Top Ten Favorite Movies Set in the 1880s

Below is my current list of favorite movies set in the 1880s:

 

TOP TEN FAVORITE MOVIES SET IN THE 1880s

1. “Stagecoach” (1939) – John Ford directed this superb adaptation of Ernest Haycox’s 1937 short story, “The Stage to Lordsburg”, about a group of strangers traveling by stagecoach through the Arizona territory. Claire Trevor, John Wayne and Oscar winner Thomas Mitchell starred.

2. “The Four Feathers” (2002) – Shekhar Kapur directed this fascinating adaptation of A.E.W. Mason’s 1902 novel about a former British Army officer accused of cowardice. Heath Ledger, Wes Bentley, Djimon Hounsou and Kate Hudson starred.

3. “Back to the Future Part III” (1990) – Michael J. Fox and Christopher Lloyd starred in this third installment of the “BACK TO THE FUTURE” TRILOGY, in which Marty McFly travels back to the Old West to prevent the death of fellow time traveler, Dr. Emmett “Doc” Brown. Written by Bob Gale, the movie was directed by Robert Zemeckis.

4. “Topsy-Turvy” (1999) – Mike Leigh wrote and directed this biopic about W.S. Gilbert and Arthur Sullivan and their creation of their most famous operetta, “The Mikado”. Jim Broadbent and Allan Corduner.

5. “Tombstone” (1993) – Kurt Russell and Val Kilmer starred in this colorful and my favorite account about Wyatt Earp, Doc Holliday and the famous O.K. Corral gunfight. George P. Cosmatos directed.

6. “The Adventures of Sherlock Holmes” (1939) – Basil Rathbone and Nigel Bruce starred in this adaptation of William Gillette’s 1899 stage play, “Sherlock Holmes”. Directed by Alfred L. Werker, the movie co-starred Ida Lupino and George Zucco.

7. “The Cater Street Hangman” (1998) – Eoin McCarthy and Keeley Hawes starred in this television adaptation of Anne Perry’s 1979 novel about a serial killer in late Victorian England. Sarah Hellings directed.

8. “The Picture of Dorian Gray” (1945) – Hurd Hatfield and George Sanders starred in this adaptation of Oscar Wilde’s 1890 novel about a handsome young Englishman who maintains his youth, while a special portrait reveals his inner ugliness.

9. “High Noon” (1952) – Gary Cooper won his second Oscar as a town marshal forced to face a gang of killers by himself. Directed by Fred Zinnemann, the movie was written by blacklisted screenwriter Carl Foreman and co-starred Grace Kelly and Katy Jurado.

10. “Open Range” (2003) – Kevin Costner directed and co-starred with Robert Duvall in this western about a cattle crew forced to take up arms when they and their herd are threatened by a corrupt rancher.

Top Ten Favorite Movies Set in the 1850s

Below is my current list of favorite movies set in the 1850s:

 

TOP TEN FAVORITE MOVIES SET IN THE 1850s

1. “Django Unchained” (2012) – Quentin Tarantino directed this Oscar winning tale about a newly freed slave who searches for his still enslaved wife with the help of a German-born bounty hunter in Mississippi. Jamie Foxx, Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson starred.

 

2. “The Charge of the Light Brigade” (1938) – Errol Flynn and Olivia De Havilland starred in this exciting adventure story set in both British India and the Crimean War. Michael Curtiz directed.

 

3. “Race to Freedom: The Underground Railroad” (1994) – Courtney B. Vance and Janet Bailey starred in this television drama about the adventures of four slaves who escape from a North Carolina plantation, while being tracked by a pair of slave catchers. Don McBrearty directed.

 

4. “Skin Game” (1971) – James Garner and Lou Gossett Jr. starred in this dark comedy about a pair of con artists who clean up in a slave selling scheme in Missouri and Kansas, before their scam finally catches up with them. Paul Bogart directed.

 

5. “Seven Brides For Seven Brothers” (1954) – Stanley Donen directed this famous 1954 musical about six backwoodsmen brothers When a backwoodsman in the Oregon Territory, who decides to marry after their oldest brother brings home a wife. Jane Powell, Howard Keel and Russ Tambyln starred.

 

6. “The First Great Train Robbery” (1979) – Michael Crighton wrote and directed this adaptation of his novel about three Victorian criminals who plot to rob a shipment of gold for British troops serving during the Crimean War, from a moving train. Sean Connery, Donald Sutherland and Lesley Anne Down starred.

 

7. “Wuthering Heights” (1939) – William Wyler directed this superb adaptation of Emily Brontë’s 1847 novel. Merle Oberon, Laurence Olivier and David Niven starred.

 

8. “Westward the Women” (1951) – William Wellman directed this excellent Western-adventure about a trail guide hired by a Californian rancher to escort a wagon train of women heading west to marry men who have settled in the rancher’s valley. Robert Taylor, Denise Darcel and John McIntire starred.

 

9. “Mountains of the Moon” (1990) Patrick Bergin and Iain Glen starred in this historical account of Victorian explorers Richard Burton and John Hanning Speke’s expedition to find the source of the Nile River on behalf of the British Empire. Bob Rafelson directed.

 

10. “Jezebel” (1938) – William Wyler directed Oscar winners Bette Davis and Fay Bainter in this adaptation of Owen Davis Sr.’s 1933 play about a headstrong Southern woman, whose actions cost her the man she loves. Henry Fonda and George Brent co-starred.

“RED-HEADED WOMAN” (1932) Review

 

“RED-HEADED WOMAN” (1932) Review

According to Hollywood legend, at least a handful of movies made during the period known as the Pre-Code Era (1929-1934) had pushed the boundaries of on-screen decency so deeply that they may have been responsible for the stringent enforcement of the Hays Code between the mid-1930s and the late 1960s. One of those movies happened to be MGM’s 1932 comedy called “RED-HEADED WOMAN”. 

Based upon Katherine Brush’s 1931 novel, “RED-HEADED WOMAN” told the story of Lilian “Lil” Andrews, a young secretary at the Legendre Company who uses sex to advance her position there by instigating an affair with William “Bill” Legendre Jr., the son of her wealthy boss. During the course of the film, Lil engages in pre-marital sex, breaks up Bill’s marriage to his ladylike wife Irene. After Lil marries Bill following his divorce, she finds herself shunned by high society due to not only her home wrecking, but also her lower-class origins. Lil tries to force herself into high society by seducing the Legendres’ main customer, wealthy coal tycoon Charles B. Gaerste and blackmailing him into sponsoring her own party. But the plan backfires and a humiliated Lil sets upon a course that ends up threatening her tenuous marriage.

“RED-HEADED WOMAN” proved to be a difficult movie to make for MGM production chief Irving Thalberg. One, he did not care for F. Scott Fitzgerald’s first draft, viewing it as too serious. Thalberg believed that the movie would be more of a success if it presented Lil’s antics from a humorous bent, so he replaced Fitzgerald with Anita Loos as the movie’s screenwriter. He hoped she would provide a story that was more fun and playful. And he proved to be right. Thalberg and associate producer Paul Bern originally hired Clara Bow for the role of “Lil” Andrews. Although she originally agreed to participate in the movie, Bow changed her mind due to her objections to the long-term contract that MGM wanted her to sign for the role. Thalberg and Bern then turned their attention to the studio’s new contract player, Jean Harlow, whose contract they had recently purchased from Howard Hughes. Studio contract employee Jack Conway directed the film. Four weeks after production ended, the movie was released in late June 1932.

In a nutshell, “RED-HEADED WOMAN” is a funny and sexy movie that holds up surprisingly well, even after eighty-one years. For me, “RED-HEADED WOMAN” is a humorous reminder at how little human nature has changed over the years, especially in regard to sex, gender issues, ambition and class bigotry. Used to the idea that single women eighty years ago (or even fifty years ago) never had pre-marital sex, “RED-HEADED WOMAN” must have seemed like a shock to the system to modern viewers. This makes me wonder how present moviegoers would view “RED-HEADED WOMAN”, if it had been made in recent years. Think about it. “RED-HEADED WOMAN” featured pre-marital sex, extramarital sex, and rough sex (all which were featured off screen). If made today, most of Lil’s sexual encounters would have made it in the final cut . . . along with some on-screen nudity. But for me, it is the story itself, along with actress Jean Harlow’s amoral portaryal, that struck me as both sexy and lurid. I suspect that any on-screen sex and nudity would have very little impact on the movie. But I cannot help but wonder if today’s writers would have given Lil her happening.

Thalberg was right to dump Fitzgerald’s serious screenplay in favor of Loos’ more risqué tale. I believe the latter served the story a lot better. Realistically, Lil Andrews is not a sympathetic character. And I suspect that if her tale had told in Fitzgerald’s more serious style, the general moviegoers would have been turned off by her antics. And I doubt that the emotional crisis that Lil had suffered from Bill Legendre’s first rejection of her following their first tryst or the class bigotry she had faced from her father-in-law and the Legendres’ friends would have garnered any sympathy for her. A good number of morality groups from the early 1930s were up in arms over Lil’s fate at the end of the movie. If Thalberg had chosen Fitzgerald’s script over Loos’, I suspect those moviegoers that had made “RED-HEADED WOMAN”such a big hit would have felt the same.

I did have a few problems with the movie. I realize that Thalberg, Loos and director Jack Conway thought it was best to introduce Lil Andrews’in a brief montage that featured Harlow spoofing the “Gentlemen prefer blondes” quote from Loos’ famous 1925 novel and the actress wearing a see-through dress (honestly, not much is shown other than her legs). Frankly, I found this introduction rather amateurish and stagy. I think Loos could have done better. Also, the movie seemed to permeate with class prejudice. I realize that Lil was supposed to suffer from such bigotry. But the movie fails to generate any real sympathy toward her situation, due to Lil’s role as a home wrecker. Even Lil’s best friend, Sally, did not seem particularly repelled by Lil’s antics. And it did not help that the movie’s most sympathetic female turned out to be the gentle and well-born Irene Legendre. Even Bill Legendre seemed to be viewed in a sympathetic light as a mere victim of Lil’s feminine wiles, instead of simply a cheating spouse. If Lil had not emerged triumphant in the movie’s last reel, I believe this movie would have turned out to be a real turn off for me . . . despite the comic tone.

The cast proved to be the best thing about “RED-HEADED WOMAN” . . . at least for me. Although Jean Harlow had become a star two years earlier, thanks to her co-starring role in Howard Hughes’ wartime opus, “HELL’S ANGELS”; her career had eventually suffered through a series of questionable roles. Thankfully, Paul Bern saw her potential and convinced the MGM brass to purchase her contract from Hughes. And she was perfect as the amoral and sassy Lil Andrews. She was not the first or would be the last actress to portray a woman who used sex to advance her social position. But thanks to a performance that featured not only perfect comic timing and some surprisingly emotional angst, her Lil Andrews proved to be one of the most memorable female roles not only from the Pre-Code era, but also from 1930s Hollywood.

Harlow received admirable support from Chester Morris, who proved once again his talent for roles that projected a male ideal corrupted by man’s inner lusts and other flaws. He did a very good job in combining both Bill Legendre’s superficial decency and inner bestiality. Both Lewis Stone and Leila Hyams gave solid support as Bill’s snobbish father Legendre Sr. and long-suffering first wife Irene. And I was somewhat surprised to see Charles Boyer in a small, yet charming role as Lil’s eventual lover, Albert. But the two performances (other than Harlow and Morris) that really stood out for me came from Una Merkel and Henry Stephenson. Merkel was a delight as Lil’s equally sassy friend, Sally, who seemed to enjoy a voyeuristic thrill from Lil’s sexy love life. Also, she and Harlow managed to generate a strong chemistry as the two best friends. I wonder if they had made any further movies together. And Henry Stephenson, whom I remember from two Errol Flynn costume swashbucklers, provided some great comic moments as the Legendres’ wealthy customer, who ends up in a tawdry affair with Lil.

“RED-HEADED WOMAN” is a comic gem from the early 1930s, despite a few kinks, including a class bigotry that nearly tainted the film. It featured a sexy tale and fine performances from a cast led by the incomparable Jean Harlow that still holds up after eighty years or so. As far as I am concerned, I consider it one of the highlights of the Pre-Code era. Producers Irving Thalberg and Paul Bern, screenwriter Anita Loos and director Jack Conway took on an improbable project and transformed it into a minor classic.

“THE CHARGE OF THE LIGHT BRIGADE” (1936) Review

“THE CHARGE OF THE LIGHT BRIGADE” (1936) Review

How is it that a movie about one of the most famous blunders in British military history could remain so entertaining after 74 years? Can someone explain this? Warner Brothers’ take on the famous Charge of the Light Brigade, in which the Light Brigade of the British cavalry charged straight into the valley between the Fedyukhin Heights and the Causeway Heights during the Crimean War, is not what one would call historically accurate. Most of the movie took place in British occupied Northern India in the 1850s. Aside from the last twenty or thirty minutes, the movie really has nothing to do with the Crimean War. And yet . . . who cares? ”The Charge of the Light Brigade” is so damn entertaining that I found myself not even thinking about historical accuracy.

Directed by Michael Curtiz, and written by screenwriters Michael Jacoby and Rowland Leigh; the movie is an entertaining mixture about vengeance against the leader of a treacherous local tributary rajah in Northern India named Surat Khan (C. Henry Gordon); and a love triangle between Geoffrey and Perry Vickers – two brothers who are British Army officers (Errol Flynn and Patric Knowles) who happened to be in love with the same woman – the daughter of a British general (Olivia DeHavilland) named Elsa Campbell. I might as well start with the love story.

On the surface, the love triangle in ”THE CHARGE OF THE LIGHT BRIGADE” seemed pretty simple – one woman torn between two men. Instead of having two best friends in love with the same woman, we have two brothers. But even that is nothing unusual. What turned out to be so unusual about this particular love story – especially in an Errol Flynn movie – is that the leading lady is NOT in love with the leading man. Within fifteen minutes into the story, the movie revealed that the leading man – namely Flynn – lost the affections of the leading woman (and fiancée) – De Havilland – to the secondary male lead – namely Knowles.

At first, it boggled in the mind. What woman in her right mind would prefer Patric Knowles over Errol Flynn? The latter had a more flamboyant character and was obviously the movie’s main hero. However . . . Knowles was not exactly chopped liver. Knowles was just as handsome as Flynn in his own way and a competent actor to boot. And his character – although less flamboyant than Flynn’s – had a quiet charm of its own. I also got the feeling that Flynn’s character seemed more in love with his job as an Army officer during the British Raj than he was with dear Elsa. Geoffrey Vickers seemed to have it all . . . until his brother Perry and Elsa’s little romance pulled the rug from under his self-assured life. And yet, he seemed damn reluctant to admit that Elsa loved Perry more than him. Reluctant may have been a mild word. Geoffrey seemed downright delusional in his belief that Elsa loved him only . . . and that Perry was merely harboring an infatuation for his fiancée. What made matters worse was that everyone – including Elsa’s father (Donald Crisp) and diplomat Sir Charles Macefield (Henry Stephenson) – supported Geoffrey’s illusions. Only Lady Octavia Warrenton (Spring Byington), wife of British General Sir Benjamin Warrenton (Nigel Bruce) seemed aware of Elsa and Perry’s feelings for one another.

Before I discuss the movie in general, I want to focus upon the cast. Flynn, DeHavilland and Knowles were ably supported by a talented cast drawn from the British colony in 1930s Hollywood (with the exception of two). American-born Spring Byington and British actor Nigel Bruce were charmingly funny as the verbose busybody Lady Octavia Warrenton and her husband, the long-suffering Sir Benjamin. They made a surprisingly effective screen pair. Donald Crisp was his usual more than competent self as Elsa’s loving, but humorless father, Colonel Campbell – a by-the-book officer unwilling to accept that his daughter had switched her affections to the younger Vickers brother. Henry Stephenson gave an intelligent performance as the competent diplomat, Sir Charles Macefield, who is charged with not only keeping the peace, but maintaining British control in a certain province of Northern India. It was easy to see why Flynn’s character seemed to hold him in high regard. David Niven was charming, but not very memorable as Geoffrey Vicker’s best friend, James Randall. Only in one scene – in which Randall volunteers to leave the besieged Chukoti Fort in order to warn Sir Benjamin at Lohara of Surat Khan’s attack – did Niven give a hint of the talent that would eventually be revealed over the years. And of course, one cannot forget American actor C. Henry Gordon’s portrayal of the smooth-talking villain, Surat Khan. Gordon could have easily portrayed Khan as another ”Oriental villain” that had become typical by the 1930s. On one level, Gordon’s Khan was exactly that. On another . . . Gordon allowed moviegoers to see Khan’s frustration and anger at the British handling of his kingdom.

Olivia DeHavilland once again proved that even in a costumed swashbuckler, she could portray an interesting female character without sinking into the role of the commonplace damsel-in-distress. With the exception of the sequence featuring the Siege of Chokoti, her Elsa Campbell spent most of the movie being torn between the man she loved – Perry Vickers, the man she has remained fond of – Geoffrey Vickers, and her father’s determination that she marry Geoffrey. Elsa spent most of the movie as an emotionally conflicted woman and DeHavilland did an excellent job of portraying Elsa’s inner conflicts with a skill that only a few actresses can pull off. And DeHavilland was merely 20 years old at the time she shot this film.

I really enjoyed Patric Knowles’ performance in this movie. Truly. One, he managed to hold himself quite well against the powerhouse of both Flynn and DeHavilland. I should not have been surprised. His performance as a sleazy Southern planter in 1957’s ”BAND OF ANGELS” was one of the bright spots in an otherwise mediocre film. And two, his Perry Vickers was a character I found easy to root for in his pursuit of Elsa’s hand. I especially enjoyed two particular scenes – his desperate, yet charming attempt to be assigned to Chokoti (and near Elsa), despite Sir Charles’ disapproval; and his anger and frustration over Geoffrey’s unwillingness to face the fact that Elsa’s affections had switched to him.

There are four movie performances by Errol Flynn that have impressed me very much. Three of those performances were Geoffrey Thorpe in ”THE SEA HAWK” (1940), James J. Corbett in ”GENTLEMAN JIM” (1942) and Soames Forsyte in”THAT FORSYTE WOMAN” (1949). The fourth happens to be his performance as Captain/Major Geoffrey Vickers in”THE CHARGE OF THE LIGHT BRIGADE”. Not many film critics or fans have ever paid attention to his performance in this film, which is a pity. I suspect they were so flabbergasted by the idea of him losing Olivia DeHavilland to Patric Knowles that they had failed to pay any real attention to his performance as the complex and slightly arrogant Geoffrey Vickers. Superficially, Flynn’s Vickers is a charming, witty and very competent military officer. He seemed so perfect at the beginning of the film that it left me wondering if there were in cracks in his characters. Sure enough, there were. Thanks to a well written character and Flynn’s skillful performance, the movie’s Geoffrey Vickers became a complex, yet arrogant man who discovers that he is not very good at letting go at things that seem important to him, whether it was Elsa’s love or a desire for revenge against the villain. In the end, Geoffrey’s flaws became the instrument of his destruction. The amazing thing about Flynn’s performance as Geoffrey Vickers was that it was his second leading role. And the fact that he managed to portray such a complex character, considering his limited screen experience at the time, still amazes me.

As I had stated before, the movie’s historical account of the Crimean War and the infamous charge hardly bore any resemblance to what actually happened. The movie seemed to be about the British’s interactions with a Northern Indian minor rajah named Surat Khan. The British, led by diplomat Sir Charles Macefield, struggle to maintain a “friendly” relationship with Khan, while his men harass British troops in the area and he develops a friendship with a visiting Russian Army officer Count Igor Volonoff (Robert Barrat). The phony friendship and minor hostilities culminated in an attack by Khan against one of the British forts in his province – Chukoti, which is under the command of Colonel Campbell. The battle for Chukoti eventually turned into a massacre that only Geoffrey and Elsa survived. But more interesting, it seemed like a reenactment of an actual siege and massacre that happened at a place called Cawnpore, during the Sepoy Rebellion of 1857-58 . . . three to four years after the setting of this movie. For a movie that is supposed to be about the Light Brigade Charge and the Crimean War, it was turning out to be more of a fictional account of British history in India during the 1850s.

But the movie eventually touched upon the Crimean War. After the Chukoti Massacre, Surat Khan ended up in hot water with the British government in India. Due to his friendship with Volonoff, he found refugee with the Russians. And he ended up as a guest of the Russian Army during the Crimean War. Following her father’s death, Elsa finally convinced Geoffrey that she is in love with Perry. And the regiment of both brothers – the 27th Lancers – is also sent to Crimea. According to Sir Charles, their posting to the Crimea would give them an opportunity for revenge against Khan. But when the 27th Lancers finally received an opportunity to get their revenge against Khan, Sir Charles denied it. And so . . . Geoffrey took matters in his own hands and ordered the Light Brigade – which included his regiment – and the Heavy Brigade to attack the artillery on the heights above the Balaklava Valley. This is so far from what actually happened . . . but who cares? I enjoyed watching Flynn express Geoffrey’s struggles to contain his thirst for revenge and eventual failure.

And then the charge happened. My God! Every time I think about that sequence, I cannot believe my eyes. Part of me is horrified not only by the blunder caused by Geoffrey’s desire for revenge . . . but by the fact that 200 horses and a stuntman were killed during the shooting of that scene. Flynn had been so outraged by the deaths of the horses that he openly supported the ASPCA’s ban on using trip wire for horses for any reason. At the same time, I cannot help but marvel at the brutal spectacle of that scene. No wonder Jack Sullivan won the Academy Award for Best Assistant Director for his work on this particular scene.

On the whole, ”THE CHARGE OF THE LIGHT BRIGADE” is a very entertaining and well-paced spectacle. Frankly, I think that it was one of the best movies to be released during the 1930s and certainly one of Errol Flynn’s finest films. For those who honestly believed that the Australian actor could not act . . . well, they are entitled to their opinions. But I would certainly disagree with them. On the surface, Flynn seemed like his usual charming and flamboyant self. However, I was very impressed at his portrayal of the self-assured and slightly arrogant Geoffrey Vickers, who found his private life slowly falling apart. Olivia DeHavilland, Patric Knowles, Donald Crisp, C. Henry Gordon and Spring Byington gave him excellent support. Thanks to Jacoby and Leigh’s script, along with Michael Curtiz’s tight direction, ”THE CHARGE OF THE LIGHT BRIGADE” turned out to be a first-class movie with an interesting love story with a twist, political intrigue, well-paced action and a final sequence featuring the charge that remains mind blowing, even after 74 years.

“CAPTAIN BLOOD” (1935) Review

“CAPTAIN BLOOD” (1935) Review

Based upon the 1922 novel of the same name by Rafael Sabatini, the story of ”CAPTAIN BLOOD” centered around an Irish-born physician living in an English town, who finds himself in trouble with the Court of King James II after aiding a wounded friend who had participated in the Mounmouth Rebellion of 1685. The 1935 film, released by Warner Brothers and First National Pictures, featured the first collaboration between stars Errol Flynn and Olivia De Havilland, and director Michael Curtiz. 

When Jack Warner and studio production chief, first made plans to film Sabatini’s novel, they had planned for British actor, Robert Donat to portray the Irish-born doctor turned slave and pirate. But Donat proved to be unavailable and the then unknown Flynn ended up with the role. As everyone knows, not only did ”CAPTAIN BLOOD” prove to be a hit, the movie made instant stars out of Flynn and De Havilland.

Many years have passed since I last saw ”CAPTAIN BLOOD”. Which would explain why I have never developed any strong feelings for this particular film, in compare to certain other Errol Flynn movies. After watching it recently, my opinion of ”CAPTAIN BLOOD” has improved. Somewhat. Basically, I feel that it is a first-rate story filled with excellent characterizations, a strong narrative and some decent action. But I do not know if I can say that I love ”CAPTAIN BLOOD”. The movie is not exactly Flynn, De Havilland and Curtiz at their best.

Once Peter Blood finds himself a slave in Jamaica, he plots with his fellow prisoners to escape the island via a ship. Before he can make his escape, Blood falls in love with his owner – Arabella Bishop, the niece of the planter he and his fellow slave work on. An attack by a Spanish pirate ship allows Blood and his friends to finally make their escape. They form a crew to become one of the most formidable group of pirates in the Caribbean. Blood eventually befriends a French pirate name Levasseur and the two become partners – an act that the Irishman comes to regret. The two eventually come to blows over Arabella, who has been captured by Levasseur. Accompanying Arabella is a royal courtier name Lord Willoughby with some interesting news for Blood.

One problem I have with the film is the lack of balance between the dramatic scenes and the action. Quite frankly,”CAPTAIN BLOOD” came off as a bit too heavy on conversation for a swashbuckler. I realize that screenwriter Casey Robinson was trying to stay faithful to Sabatini’s novel. But I suspect that this attempt may have slightly reduced the movie’s pacing – to its detriment. And most of the action sequences did not strike me as that impressive. Mind you, the sword duel between Blood and a French pirate named Captain Levasseur (portrayed by the always competent Basil Rathbone) over Arabella Bishop, Blood’s owner, struck me as impressive. Well . . . somewhat. Actually, I have seen better swordfights – especially those featured in 1938’s ”THE ADVENTURES OF ROBIN HOOD” and 1940’s ”THE SEA HAWK”. The most impressive action sequence in the movie featured Blood’s sea battle against two French ships attacking Port Royal in the movie’s finale. I have to give kudos to Curtiz for directing an action sequence that struck me as surprisingly realistic.

Another problem I had with “CAPTAIN BLOOD” was its portrayal of slavery in 17th century Jamaica. I found it amazing that most of the slaves in Port Royal were white. I am well aware that white slaves – or indentured servants – existed throughout the British Empire during that period. And I am also aware that those rebels convicted of treason against King James II during the Monmouth Rebellion, ended up as slaves in the Caribbean. But what happened to the black slaves in this movie? Jamaica and other British controlled islands in the Caribbean had received more African slaves than any other part of the Empire during the late 17th and 18th centures. I did managed to spot one or two amongst the slaves on Colonel Bishop’s estate. And he did have house slaves that were black. But at least one of them spoke with an American South dialect, prevalent in the 19th and 20th centuries. I realize that “CAPTAIN BLOOD” is a Hollywood film. But since most of the movie managed to either be historically correct . . . or at least close to being accurate, why did it fall short in its portrayal of Caribbean slavery?

On the other hand, ”CAPTAIN BLOOD” featured some excellent dramatic scenes. And the best of the bunch featured Flynn. I was especially impressed by the scene that featured Blood and his fellow prisoners being sentenced to slavery in Jamaica by a very hostile judge, Blood’s hostile reaction to being purchased by Arabella, his discovery of the body of his friend Jeremy Pitt, the fallout between Blood and Lavasseur, the revelation by a royal courtier that the hated James II had been replaced by his daughter and son-in-law – Mary and William of Orange, and especially the last fight between him and Arabella before she is sent ashore to Port Royal near the end of the film. And Flynn was ably assisted in these scenes by De Havilland, Basil Rathbone, Ross Alexander and Henry Stephenson.

Speaking of the film’s performances, ”CAPTAIN BLOOD” possessed a number of good, solid performances by a supporting cast that included Guy Kibbee, Forrester Harvey, Frank McGlynn Sr. and Robert Barrat, who portrayed members of Blood’s crew. Also portraying a member of Blood’s crew was Ross Alexander. Many critics have claimed that if Alexander had not comitted suicide over a year following the movie’s release, he might have become an acclaimed screen actor. Quite frankly, I do not know. Alexander’s performance in “CAPTAIN BLOOD” seemed personable and competent, but I never really saw the magic. Although the cast members portraying Blood’s crew had their moments of humor, the prize for the funniest performance belonged to – in my opinion – George Steed as Jamaica’s Governor Steed, who suffered from a gouty foot.

Basil Rathbone only appeared in a handful of scenes in “CAPTAIN BLOOD” and was clearly not the main villain. But his performance as the lusty and avaricious Captain Levasseur was extremely memorable. More importantly, his Levasseur struck me as more human than his roles in both “ROBIN HOOD” and “THE MARK OF ZORRO”. I wish I could say the same about Lionel Atwill. Mind you, his performance as the brutal Colonel Bishop was solid, but there were times when it came across as unoriginal.

Olivia DeHavilland was superb in her first leading role as Arabella, the brutal Colonel Bishop’s niece and Peter Blood’s owner. Her character did not have a great impact upon the plot – aside from her capture by Levasseur leading to a duel between him and Blood. But her Arabella was no limpid damsel-in-distress, whose only role was to be the object of Blood’s desire. DeHavilland projected a great deal of energy, fire and wit into her performance. No wonder she and Flynn had such a strong screen chemistry.

But no matter how good the cast was, the real star behind “CAPTAIN BLOOD” was the Tasmanian born Errol Flynn. Jack Warner and Hal Wallis took a great chance in casting him in the lead, considering that he was a virtual unknown. And that gamble paid off tenfold. This is the fifth Flynn movie I have watched in great detail. To this day, I do not understand the old prevailing view that he was not much of an actor. Peter Blood was his first major role as a film actor and if I may be frank, Flynn gave one hell of a performance. Aside from a hammy moment when Blood finally declare his love for Arabella, Flynn’s acting was very natural. And like DeHavilland, he portrayed his character with a great deal of fire, energy and more importantly, anger. Flynn’s portrayal of the hot-headed Peter Blood is probably one of the better debut performances in Hollywood films.

Other reviewers of ”CAPTAIN BLOOD” have commented favorably on Erich Wolfgang Korngold’s score. Honestly? I did not find it that memorable. In fact, I cannot remember anything about it. Just a lot of horns and strings. I am not carelessly putting down Korngold’s talent, because I was very impressed by his “ROBIN HOOD”score of three years later. I simply cannot say the same about his “CAPTAIN BLOOD” score. However, I was very impressed by the movie’s cinematography shot by Warner Brothers’ own Ernest Haller and Hal Mohr. I have mixed feelings about Anton Grot’s art direction. Granted, I was impressed by the sets for the Port Royal sequences. But the art design for the English sequences resembled fake set designs for a play and the sets for Blood’s ship lacked the claustrophobic feel of a real ship.

Granted, “CAPTAIN BLOOD” is not perfect. It has flaws that include an uneven pacing, questionable action sequences and an unmemorable score – at least for me. In fact, I have seen better blockbusters that starred Errol Flynn during that period. But I must admit that it is still a first-rate movie, even after 75 years. And it made for a dazzling debut for the Australian actor.