's Cinema of Swords: Sink Me! Scarlet Pimpernels!.

Captain Scarlett (1953) Reviewed

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: Terrible
Directing: 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

Written by: Howard Dimsdale
Directed by: Thomas Carr
Performed by: Richard Greene, Leonora Amar, Nedrick Young, Manolo Fábregas, Eduardo Noriega, et al.

Royal Flash (1975) Reviewed

Royal Flash (1975) is what a good swashbuckling spoof ought to be: a ripping adventure punctuated by genuinely comedic moments that are presented in context. Director Richard Lester is a master at melding those elements without sacrificing the integrity of the setting (thus preserving the audience's willing suspension of disbelief, which is always a virtue in the genre of swashbuckling escapism). Royal Flash also manages to be a satire on that swashbuckling classic, The Prisoner of Zenda, by reimagining it as having been inspired by events in the life of Harry Flashman (Malcolm McDowell), a questionable war hero self-described as "a scoundrel, a liar, a cheat, a thief, a coward—and, oh yes, a toady." Both the screenplay and the novel upon which it is based, The Flashman Papers, were written by George MacDonald Fraser.

Beautifully filmed and directed, Royal Flash is equally satisfying as a comedy and as a swashbuckling adventure (albeit with an anti-hero for a protagonist).

* Fraser, George MacDonald. Flashman.

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

Overall Rating: Great
Swashbuckling Rank: Great


[Originally posted in Cuparius.com on 31 August 2011.]

Addendum

Written by: George MacDonald Fraser and Thomas Hughes (uncredited)
Based on: The Flashman Papers by George MacDonald Fraser
Directed by: Richard Lester
Performed by: Malcolm McDowell, Alan Bates, Florinda Bolkan, Oliver Reed, 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.

Don Q Son of Zorro (1925) Reviewed

Don Q Son of Zorro (1925), although made five years after The Mark of Zorro, takes place perhaps 25 years later, and stars Douglas Fairbanks as both the hero, Don Cesar de Vega, and his father Don Diego, otherwise known as Zorro. Instead of colonial California, the stage is now set in Spain for intrigue, adventure, and romance. From the beginning, Don Cesar's bravado, humility, and sense of humor are on display, as well as his uncanny skill with the whip, his demonstration of which leads unintentionally to a chain of events that will find him hunted by those in power. Like his father, he will be forced to become an outlaw and draw on those abilities he learned or inherited from him. Fairbanks exploits every opportunity to disregard gravity by virtue of his acrobatic training, and when even that is not enough, there is always the whip to disarm or entangle a foe or hoist him to safety.

Although there is action in abundance, there is also love, and the object of Don Cesar's affection is Dolores, played very capably by Mary Astor. The scene in which they first meet is amusingly scripted, albeit with very little dialogue from Fairbanks, and it is apt that it occurs in the proverbial eye of a hurricane of activity.

Of the villains I will say nothing lest too much is revealed, but the varying shades of gray in which they are painted is a refreshing change from the unvarying black that typifies most enemies in action movies.

Don Q Son of Zorro is one of the lesser known swashbuckling movies, but undeservedly so. It is a fine (and rare) example of the sequel that not only honors its parentage with a faithful continuity, but stands as a solid work in its own right. Few action movies are as well balanced as this one.

Writing: Good
Directing: Good
Acting: Good
Cinematography: Good
Stunts: Superb
Swordplay: Fair
Whip-Handling: Superb
Panache: Superb

Overall Rating: Great
Swashbuckling Rank: Great


[Originally posted in Cuparius.com on 1 October 2010.]

Addendum

The following is from a Wikipedia article on Hesketh Hesketh-Prichard:

In 1904, the mother-and-son writing team [Kate Prichard and Hesketh Hesketh-Prichard] produced The Chronicles of Don Q., a collection of short stories featuring the fictional rogue Don Quebranta Huesos, a Spanish Robin Hood-like figure who was fierce to the evil rich but kind-hearted to the virtuous poor. A second collection, The New Chronicles of Don Q. followed in 1906. The pair produced a full-length novel, Don Q.'s Love Story, in 1909. Don Q. was brought to the stage in 1921 when it was performed at the Apollo Theatre, London. In 1925, the book was reworked as a Zorro vehicle by screenwriters Jack Cunningham and Lotta Woods; the United Artists silent film Don Q, Son of Zorro was produced by Douglas Fairbanks, who also starred as its lead character. The New York Times rated the film one of its top ten movies of the year.

So, the son of Zorro predates Zorro himself!

Written by: Jack Cunningham and Lotta Woods (uncredited)
Based on: Don Q.'s Love Story by Kate Prichard and Hesketh Hesketh-Prichard
Directed by: Donald Crisp
Performed by: Douglas Fairbanks, Mary Astor, Jack McDonald, Donald Crisp, et al.

Reviews in Theoretical Swashbuckling

Just to set the record straight, the purpose of the reviews I post in Theoretical Swashbuckling is twofold: to give swashbuckling fans an idea of whether they would enjoy a particular movie, television show, or book as entertainment; and to offer possible sources of inspiration for those who play, run, or create various types of games (especially of the role-playing variety). Nothing more. Nothing less. It is not my intention to provide detailed analysis, "scholarly" criticism, or evaluations of fencing technique. I am concerned only with how enjoyable the subject of the review is and how useful it might be to one's gaming.

Carry on.

Scaramouche (1952) Reviewed

If any film could be declared the ultimate swashbuckling film, Scaramouche (1952) would easily qualify as a contender for the title. It is said to have both the longest duelling scene and the greatest number of duels of any movie. Whether this is true or not, the duels are a marvel of fight choreography. Both Stewart Granger and Mel Ferrer [allegedly] performed all of their own duels and stunts, which is all the more remarkable when it is discovered that their duel on the railing of a theatre balcony was executed without a net. The action is spectacular, but the drama and the comedy (essential to a film named after the clown of the Commedia dell'arte) give the film its impeccable balance. Scaramouche is truly one of the great masterpieces of the genre.

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

Overall Rating: Great
Swashbuckling Rank: Superb


[Originally posted in Cuparius.com on 1 February 2010.]


Addendum

Written by: Ronald Millar, George Froeschel, Talbot Jennings (uncredited), and Carey Wilson (uncredited)
Based on: Scaramouche by Rafael Sabatini
Directed by: George Sidney
Performed by: Stewart Granger, Eleanor Parker, Janet Leigh, Mel Ferrer, et al.

Adventures of Don Juan (1948) Reviewed

In Adventures of Don Juan (1948), Errol Flynn returns to full color swashbuckling as the most famous ladies' man in history. Beginning with one such adventure in progress, the film quickly progresses to more important matters as Don Juan finds himself involved — through no fault of his own — in affairs of the state (ahem) and an alliance with the formidable Queen Margaret (Viveca Lindfors). All is not well in Spain, for King Phillip III (Romney Brent) is weak, and his diabolical advisor, the Duke de Lorca (Robert Douglas), is far stronger than he appears and far more interested in reviving dreams of conquest than pursuing international peace.

Eight years after The Sea Hawk, Flynn proves that his charm, candor, and swordsmanship are as sharp as ever. Regal of bearing and complex of character, Lindfors is more than worthy of her role as queen and provides the ultimate foil for the film's amorous yet well-intentioned hero. Brent is quite capable as the less-than-capable king, and Douglas is everything one could ask for in a devious, torture-minded warmonger. Alan Hale, of course, is suitable as Alan Hale, Loyal Sidekick (or Leporello as he is billed in the credits).

Beautifully filmed in vivid color, and masterfully scored by Max Steiner, Adventures of Don Juan is an adventure film with excitement, humor, and surprising depth.

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

Overall Rating: Great
Swashbuckling Rank: Great


[Originally posted in Cuparius.com on 1 February 2012.]


Addendum

Written by: Herbert Dalmas, George Oppenheimer, and Harry Kurnitz
Directed by: Vincent Sherman
Performed by: Errol Flynn, Viveca Lindfors, Robert Douglas, Alan Hale, Romney Brent, 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.