1930s, Action-Adventure, Historical, Romance

The Adventures of Robin Hood (1938)

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Directors: Michael Curtiz, William Keighley
Screenwriters: Seton I. Miller, Norman Reilly Raine

By Roderick Heath

In Memoriam: Olivia de Havilland 1916-2020

It’s been said that old Hollywood conquered the world in large part because it contained the world in small, a provincial place ruled by some very parochial ways but where people from around the globe, driven by their strange talents and the tides of history, congregated to manufacture the fantasy life of billions. Few films embody that success so perfectly as The Adventures of Robin Hood. The most famous of action heroes, Errol Flynn, alongside his most beloved on-screen partner Olivia de Havilland, in a splashy production from the usually budget-cautious Warner Bros., The Adventures of Robin Hood doesn’t just fail to age, but seems utterly outside the flow of time, exemplifying a way of making movies and pleasing an audience rooted in a specific moment, but managing to inhabit a rarefied realm, becoming its own myth. The Adventures of Robin Hood was originally intended as a vehicle for James Cagney, and a semi-remake of the 1922 film that had starred the first great screen swashbuckling hero Douglas Fairbanks , even carrying over co-star Alan Hale reprising his role as Little John. Cagney’s quarrels with studio boss Jack Warner delayed the film. Captain Blood (1935) established Flynn in the meantime as Fairbanks’ heir, and De Havilland as his ideal leading lady.

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William Keighley, a respected theatre director who had come to Hollywood with talkies and made some excellent, streetwise thrillers with Cagney like “G” Men (1935) and Bullets or Ballots (1936), started the film. But Keighley soon fell behind schedule and turned in such lacklustre action footage Warner quickly replaced him with Michael Curtiz, who had directed both Captain Blood and The Charge of the Light Brigade (1936) with Flynn and De Havilland. It’s hard to imagine three more different people than Curtiz, Flynn, and De Havilland in terms of temperament and background, and yet they were all people who had come a long way from where their lives had started, collaborating on a film about a culture-specific hero who nonetheless finds echoes and avatars the world over, and it almost seemed they born to play the parts they did in making The Adventures of Robin Hood. Flynn, the Hobart-born public school brat turned fortune-hunter who slinked back to Sydney after adventuring around New Guinea, was trying to settle down when he suddenly found himself thrust into an acting career playing Fletcher Christian in Charles Chauvel’s In The Wake of the Bounty (1933) because he seemed to embody the role, swiftly catapulting him in Hollywood’s direction.

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De Havilland, progeny of a posh yet unstable family, cousin to aviation pioneers and born in Tokyo, but fated to grow up in southern California, the shore she, her mother, and sister washed up on. Like her Maid Marian she rebelled against a despotic guardian and followed her own path, catching eyes in amateur theatre productions despite wanting to be a teacher, and within a year found herself starring in Max Reinhardt’s A Midsummer Night’s Dream (1935). Curtiz, born Manó Kaminer in Budapest in 1886, was the son of a Jewish carpenter and an opera singer, who as a young man roamed around Europe as an actor and circus artiste, picked up languages and talents in a wayward manner, and grew into a man famous for his extraordinary energy and bravura, eventually ploughing it all into cinema. He became an Olympic fencer and directed Hungary’s first feature film all in the same year. Curtiz, wounded on the Russian front during his World War I service, went back to filmmaking and was already a hardened filmmaking veteran when his Biblical epic The Moon of Israel (1924) caught Jack Warner’s eye, and quickly became a pillar of Hollywood film.

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Much of The Adventures of Robin Hood’s richness stems from the way it manages to walk a very fine line, offering a highly stylised vision of medieval England, with colossal sets and visual textures that mimic medieval tapestries, illuminated manuscripts, and Victorian-era illustrators like Howard Pyle and Arthur Rackham, in attempting to entirely conform to a certain storybook ideal of ye olden days. But this is counterbalanced by coherent undercurrents of darkness and urgency, even a strange kind of realism, flowing under the glossy Technicolor. Amidst a sprawl of movies released in the last two years of the 1930s, The Adventures of Robin Hood reflects the world around it, worried as it is about dictatorial coups and contending with the clash between official order and the rage of the dispossessed. As a film it speaks to the experience of the Depression and rising Fascism, whilst also affecting to deliver the viewer from all such cares in a florid dream of a legendary past. Robin as a hero is offered as a scarcely concealed guerrilla warrior and social radical, speaking out loud what was merely subtextual in Warners’ ‘30s gangster movies in presenting a hero for the economically oppressed and socially betrayed in thieving and offending the powerful, loaned a fig leaf of acceptability by the way he fights in the name of a just but displaced order rather than to supplant it.

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Early scenes immediately establish the drama in those essential terms. The opening depicts a town crier announcing that King Richard the Lionheart has been taken captive by Leopold of Austria, who demands a huge ransom for the King’s release. Prince John (Claude Raines), Richard’s brother, uses his captivity as an opportunity to start working towards snatching his throne, relying on his strong support from men like Nottingham potentate Sir Guy of Gisbourne (Basil Rathbone), the Bishop of the Black Canons (Montagu Love), the county’s High Sheriff (Melville Cooper), and other barons, and enrich himself and his cronies by pretending to collect the ransom. Much the Miller’s Son (Herbert Mundin) is offered as the emblematic everyman, homely, modest, and desperate, as he shoots dead a deer on the fringes of Sherwood Forest for food despite the royal edict banning anyone but the king from hunting them. Caught in the act by Sir Guy and his squad of knightly goons, Much protests the impossibility of making a living with all the restrictions on the peasantry, particularly given the pervasive social divide between the ruling Norman elite and the Saxon populace.

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Much is saved from a quick hanging by the intervention of Sir Robin of Locksley (Flynn), hunting with his friend Will of Gamwell (Patric Knowles). Robin is a Saxon nobleman, and rather than see Much executed for his crime, instead tells Sir Guy that he killed the deer and wards off his own hanging with the threat of his formidable skill with a longbow: “Are there no exceptions?” Robin queries as he aims his shaft at Sir Guy’s face. At a grand banquet in Nottingham Castle, Sir Guy plays host to Prince John and royal ward Lady Marian Fitzwalter (De Havilland). The assembly of smug-ugly Norman nobles discuss the increasing resistance to taxation, and John reveals he’s removed Richard’s regent and is taking over the reins of government. The banquet is interrupted as Robin appears with the dead deer draped over his shoulders, swatting guards with the carcass and parading into the banquet hall to dump his gift of venison on the table before John and his allies. John, at once amused and goaded by Robin’s calculated show of insolence, readily plays along in offering Robin a chair and food and listening to Robin’s boastful declaration of intent to start fermenting resistance to John’s regime.

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This sequence plays as Robin’s true introduction, defying the Norman elite in all its pomp and happily playing the rogue, prodding his foes to make their play of violence before he retaliates with his immense gifts for fighting. The classical motif of the unwelcome visitor interrupting a feast, often Death incarnate as in Poe’s The Masque of the Red Death, is given a radical new twist as the visitor is rather the embodiment of insurrection and class war. Robin instantly becomes the idealised rebel and a fantasy projection figure, the man we all wish we could be in standing up to bullies of every stripe, so confident in his abilities and justifications that he can place himself in the very eye of all worldly might and still find his advantage. Prince John’s signal for a guard to hurl a spear into the back of Robin’s chair is the official declaration of war. Robin immediatley makes his foes regret missing as he uses every weapon at his disposal, from banquet tables to his slashing sword and bow, able to climb to a high gallery in a few deft gymnastic moves and rain death down upon opponents whilst everyone churns about in panicked confusion. The filmmaking and Flynn’s athleticism conspire to make it seem actually possible that one man can create such a furore, the action laced with symbolic immediacy: Robin literally upturns the tables and social mores and wallops his opponents with them, before gaining high ground to fire his stinging judgements.

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Robin battles his way out and reaches Will, waiting with horses in the castle courtyard, and the two men dash off into the nocturnal Sherwood Forest with Guy’s men in pursuit, where they give the hunters the slip. This sequence, nominally a very straightforward bit of action staging repeated in dozens of Westerns and swashbucklers, nonetheless exemplifies the peculiar mystique of the film. Robin and Will’s flight takes them through shadowy forest aisles scored by slanting beams of moonlight and shimmering streams, frenetic motion countered with evocations of nature as embracing, near-mystic in its affinity with the fleeing freedom fighters and a plunge into a dreamlike realm fitting for folk heroes. Much of the rest of the film unfolds as a series of set-piece vignettes depicting Robin forming his band of Merry Men and battling the Normans. Transferred intact from folkloric tales are Robin’s encounters with Little John (Alan Hale), as each man refuses to give way to the other on a log crossing a river, and Friar Tuck (Eugene Palette), both of which see Robin and the other man testing each-other’s character and fighting skill before making friends and alliances. Robin loses his fight with Little John, who proves more adept with staff fighting than Robin, but prevails over Tuck, whose fencing skills are infamous.

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The Adventures of Robin Hood repeats elements that worked in Captain Blood, whilst offering a simpler plotline and sustaining a more successfully balanced tone, taking the recourse into raw mythology as a good excuse to locate the primary ingredients for a great action-adventure movie. One particular recurring but also augmented idea was again offering Rathbone as dark mirror to the straight-arrow Flynn hero, a figure who looks enough like Robin to be a relative, is his rival in love as well as quarry, and something akin to what Robin would be if he lacked any degree of social conscience or ethical fibre, or indeed perhaps if Robin had simply been born on the agreeable side of a social divide. Sir Guy is promoted to foregrounded villain to contrast both Prince John’s effete egomania and the hapless chicken-hawk postures of the Sheriff, giving Robin a truly equal and dangerous foe and helping to flesh out the way the film emphasises the social conflict not simply as one of rich and poor but one arranged along ethnic lines. “He’s a Norman of course,” Marian acknowledges as Prince John presses her to see the good reasons behind marrying Sir Guy, illustrating this hegemony as an internecine phenomenon, even as Robin relentlessly sets about illustrating that such an elite cannot long survive the determined cooperation of the Saxon citizenry, a body that can easily be read as any oppressed faction conceivable.

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Writers like Walter Scott and Nathan Pyle, who imbued much of the shape upon the folkloric template that now stands as familiar, nonetheless didn’t emphasise the notion of Robin as a specific kind of rebel against a particular historical regime: it was The Adventures of Robin Hood that made this seem canonical. Robin in his earliest ballads and tales had been defined as a yeoman – a sort of middle-class in medieval English society – but he later became an expelled nobleman. The process of remaking Robin in this fashion might well have reflected the way the character stirred anxiety over the idea of class warfare, but it opened up interesting political ramifications in turn, making Robin the exemplar of how social order is supposed to work, those entrusted with power and responsibility using it for the benefit of the people rather than exploiting them as illustrated by most of the other noble characters. A key early montage, showing word going out amongst the commoners to meet Robin in Sherwood and him swearing his followers to a creed and purpose, evokes folk memories of Alfred the Great rallying his people in the wilderness for a resurgence, and a host of other historical likenesses. Like many Hollywood films depicting English history in the ‘30s and ‘40s, there is at once a jaunty appeal to a romanticised sense of that history but also a definite nudge towards making the hero seem a proto-American – Flynn’s odd mutt of an accent allowed him to inhabit a blurred identity in that regard, his clipped phrasing suggesting good breeding but his yawing tones hinting at new world shores.

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The romance of Robin and Marian depends upon the inherent sexual tension in the situation of the lady of the castle falling for the upright yet officially degraded and morally tarnished protagonist, a ready-made metaphor for a presumption about male-female relations once considered axiomatic. Marian’s initial detestation of Robin, clearly already stricken through with electric erotic awareness, manifests as she haughtily contends with his daring and impudence, and also carries political meaning, particularly in their famous exchange: “Why, you speak treason!” “Fluently.” The introduction of Marian into the Robin Hood folklore came relatively late in the day and might have stemmed from attempts to mate the gritty, parochial English tales with a French pastoral tradition and chivalric romances, Marian a figure associated with May Day and natural rejuvenation just as Robin himself embodied the dichotomous freedom and danger of the forest. Marian was initially a shepherdess and possibly a prostitute who nonetheless swiftly ascended the social ladder to become a figure from the upper aristocracy. Perfect for Flynn and De Havilland who seemed to inhabit by natural selection the roles of freewheeling male and well-bred lady who represent the possibility of social reconciliation, through transcending class barriers and gendered courtesies.

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In immediate terms for the film, this means that De Havilland’s Marian is predestined to melt daintily yet passionately as her love for Robin grows, a love that requires a singular transformative event to finally gain true expression. This comes when Robin and his men ambush a convoy ferrying plunder to another district, led by Sir Guy and the Sheriff, and including Marian and her aged but spirited nurse Bess (the eternal Una O’Connor). The Merry Men expertly manage to surprise their foes and take the nobles captive, obliging them to watch as the guerrilla warriors feast and celebrate and stow away the recovered fortune for Richard’s ransom. Robin takes Marian into the forest and introduces her to people sheltering with him, a pathetic mass of survivors of torture and deprivation, forcing Marian to see the reality of Prince John’s regime and the inevitable result of a social divide. Marian falling for Robin then is also explicitly an act of political awakening. Jack Warner was anything but a progressive hero, but the style of movie he fostered at Warner Bros. in seeking out an audience to appeal to became a consistent brand, with realistic scenarios and characters in their gangster movies and rugged thrillers and working class melodramas. Despite its historically remote lustre, The Adventures of Robin Hood and some of Flynn’s other swashbuckler vehicles would, wields the same sense of struggle by a victimised or degraded group fighting for their rights and defying power.

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Prince John accidentally knocking over a wine goblet in the second scene sees red dripping on the floor in mimicry of the blood he’s about to spill, segueing into a brief montage of scenes depicting the tyranny descending as merchants and farmers are plundered and punishment applied to anyone who resists. This flourish is repeated later in the film to more intense effect as the Norman knights double down in their ruthless assaults on the citizenry, sadistic goons unleashed to amuse themselves with a level of brutality that’s surprising when considered aside from the rest of the film as one man is hung up by his thumbs, others lynched from trees, another chained and humiliated and forced to watch his daughter being raped by a squire. There’s a needling potency to the film’s evocation of the period it portrays, despite the storybook colours and high spirits, as generally a place of horror and exploitation. Except, of course, that in this second montage of cruelty and suffering, Robin is on the warpath. Normans are cut down mid-chortle by Robin’s assassinating arrows, with a wonderful little detail when the knight molesting a tavern owner’s daughter takes an arrow in his back, the zip of the shaft extinguishing a candle’s flame. One of Robin’s arrows even skewers his own arrest warrant as Sir Guy moves to sign it in his council chambers, warning the Normans no place is safe from his infinite cunning and freakishly great aim. In these scenes Robin is transformed into something more than human through not showing him aiming or firing his shots, bolts coming even where it seems impossible, man swiftly becoming myth.

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The Adventures of Robin Hood’s script was the work of two of the canniest screenwriters of the day, Seton I. Miller, who had written several of Keighley’s films and would revisit this kind of swashbuckler material in a more overtly campy and metaphorically erotic vein with Henry King’s The Black Swan (1942), and Norman Reilly Raine, who had penned The Life of Emila Zola (1937) and would later write King’s marvellous A Bell for Adano (1945). By comparison to many modern films where smart-aleck dialogue comes on as an end itself, the twists of wit in Seton and Raine’s script help drive on the troika of plot, character, and atmosphere, like Prince John’s enquiry to Robin, after he spits out a hunk of roast duck, “Have you no stomach for honest meat?”, to Robin’s retort, “For honest meat, yes, but no stomach for traitors.” The Adventures of Robin Hood is the kind of film more recent takes on the mythology try explicitly to offer negative-image revisions of, aiming instead for a darkly textured and authentic lustre, seen in works like Kevin Reynolds’ Robin Hood: Prince of Thieves (1991), Ridley Scott’s Robin Hood (2010), and Otto Bathurst’s Robin Hood (2018). Certainly aspects of The Adventures of Robin Hood, like Will’s brilliant red robe and lute-strumming and the bawling matey laughter of the Merry Men, have a touch of camp that can make a modern audience snort in sarcasm.

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And yet most revisionist takes stumble when it comes to apprehending a deeper, less obvious level of realism, missing the way Keighley and Curtiz expertly present the social background of the mythology and depict their version’s dimensions as parable. Scott’s version was ambitious in trying to refashion Robin into a plebeian figure and use him to describe the birth of democratic feeling, although the lumpy story got in the way. By contrast, Curtiz and Keighley’s film sees the historical detail and its interrelationship with folklore unfold smoothly, and connects with the scale of the production to give the film its monumental quality. The montages of beastly Norman depredations laid down a template for portraying tyranny that would be easily repurposed in films made during the oncoming war, and indeed there’s also a strong similarity to Sergei Eisenstein’s Alexander Nevsky, made the same year, a film that likewise reaches back into the dim past and a legend-encrusted hero battling monstrous opponents with implications about the looming moment, albeit with a more explicitly propagandistic purpose. Robin himself is presented completely against the grain of the contemporary pattern in his lack or neurotic or antiheroic traits. Instead the film constantly underlines how Robin and his comrades’ laughing opposition is their most authentic weapon. Robin’s refusal to let his foes intimidate him, to let them use the power of fear over him, and by extension those he protects, robs from them the pompous certainty that they embody and bestow harsh reality.

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Flynn’s Robin is the essential movie hero, able to seem big-hearted even when engaging in warfare, blessed with endless physical vigour and spryness of mind to match. Flynn embodied, thanks to his life experience, a peculiar blend of formative forces and traits, a life-greedy, knockabout man of action with gentlemanly bearing, a persona his films depended upon. Flynn didn’t receive much validation as an actor until near the end of his career, and he aggravated some on set through his breezy approach. But the way he holds the screen, with his precise sense of gestural effect and ability to vary his personality through degrees from satirical jester to awakened killer, reflects a naturally intelligent and expressive performer. Robin’s promise to Prince John in the banquet hall to “organise a revolt – extract a death for a death,” commences a precisely balanced campaign of resistance, measured and fair, even as he’s obliged to fight by different rules that allow his enemies to paint him as a mere brigand. Robin’s calculated risk-taking at both the banquet and later an archery tournament he knows full well has been staged to capture him reflects his consciousness that it’s precisely his acts of defiance, his willingness to take such chances, that fuel his following, the only way he can provoke an equally superhuman sense of empowerment in ordinary people. In the same way the character exists for the audience in the real world as a figure of emulation, so he also exists within the film.

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Goodness is specifically demarcated throughout the film by humour. Robin sometimes comes close to an all-action Groucho Marx in his general, breezy contempt for authority and social niceties and ready line in barbed quips, whilst the japes and teasing and boisterous laughter that permeate the interactions of the Merry Men, presenting an idealised version of masculine camaraderie, contrasting the coldly malicious undertones to Norman sarcasms and the outright enjoyment many take in dishing out brutality. The ambush on Sir Guy’s treasure convoy is the central sequence of the movie and a glorious piece of filmmaking that both illustrates Robin and his band’s method and captures their metaphorical appeal too. The guerrillas are filmed shimmying up the twisting branches of the forest trees and confirming to the bowers as if transformed into woodland creatures, before raining down on their startled opponents, the entire forest suddenly alive with manpower charging in to overpower the Normans, the editing carefully diagramming the assault as one coming from all vantages. One irresistible shot has the Merry Men charging at the camera and bounding over it (with the aid of a hidden trampoline), possessed of athletic vigour and gallant wit to the point of becoming an unstoppable natural force.

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The sequence reaches its climax as Sir Guy and the Sheriff realise they’re entirely surrounded and outmatched, at which point they hear Robin’s highy entertained laugh. The bandit chief is glimpsed high in a tree, swinging down upon a vine to land on a rock and declare, “Welcome to Sherwood, my lady!”, the embodiment of rascal charm and daredevil prowess, mocking his foes with dynamic showmanship and ironic hospitality. All of this is wrapped in mischievous energy and a faintly sarcastic heroic tenor by Erich Wolfgang Korngold’s scoring. The band’s triumph in capturing the convoy allows them an opportunity for a mighty, convulsive feast where the captured Normans are forced to don peasant rags and a bandit proclaims immortally, “To the tables everybody and stuff yourselves!” Flashes of bawdy comedy come as Much flirts with Bess despite admitting to never having had a sweetheart, to which Bess crows she’s “had the bands five times myself,” and Much answers Bess’s suggestion he says the same things to every woman who tickles his fancy with, “I’ve never tickled a woman’s fancy before.”

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Korngold’s music is regarded as one of the best scores ever featured in a movie. Certainly it’s one of the most influential, with just about every big orchestral score for a blockbuster today owing something to its example. Korngold was a musical prodigy who had impressed Gustav Mahler with a cantata he wrote at the age of twelve. Despite his serious musical reputation for his operas and orchestrations for other composers, Korngold is easily most famous today for his film scores, first coming to Hollywood to create an adapted version of Felix Mendelsohn’s score for Reinhardt’s A Midsummer Night’s Dream, and his work followed on the heels of fellow Mahler acolyte Max Steiner’s score for King Kong (1933) in expanding Hollywood’s understanding of how a sound film score could work, woven deeply into the rhythmic structure rather than simply punctuating scenes. Korngold then agreed to score Captain Blood and laid down the template for his floridly emotional and evocative soundtracks to a string of swashbucklers, music that worked in part through the complete resistance to any modernist impulses. Although his work for The Sea Hawk (1940) is arguably a more textured and painterly effort, his scoring here is the more perfectly attuned to the visuals. The banks of pealing trumpets and surging strings paint the emotional extremes of heroic warfare and intimate romancing, with a remarkable level of orchestrated detail apparent, reaching a particularly high pitch of bombastic greatness during the build-up to the climax as Prince John’s coronation procession enters Nottingham Castle, the surging strains capturing both the gilded grandeur and the undercurrent of peril.

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Most importantly, Korngold’s music helps to unify the film’s episodic structure, dragging it from one set-piece to the next as each section of the movie presents a small drama that contributes to the overall story whilst taking care to illustrate a vital aspect of the folklore. Robin’s choosing of his path segues into the process of assembling allies, before the attack on the convoy sees the Merry Men at a zenith. Robin’s capture at the archery tournament is a moment where his daring and brilliance prove self-defeating, but also crystallises Marian’s ardour and obliges her to pick a side. The last act kicks off when King Richard (Ian Hunter) and his retinue turn up dressed as monks in a Sherwood tavern, having escaped captivity, presenting hope for an end to the tyranny but also providing his brother with a chance to have Richard assassinated and take the throne without hindrance. The archery tournament is another great scene that revolves around the game of concealment and revelation Robin and his enemies feel almost honour-bound to play with each-other: the notion of suckering Robin in with the possibility of the reward of a golden arrow granted by Marian comes not from Sir Guy but the cannier if craven Sheriff. Robin, posing as a tinker with a disguise so amusingly paltry it suggests he might have inspired Superman’s bifocals, enters the tournament despite his companions’ worries.

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The editing by Ralph Dawson blends with Korngold’s music in making the tournament, a montage-like sequence, build nonetheless with ingenious dramatic cadence to a crescendo, with Curtiz throwing in canted camera angles and radical shifts in perspective, a mobile camera surveying the archers and rhythmic cuts, to create a scene that still feels remarkably fluid and modern whilst unfolding in manner you scarcely notice. Robin sets the seal on his legend when, faced with a seemingly unbeatably good shot from his final opponent with his arrow dead centre on the target, takes aim and splits the arrow with his own. But Robin is unable to slip the net this time as he’s caught and thrust before the triumphant Prince John, Sir Guy, and the Sheriff, with Sir Guy dealing out a slap to Robin’s face, but the Sheriff, trying the same gesture, gets Robin’s boot in the belly. Sentenced to death, Robin is flung into a dungeon, but Marian, who knows Bess has been seeing Much, obtains the password to meet with Robin’s lieutenants in their favourite tavern and, after assuring them through making a vow at Tuck’s insistence that she’s utterly in earnest, suggests a way for them to save Robin’s life. This involves a daring assault on Robin’s hanging, giving Robin a chance to jump onto a horse and flee with his friends for the great main gate to Nottingham, where upon Robin expertly foils pursuit by sabotaging the city gate’s portcullis with improvised gymnastics, realised thanks to some show-stopping stuntwork.

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Robin climbs the ivy – not a euphemism – to Marian’s chamber in the castle to thank her, allowing Flynn and De Havilland to realise their chemistry even in playing by most decorous rules, the perfect gallant and the ideal lady nonetheless dedicating themselves not only to an illicit and illegal love but also to continued political mischief. De Havilland would go on to win two Oscars and prove herself one of the smartest actors of her era, but her roles opposite Flynn as the genteel damsel were the bedrock of her career, partly because they seemed to suit her so perfectly. De Havilland in real life was the proper young lady whose own strength of character kept taking people by surprise, most fatefully when she battled Warner over her contract and established a precedent that emancipated many stars like her. Marian resembles her in being underestimated for her looks and breeding but keeps proving her very real moral fibre, to the point of being arrested after overhearing Prince John and his cohort plotting Richard’s assassination and trying to get warning out. As with her role as Melanie in Gone With The Wind (1939), De Havilland’s lady fair parts depended her capacity to play characters who could seem cloying or icy or witless if handled badly, but De Havilland was able to present as inherently decent. Although a long way from any sort of action heroine, De Havilland’s Marian nonetheless provides her own kind of valour, eventually finding herself in the same position as Robin a few reels earlier where she is tried by Prince John and his cadre and sentenced to death, unleashing a fearless tirade at the usurper and his cronies with a show of steely character that justifies and exemplifies the ideal of nobility, and comprehending the Prince’s intention to have her executed with baleful comment on the depths of his arrogance.

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Despite the run of success director and star had together in their collaboration, which would continue with films like Dodge City (1939), The Private Lives of Elizabeth and Essex (1939), and The Sea Hawk, Curtiz and Flynn disliked each-other intensely, and some of the films’ energy seems to stem from the volatile relationship between the pair. Flynn was probably one of the few men in Hollywood who could match Curtiz’s relentless energy even as they turned it to different ends, the hard-living Flynn versus the work-loving Curtiz, and there was also the little matter of Flynn being married to Curtiz’s ex-wife. On screen at least, Flynn readily became the projection of Curtiz’s bravura and romantic impulses. Something of Keighley’s imprint is still apparent on the film: the portrayal of Prince John as an entitled and vainglorious but sardonic and formidable figure, rather than a skulking fiend, has some similarity to Monty Woolley’s overbearing critic in Keighley’s later The Man Who Came To Dinner (1941), and the almost holistic sense of social structure echoes Keighley’s anatomisation of such in Bullets or Ballots (Miller had also written that). The long, surveying camera tracking shots in the early banquet scene suggest something more like Keighley’s sense of theatrical integrity than Curtiz’s carefully composed mise-en-scene.

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Nonetheless I find it very hard not to see The Adventures of Robin Hood as ultimately a Curtiz film. Curtiz was the ideal studio-era director, a strong stylist who knew how to run a movie set, who could readily contour his talents into the production system and tackle a wide swathe of genres. Curtiz regarded his assignments from on high less as vexing chores than as challenges to his professional and aesthetic touch, his workaholic drive so reliable Warners set up a special unit just for him to use. But patterns still emerge from his oeuvre. There are inevitable connections despite Curtiz’s late arrival on the film with his other swashbucklers and with Casablanca and its follow-up Passage to Marseilles (1944), most particularly in the preoccupation with heroes in exile contending with political tyranny applied on a victimised population. Curtiz would often return to the theme of an artist, or an analogous fixated figure, driven on by his gruelling commitment through varying shades of heroism and antiheroism. Curtiz worked through this preoccupation in his horror film Murders in the Wax Museum (1933) and dramas like Four Daughters (1938) and Young Man with a Horn (1950), remaking both George M. Cohan and Cole Porter in his own image for Yankee Doodle Dandy (1942) and Night and Day (1946), and mediated it through such rovers and warrior-poet characters as Robin, Rick Blaine, The Breaking Point’s (1950) Harry Morgan or The Egyptian’s (1954) Sinuhe, men who experience extremes of their societies and their own natures to soul-cracking degrees, degrees only a creation like Robin can traverse without injury. Such characters are driven to achieve a certain perfection in their personal arts and crafts, which indeed Robin exemplifies this by feeling obligated to perform at peak despite the danger involved because that is what he is.

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Curtiz’s trademark style provided a variation on the German Expressionism that had infused cinema in the 1920s, a style he appropriated as a light veneer of style rather than an obsessively suggestive texture. Curtiz’s version offered clean and spacious realms and minimalist sets but with declining stages of décor and performance within his frames, and careful use of light and shadow offering a dimension beyond the literal. Most famous is his recurring flourish of shadows playing upon walls, as in the finale here where Robin and Sir Guy fence, dancing across a chamber in Nottingham Castle, their very corporeal exertions suddenly transformed into something abstract and legendary, and achieving an effect close to animation. The Adventures of Robin Hood proved Curtiz’s first colour film, but was readily able to make his touch work in the new medium. Indeed, The Adventures of Robin Hood marked a radical expansion of what colour could achieve, with cinematographers Tony Gaudio and Sol Polito and the Technicolor overseers W. Howard Greene and Natalie Kalmus making use of all eleven Technicolor cameras built up to that point. There’s some anticipation of the hyperbolic colour effects found in Gone With The Wind in a shot like where Saxons are being hung from a tree at dusk, Expressionist technique in the foreground and fauvist hues in the distance. But the colour textures are generally diffused to give the storybook-like visuals an extra veneer of faded charm.

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The precision of the casting down through the layers of the film as another of its multivalent joys, backing up the strength of the leads with actors who nail down the iconographic personas of their roles with quick, deft strokes, from Rains’ leonine smarm to Rathbone’s angular aggression and hood-eyed sexual menace, Palette’s gruff vigour and O’Connor’s cawing pluck, Hunter’s majestic largesse and Hale’s vivacity: the film makes space for them all and more, keen to the give and take of energy this kind of storytelling needs. Much’s ride at Bess’s desperate request to warn King Richard, after Marian is taken prisoner and Prince John sends an assassin after his brother, builds to a terrific fight scene whilst still sustaining the fairy tale lustre, as Much ambushes the killer as he crosses a stream, lethally slashing blades and splashing water glistening with steely texture in the Technicolor amidst dappled summery surrounded. This inverts the comedic tone of Robin’s battles with Little John and Friar Tuck, the struggle in the water pointedly taken up by one of Robin’s acolytes and this time played for history-changing stakes. The outcome is left on a cliffhanger as a dissolve leaves the fighter locked in a death match. Soon Will comes across the wounded but victorious Much and takes him back to Robin, who is already paying unwitting host to Richard as the King, in maintaining his monkish guise, has been robbed and then offered shelter by Robin.

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The colour pays off most memorably here as Richard unveils his royal livery in all its blazing splendour of red, gold, and white under the black cassock, stirring Robin and the Merry Men to kneel in awe and homage. Korngold’s scoring also helps make this moment emotionally and aesthetically moving, as the withheld promise of order and justice is suddenly personified and announced like dawn – putting aside all knowledge about the historical Richard, of course. This revelation is the key to the climax as Richard and Robin lead their forces in disguise as monks under the neatly compelled Bishop of the Black Canons (what a name!) and manage to interrupt Prince John’s coronation. Robin and Sir Guy split apart from the great battle that consumes the banquet hall for their duel. The frenetic swordplay of the many warriors is punctuated by comic relief as Much, trying to be useful despite his wounds, hiding in a nook and trying to swat Normans with a mace, asides that keep the tone from becoming swaying too far in either pole of goofy or dour. Robin and Sir Guy’s battle contrasts the wild melee in the hall by instead becoming a deadly dance, moving through cavernous halls, up and down staircases and around vast curving barbicans, space that scarcely makes more sense than anything in The Cabinet of Dr. Caligari (1919), albeit a dreamscape inhabited not by ghouls but doppelganger incarnations of good and evil.

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The climax depends not just on Flynn and Rathbone’s skill and daring, but on their capacity to act in motion, particularly Flynn’s ability to depict Robin indulging himself to a degree even whilst fighting tooth and nail with Sir Guy, even going so far as to waste a chance to spear him and giving Sir Guy his sword back after he loses it so as not to spoil the match, in large part because his aim is not to slay Sir Guy but to find and free Marian. That is until Sir Guy violates the unspoken rules by trying to keep Robin pressed against a wall, whilst pulling out a dagger and trying to stab him with it. The underhanded move plainly offends Robin by the way his eyes flash in anger and spasmodic alarm, aware the game as it’s been played is at an end and big boy rules now apply: Robin slays Sir Guy within a few seconds. Curtiz repeats a trick from Captain Blood to more succinct and iconic effect as the surrendered weapons of the defeated John partisans are piled up, and Richard holds court with the riff-raff who had saved his throne, granting Robin Marian’s hand and making him a Baron. A happy ending is also deliverance from social duty, as Robin performs a last sleight of hand as he and Marian slip from the congratulatory pile-on and offer their gratitude from the gate before scurrying off to private, connubial bliss, the shutting of the castle doors closing the movie. Likewise, The Adventures of Robin Hood bows out supremely justified.

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1940s, Action-Adventure, Erotic

The Black Swan (1942)

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Director: Henry King

The Days of High Adventure: A Journey through Adventure Film

By Roderick Heath

If The Sea Hawk is the working model of the old-fashioned swashbuckler, The Black Swan is its disreputable younger brother, a study in lascivious über pulp in rest and motion. Starring Tyrone Power, Errol Flynn’s chief rival for the mantle of swashbuckling heartthrob during the late 1930s-1940s, in one of his nearly a dozen collaborations with director Henry King, The Black Swan is another essential genre avatar. King, a cinema pioneer and usually a soberly artful, thoughtful director, here threw out the niceties and reduces the serious themes of the Curtiz-Flynn model to window dressing. He charges through the narrative like a whirling dervish to wrap up his narrative in 84 minutes of Technicolor-swathed foreplay. The theme usually treated cheekily, even suggestively, but ultimately decorously in Flynn’s movies, the dance of dangerous seduction between roguish outlaw and a prim lady fair like Olivia de Havilland, is here transmuted into an extended S&M fantasy. Apart from Duel in the Sun (1948), The Black Swan is, in its circuitous way, quite the filthiest, mind-bogglingly kinky and campy film I’ve seen from a major Hollywood studio in the 1940s. Whilst The Sea Hawk took the oncoming mood of war seriously enough to sail on those ill winds, The Black Swan is entirely a rejection of contemporary reflection, except perhaps in its aggressive underlying celebration of warrior masculinity as a newly desirable ideal.

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Some of the films that helped to invent what would later be called the camp aesthetic (and The Black Swan surely is one, along with the likes of Robert Siodmak’s Cobra Woman [1944] and the most florid Bette Davis and Joan Crawford melodramas) welled out of the underground reservoirs of this seemingly more serious era’s frenetic anxieties and perfervid fantasies, which would also disgorge film noir. Shot in Technicolor that pools with the luscious vivacity of Renaissance art, all the better for soaking up the texture of leading lady Maureen O’Hara’s vulva-red lips and the hues of Earl Luick’s costuming, The Black Swan prefigures the painterly aesthetic of King and Power’s fine later collaboration, Captain from Castile (1947). But whereas the latter film was coolly resplendent in its use of storybook colour and offered its melodramatic story as a sober epic, The Black Swan is little more than a romp through the tropes of the pirate movie.

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Working from a script by Ben Hecht and Seton I. Miller adapted from Rafael Sabatini’s novel, King whirls through what should be a first act of a standard swashbuckler film in a solid 20 minutes of delirious fights and captures, rape and bondage, torture and pistol brandishing, door-entering and stair-climbing, that starts to play like French bedroom farce done in buccaneer costume. This is, as an opening title tells us in a manner suggesting cowriter Hecht lampooning his archly romantic foreword scrawl for Gone with the Wind (1939), a “story of the Spanish Main — when Villainy wore a Sash, and the only political creed in the world was — Love, Gold, Adventure.” The very first shot, of a young Hispanic gallant serenading his lady love far below her high balcony, hits a romantic note the film only wants to subvert. Within moments, the Spanish Caribbean port is infiltrated by a band of English privateers who leap from the rooftops to overwhelm the guards and plunder the town of everything that can be carried away; the pirates are glimpsed hefting tethered girls onto their ship like sacks of grain.

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Pirate captains Jamie Waring (Power) and Billy Leech (George Sanders) celebrate by getting sozzled on the beach with two trussed maidens wriggling like puppies at their feet. Leech makes a play for figurative fellatio as he tries to force one captive to drink from his mug, but as she resists, he instead splashes his symbolic seed all over her face. Spanish soldiers resurge from the night, driving out the pirates and capturing Waring, who is then stripped to the waist and hung on the governor’s rack for a little gratuitous torso-ripping and rippling. Now it’s Waring getting the wine goblet/penis substitute waved in his face. Thankfully, in bursts Waring’s chum Tommie Blue (Thomas Mitchell) with a relief party, and soon it’s the Spanish governor on the rack. Jamaica’s British governor, Lord Denby (George Zucco), comes downstairs to intervene, protesting that England and Spain have now made peace, but Waring, even more infuriated, has him promptly hurled into the dungeon as a traitor. His daughter, Margaret (O’Hara) descends too, wielding a pistol and demanding to know her father’s location: Waring swats the gun from her hand and tries to kiss her as prelude to ravishing her, but the arrival of Waring’s friend, Henry Morgan (Laird Cregar), distracts him so much he drops Margaret like so much laundry under his arm. Morgan’s arrival doesn’t mean, however, that the pirating business will continue as usual. Morgan, whom all of his pirating friends thought had been hung in London after being captured and shipped there by Denby, has returned as the new Jamaican governor, because he’s the only one who can persuade the pirates to hang up their cutlasses now that England has made peace with Spain—or, if he can’t, can use his knowledge to hunt them down.

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Unsurprisingly, Morgan is initially spurned by Denby. Leech and fellow cutthroat Wogan (Anthony Quinn) in turn spurn the idea of giving up piracy, whilst Waring reluctantly sides with Morgan and Tommie. As he and Tommie escort Morgan into the governor’s mansion, they fight like children over the best rooms, and Waring eagerly claims Margaret’s former chamber, all the better to lounge upon her pillows to imbibe the scent she’s left on them. Tommie tries to impress a lady friend he’s picked up by making love to her in Margaret’s bed, only for Waring to catch them and kick them out. Waring tries to reinvent himself as a gentleman, or at least as close as he can get to one, in order to pursue Margaret in his new station. She, understandably, is less than thrilled initially, playing the cobra to his mongoose in a lengthy game where Waring tries to suppress his natural inclination to bend Margaret over the nearest barrel and have at it and play the gentleman suitor. When Margaret falls from her horse while fleeing from him, he tends to her in his approximation of gallant fashion, including peeling her eyes wide to check she hasn’t suffered a stroke and fetching her a drink of water using a lily pad as a cup, only for her to then clout him on the noggin with a stone. Waring has a love rival in the form of Denby’s foppish friend Roger Ingram (Edward Ashley), a strutting ponce who seems by far the more ideal gentleman—except that Ingram is plotting to make himself extremely rich, destroy Morgan, and help Denby take back control of Jamaica by feeding information to Leech on where and when to attack ships, and how to avoid Waring and the other loyal captains under Morgan.

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Piracy is to King as jewel thievery is to Lubitsch and Hitchcock: an extended mating dance. Whereas for the latter directors, that finer illicit occupation symbolised adult sexuality at its most sophisticated, piracy under King’s watch becomes a fundamental metaphor for baser, more primal processes, as the drama, whilst set nominally in a specific historical milieu, portrays a moment in human evolution that is far more remote, when animal needs and raw force give way to the relation of individuals. King isn’t the slightest bit interested in either the finagling of the villains or in delivering a comeuppance to Ingram—that’s left to be resolved after the final fade-out—but rather focuses purely on the randy energy of his stars, complemented with some neat action.

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Power, who was King’s discovery, was catapulted to stardom after appearing in King’s Lloyd’s of London (1936) as an artful, but largely static romantic lead. When he played the title role in King’s 1939 drama Jesse James, and then the masked avenger in Rouben Mamoulian’s more classical The Mark of Zorro (1940), with an epic bout of swordplay between Power and Basil Rathbone that ranks as one of the most genuinely fierce ever filmed, Power became a legitimate rival to Errol Flynn as a swashbuckling idol. The air of physical discomfort that would beset Power increasingly in the later 1940s and 1950s owing to the inherited heart ailment that would finally kill him, was still nowhere to be seen, and he bounds through The Black Swan with the swaggering confidence of a movie star at full force: actually this was the next to last movie Power would make before he joined the Marines and served as pilot through the end of World War II. He was bisexual according to Hollywood scuttlebutt (but then, who wasn’t?), and certainly was no stranger to letting himself be eroticised on screen. He spends about a third of the running time of The Black Swan sans shirt, starting with an interlude of homoerotic torture.

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O’Hara, on the other hand, seems to have possessed some innate quality that brought out the latent S&M fantasist in so many of the directors who worked with her: bound, gagged, and hooded in Hitchcock’s Jamaica Inn (1939), kidnapped repeatedly and subjected to medieval torture in William Dieterle’s The Hunchback of Notre Dame (1939), dragged across country on her rear end at John Ford’s behest in The Quiet Man (1952), and thrown in for a bout of mud wrestling and spanking in Andrew V. McLaglen’s McLintock (1963). What was it about O’Hara that exposed the nakedly eager chauvinist in such filmmakers? Was it her capacity to seem at once rigidly proper and cast-iron in character, but also provocatively, lawlessly sensual under the surface? Certainly The Black Swan is predicated on just this balance, as the more ferociously contemptuous and dismissive O’Hara gets the more and more certain Waring is that Margaret secretly adores him. After he’s clobbered Ingram, who ill-advisedly tried to start a duel, he demands to know what on earth she sees in such a flop of a man. Margaret spits a stream of insults at him: “You black-hearted bully! What do you know about men or women or anything human? All you can do is shoot and kill and prey on women, with your beastly senses slobbering at the sight of anything fine!” Waring swishes his cape and struts off with a confident flourish: “I repeat my lass, you’ll have to choose between us, and very soon too.”

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The idea of making an action-adventure movie as an excuse to put two roaring hot stars together was once one of the essential creeds of Hollywood; Howard Hawks was the past master of it. I recall a few years ago when watching Pirates of the Caribbean: Dead Man’s Chest (2006), one of the direct descendants of this film and its brethren, how much I was struck by the blinding arc of electrochemistry between Johnny Depp and Keira Knightley in one singular scene together. That chemistry was otherwise entirely ignored in the series, leaving us instead with Knightley’s romance with Orlando Bloom’s blockish ingénue and Depp to romance his own CGI simulacrums. It felt like an offence to cinema and nature, one neither Hawks nor King would have committed. The classic notion that the on-screen action is only an essential backdrop to the contemplation of human mating rituals is not necessarily a degradation of the adventure movie ethic; on the contrary, it has long been one of the genre’s distinctive traits. The essential motif of misconstrued character between potential lovers is again ancient, though the peculiar tweak it’s given here is that Margaret really isn’t wrong to mistrust Waring’s “reformed” character, given what we see of the way he acts, a pure caricature of troglodytic masculinity who obeys a fundamental belief in the truth of immediate biological reaction rather than any social nicety. Freudian and mythical symbolism is invoked as Waring plants a sword between his and Margaret’s beds as both a fittingly phallic and deadly totem of the space that must remain between them until the romance is finally mutual. Whilst it could hardly seem a greater distance from King’s next film, The Song of Bernadette (1943), The Black Swan treats playfully a theme that consistently preoccupied King in his more evidently personal works: characters attempting to transcend their character flaws and evolve towards a yearned-for state of grace and enlightenment, usually within the context of a great social moment that not only offers the chance for such transcendence, but also forces it

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Chief villains Sanders, who, equipped with his great bushy red beard and broad accent, seems to be relishing playing a less gentlemanly kind of rotter for once, and Quinn, sporting an eye patch, feel like avatars for the perverse, consuming pan-sexuality of the “pirate” breed, imps from the innermost realm of Waring’s psyche who must be defeated if he is to truly evolve as he says he wishes. When Waring and Margaret are forced to pretend to be married for the sake of fooling Leech, he comes snuffling into their room looking as if he very much like to climb into bed with both of them, brandishing a nightgown for Margaret that he seems to like the idea of wearing himself. Meanwhile, Quinn’s Wogan lounges shirtless in the window bay of his cabin.

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Whether Waring really can evolve is the chief stake of the plot. He gives in, apparently, to his most anarchic impulses when, faced with a schism between ardour and duty, he haphazardly combines both by intervening to keep Margaret from marrying Ingram by kidnapping her, cueing another of O’Hara’s bondage scenes, as Waring ties her up and wraps a big thick gag about her yap. But once he has her on his ship, Waring tries to maintain a gentlemanly forbearance, even as circumstance dictates he pretend to be signing back on with Leech and Wogan. The necessities of political loyalty are also seen as essentially erotic, just like the dance of force and seduction, softness and hardness between Margaret and Waring; Morgan’s ennobling by the King and his new suppliance to authority demands he attempt to quash his former colleagues and the roguish activities he himself still wishes he could indulge, just as Waring must give up his ravaging.

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Cregar’s gleeful performance as Morgan is another highlight of The Black Swan, walking an exact line between high comedy and imperial force, appearing initially in a vision akin to the climactic moment of The Adventures of Robin Hood (1938) when King Richard reveals himself as nobility and order incarnate, as he appears unexpectedly, resplendent in the full Restoration drag. And yet Cregar’s Morgan constantly scratches underneath his mighty black wig of state and finally tugs it off in a fit of pique. He’s almost glad when the conspiracy of the snotocracy in Jamaica forces him to flee and find his only possible salvation in one last bit of seafaring action, to try to ensnare Leech and Waring, whom he believes really has turned rascal again. As a film, The Black Swan is a work of pure illustrative élan in the most classical Hollywood fashion. In avoiding standard swashbuckling until the finale, King pares back exposition to almost comic book proportions, like the course of an attack on a treasure ship depicted in swift montage, resolving with a victimised ship’s nameplate, still affixed to a broken piece of hull, drifting in the water. The early scene in which Leech and Wogan split from Morgan, with a pie-eyed Waring unable to actually decide whom he wants to follow, is a Hogarthian litany of seedy humanity and ye olde fakery. The ultimate sympathy of The Black Swan leans distinctly towards the pirates’ side, or at least the gentlemanly ones: Morgan considers chucking in his commission for a return to sea, having gotten a taste of the more refined buccaneering of politics and high society, whilst Waring’s swashbuckling prowess is finally proven to have heroic uses.

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Whilst neglecting the usual action until its last reel, The Black Swan finally lets rip in one of the most visually inventive and dazzling action sequences of its era, making the fullest use of Leon Shamroy’s photography—he very deservedly won an Oscar for his work—and some ingenious special effects, including using a mixture of matte and model work to give the battling ships the kind of crawling liveliness that wouldn’t be much seen in such fare until the arrival of CGI. Waring, finally cut loose in action, cripples Wogan’s ship by cutting its rudder lines, causing the vessel to crash headlong into the shore, and then swims to and boards Leech’s ship to engage in the compulsory death-duel with his nemesis. Sanders, never pressed for much physical acting, nonetheless rises to the occasion with some surprisingly deft swordplay, making the final battle a convincingly feral clash. Waring is skewered in the hip by his opponent, giving him a terrible wound that nonetheless also hands him the chance to dispatch his enemy with one good jab to the belly. Of course, the spectacle of Waring’s selfless and prodigious derring-do, and his newly prostrate, weakened state, finally win Margaret over, and she contemptuously dismisses Morgan’s offer to see her beastly kidnapper hung. The final clinch, rather than offering Waring secure reinstatement into polite society, offers instead Margaret, now transmuted into a pirate wench, a sexually sovereign being who feeds back to Waring his own suggestive catchphrases (“I like to sample a bottle before I buy it”) and recites “Jamie Boy’s” name thrice according to an ancient and pagan nuptial vow. It’s as sexy as movie punchlines get.

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1940s, Action-Adventure, Historical

The Sea Hawk (1940)

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Director: Michael Curtiz

The Days of High Adventure: A Journey through Adventure Film

By Roderick Heath

If Raiders of the Lost Ark represents the adventure film reborn, The Sea Hawk is its classical ancestor at zenith. Few director-star collaborations provided more pleasure, and yet have resulted in surprisingly few encomiums of the kind that, say, Hitchcock and Grant or Stewart, or Ford and Wayne, have earned over the years, than that between Michael Curtiz and Errol Flynn. That could be, perhaps, because both men are feted for what they did obviously well, whilst remaining strangely under-regarded. The eruptive, malapropism-prone Curtiz, born in Budapest as Mano Kurtesz Kaminar, first rose to fame in European cinema before he followed a path to Hollywood that was well-worn, and yet he quickly installed himself as one of the town’s arch professionals, and one of its most inimitable stylists, surviving and flourishing where so many others sank or settled for less. Curtiz’s development of a muted but acutely animated kind of expressionism proved a perfectly adaptable style that loaned a veneer of intrinsic mythos to even the most humdrum and realistic material, mixed with an eye for quicksilver visual exposition and mise-en-scene, and a grasp on shooting and cutting together action sequences that deserved comparison with Eisenstein and DeMille. Curtiz’s style found its most perfect purpose in a run of filmmaking from 1935 to 1945 that produced several of the works by which people still define the very essence of Classic Hollywood, including Angels With Dirty Faces (1936), The Adventures of Robin Hood (1938, which Curtiz took over directing when William Keighley was taking too long), Casablanca (1942), and Mildred Pierce (1945).

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Similarly, Flynn, who tackled almost every type of lead role, is nonetheless one of those stars bound to be associated forever and ever with one specific kind of movie and part. His embodiment of the swashbuckler was here at his absolute height: he brought his own distinct mix of romantic sensitivity and a certain ardent, intrinsic rebelliousness to the template first laid down by Douglas Fairbanks, of the grinning, devil-may-care, impudently charming, infinitely athletic man of action. The Sea Hawk both continues and slightly distorts the formula laid down by Curtiz and Flynn in their earlier collaborations, Captain Blood (1935), The Charge of the Light Brigade (1936), The Adventures of Robin Hood, and The Private Lives of Elizabeth and Essex (1939), which also set Flynn’s personality in high-contrast conflict with the imperious Renaissance matriarchy of Elizabeth I. Here the terms of reference were closer to the historical action of the other entries. Flynn’s usual object of romantic interest, Olivia de Havilland, is swapped for the under-used Brenda Marshall, a slightly harder, chillier personality, albeit one who melts darn well, fit for a slightly harder, chillier brand of the genre. If I’ve chosen to speak of The Sea Hawk rather than The Adventures of Robin Hood, perhaps the most perfect swashbuckler ever made, or Casablanca, a study in the chamber-piece adventure movie, to celebrate this one, it’s partly because The Sea Hawk fascinates me in how, whilst sustaining the innocent, ebullient traditions of the pre-WW2 swashbuckler, it can be seen assimilating a darker new reality into its form, intuitively reshaping itself to match an oncoming era of total war. On the cusp of the era that would spawn film noir and see the adventure film sink largely to candy-coloured lampooning, The Sea Hawk looks at times awfully like proto-noir in the least generically familiar of contexts. The Sea Hawk flaunts Warner Bros. production resources, not stretched to a limit as Robin Hood did, but employed with an exacting sense of talent employed for appropriate results, crammed to the rafters with terrific character actors and technical wizards.

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By the time The Sea Hawk was made, WW2 had begun in earnest, and whilst released still in the time of the US’s official neutrality, this Warner Bros. production took an overt tilt at an historical parable of Hitlerian ambition through the prism of Elizabethan England’s conflict with imperial Spain. Warner’s adventure films might have seemed the escapist flipside to the studio’s famous run of social-realist and gangster films, and yet they internalised similar values; Flynn’s heroes were usually patriotic, but in a fashion that demanded they fight corrupt oligarchs and tyrants domestic and foreign, often even driven to sacrifice or destroy themselves or commit an act of betrayal, if a greater cause demanded a forbidden act. The Sea Hawk tweaks the dynamic insofar as the Flynn’s often outright rebellious attitude to authority, which often segued late in the tale to a new loyalty as the corrupt fell and regimes changed, here his relationship with Elizabeth is based on differing definitions of defensive patriotic action. The Sea Hawk’s opening immediately establishes the agenda: Philip II (Montagu Love), characterised as a majestic egomaniac, gesticulates at the world map upon his wall, his shadow falling in classic Curtiz style upon the continents fashion like a stain, as Philip airily declares that soon “it will no longer be a map of the world, but of Spain!” Philip’s wrath has been drawn by England’s recalcitrance, in particular its sponsoring of privateers, or “Sea Hawks” as they’re dubbed here, to justify the film’s title after tossing out the Rafael Sabatini source novel. Secretly planning to build the Armada to swamp England’s resistance, Philip sends his ambassador, Don José Alvarez de Cordoba (Claude Rains) to browbeat Elizabeth (Flora Robson) into curbing the Sea Hawk raiders.

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The galley taking Alvarez and niece Maria (Marshall) to England, under the captaincy of Lopez (Gilbert Roland) and driven by slaves committed to the oars by the Inquisition, falls prey in the English Channel to the most infamous of the Sea Hawks, Geoffrey Thorpe (Flynn), who swoops upon the Spaniards and pulverises their ship before boarding. The Sea Hawk thus really kicks off with its biggest action set-piece, signalling an intent to play with the usual narrative structure, and, as Flynn and several of his familiar company like Alan Hale appear, deliberately evoking a feeling of stepping in where one of the earlier Flynn-Curtiz swashbucklers left off. The action that follows is close to perfection in form and function, and, like the desert chase in Raiders, has a solid spot in my private list of all-time great action sequences. If all the infrastructure of classic Hollywood was worth anything beyond putting interesting actors together in small rooms, it was to put together a bit of filmmaking like this, an escalating series of visually thrilling, artful, yet perfectly expedient shots that stands at such a remove from the endemic gibberish of so much modern action filmmaking. Even The Sea Hawk’s classiest twenty-first century offspring, Master and Commander: The Far Side of the World (2003), couldn’t come close to it for managing both intensity and clarity at the same time in depicting close-quarters carnage.

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Curtiz and the production team were evidently trying to match the finale of Captain Blood – a couple of shots from which augment the sequence, including snatches from the first silent version of The Sea Hawk (1923) that film itself interpolated – and to outdo it for flow and tactile detail, a quality of the film as a whole that leaps out. The eternal assumption of the classic swashbuckler, that British sailors were incontrovertibly better shots than anyone else, sees Thorpe’s crew cripple their lumbering, slave-driven foe and board it, albeit a little earlier than Thorpe wished because one of his men, Eli Matson (J.M. Kerrigan), jumps before he gives the order. The battle sequence proceeds with a micro-managerial sense of detail outlay: the cannon balls of Thorpe’s ship, the Albatross, shattering the hull of the enemy; grappling hooks skewering enemy soldiers; the galleon’s oars shattering as the two ships are pulled together; the frantic, multi-levelled, impossibly teeming shots of the two crews battling; Thorpe getting his trusty lieutenant Pitt (Hale) to force the Spanish trumpeter to sound surrender, saving Lopez in the nick of time from Thorpe’s blade; Lopez requesting that Thorpe leave his ship so he can be the last man to abandon the sinking vessel, the Spaniard finally swinging over to a general cheer.

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A level of gentlemanly forbearance and essentially anti-chauvinistic feeling is evoked in Thorpe’s attempts to mollify the outraged Spaniards, giving them run of his decks and treating his unwilling guests to fine dining with captured Spanish silverware, and Maria’s maid (the compulsory, evergreen Una O’Connor) gives the English sailors a tongue-lashing for speaking contemptuously of Spanish culture. But the underlying emotional kick is delivered when Thorpe is reunited with a former crewman, Tuttle (Clifford Brooke), one of the galley oarsmen who could recognise the English Channel purely by the shifting of the swell. Thorpe’s sense of justice and outright contempt for the draconian tyranny Philip is asserting across the globe is established in front of Alvarez and his daughter, planting a seed in her sensibility that proves inseparable from Thorpe. In spite of her attempts to remain icy towards Thorpe for his freewheeling piracy and disregard for international diplomatic niceties, Maria slips quietly and quickly under the spell of his charm.

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Hollywood in the late ‘30s avoided engaging with contemporary political realities with an oft-astonishing amount of pussyfooting: when Confessions of Nazi Spy (1940) was released one critic quipped that it was only five years too late. Strangely, but with intuitive aptness, the historical remoteness and playfulness of the Warner Bros. swashbucklers reflected the era’s undercurrents with the greatest concision, growing in force throughout the Curtiz-Flynn films, with the air of oncoming fascism in Captain Blood and the ethnic repression in Robin Hood, as Flynn’s characterisation became increasingly revolutionary: “You speak treason!” “Fluently!” as the classic line in Robin Hood goes. The cheery pseudo-socialism that often bobbed up in these films resurges, here with a cheeky tilt at imperialistic plunder. When Maria furiously spurns Thorpe over his acts of piracy, Thorpe, asks, oh so innocently, whether she considers a thief to be only “an Englishman who steals.” “It’s anybody who steals!” she retorts, only for Thorpe to question, then, just how the Spaniards obtained the Aztec gold she has in her jewel collection. Game, set, match. The Sea Hawk sees Thorpe, constantly warning Elizabeth about the dangers represented by Philip’s ambition and overtly breaking the rules in order to fight the threat before a properly sanctioned war has started between England and Spain, looking like the archetypal premature anti-fascist, and an equivalent of an international volunteer in the Spanish Civil War, contrasting Elizabeth, who tries Chamberlain-esque peacekeeping, until she’s pushed too far and unleashes Churchillian rhetorical force.

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It’s made clear right at the start of the film that Philip’s intentions are entirely malevolent, planning to sweep away the single bulwark against his spreading influence, so the audience knows that Thorpe’s assumptions are correct whereas Elizabeth has to work purely by instinct, protocol, and expedience. The film’s most insidious villain, Lord Wolfingham (Henry Daniell) is characterised as a Halifax or Quisling type, arguing from the midst of Elizabeth’s royal council for mollification of Spain whilst secretly plotting with Alvarez to weaken England as much as possible, including destroying the credibility and effectiveness of the Sea Hawks, in order to ensure the ease of the Armada’s eventual victory, and hoping to be installed himself as a puppet king. Re-armament is the chief plot stake: Philip’s arms build-up, in constructing the Armada, and diplomatic bullying, is, like Hitler’s before the war, put off onto the demands and rights of a sovereign nation, regardless of the logical targets and obvious intent. Thorpe, in turn, prods Elizabeth to build a fleet to meet any threat, but she staves off the necessary moment in not wanting to empty the national coffers, so Thorpe hatches an ambitious plan to step up his plundering, and attack Spanish gold shipments in Panama.

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Elizabeth approves the plan, but Alvarez and Wolfingham, hoping to get the jump on Thorpe’s next venture, try to spy on his activities, but actually discover his intention through clever deductions: Thorpe’s efforts to maintain secrecy extend to having charts prepared without place names, but Alvarez and Wolfingham manage to steal a glance at the charts whilst under preparation and are able, thanks to an astronomer (Halliwell Hobbes), to determine the location purely by the shape of the land and an unexpectedly revealing decorative motif. Such a deftly clever little plot pivot is another reason I love The Sea Hawk, as it points to the genre’s counterbalance of physical action with a demand for wiliness and intelligence in both heroes and villains. Alvarez and Wolfingham are splendidly smooth, aristocratic bad guys, although Alvarez is less a villain than a man doing his national duty, and who gets his comeuppance not on a sword but when, in delivering grim news about Thorpe’s venture to Panama, he tries to needle Elizabeth, only for his own daughter to faint in a heap in despair: “Your arrow hit the wrong mark,” Elizabeth chides him drolly.

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Thorpe’s ill-fated Panamanian venture sees him stumble into a well-laid trap, seeming to capture the across-land gold caravan, only to then be almost caught in an ambush: Thorpe and his men flee into the jungle, cueing one of the all-time great examples of the much-satirised “stumble through the swamp” sequence, complete with random, separated members of the crew lurching through the parboiling, mosquito-infested marshes, going mad and dying one by one: “It’s too bloomin’ hot!” one screams as he claws at his own flesh before collapsing. What’s left of Thorpe’s crew fights its way through to the coast in sight of the Albatross. But the Albatross proves mysteriously deserted as they row back to it, in a sublimely eerie sequence that builds to the inevitable realisation that the crew of the ship has been slaughtered, with corpses hanging in the rigging, and Spanish troops, under Captain Lopez, waiting for what’s left of the would-be raiders. No gentlemanly courtesies for these prisoners: Thorpe and company are soon committed in a show trial before the Inquisition and sentenced to die at the oars of the galleys. Suddenly The Sea Hawk’s reversed structure becomes coherent, as the film deliberately destroys the Merry Men crew and reduces Thorpe to the abject slave he was set upon freeing at the start, bringing a new edge of threat and suffering to the scene, and homoerotic S&M fantasy blends weirdly with perfervid concentration camp parallel, with anticipations of Ben-Hur (1959). Thorpe, his last remaining fellows, and the potential new crew of English prisoners have to concoct a plan to escape.

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Within the more realistic confines of Hollywood cinema, Curtiz’s visuals in The Sea Hawk both reflect the lingering influence of the art-moderne touches that permeated the gnarled dream-state historicism of Fritz Lang’s Die Nibelungen (1923) and the futurism of Metropolis (1926), whilst also anticipating the total stylisation of Eisenstein’s Ivan The Terrible: Part One (1944), in utilising the geometric precision of Anton Grot’s sets, which largely reject the twisted contours of Expressionism that had been the familiar influence on such settings in favour of a kind of historical wonderland by way of Bauhaus, to create Elizabeth’s royal court. An overt, deeply stylised contrast then is constructed between the tangled, busy environs of the ships, the open sea, and the fetid jungle, where power is a matter of guts and muscle, with spaces that express power through voluminous reaches, reducing the players to twisting figures arranged like chess pieces in the political gamesmanship. Curtiz’s love of carefully shaped compositions infuses even the most functional and throwaway shots. The opening battle is a whirl of shots balanced geometrically or on lines of Renaissance perspective painting, conjoined by the newer arts of montage, weaving all into an organic mass. Sol Polito’s camera glides with gossamer grace at low angles as Elizabeth and her cohort of ladies-in-waiting, like petticoated paladins, sweep through the ranks of armoured warriors and plumed, hose-clad courtiers, investing the feminine not simply with beauty but strength through its spectacular contrast with the surrounds, and the reversal of the hierarchy.

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Robson’s marvellous Elizabeth, not the grouchy spinster Bette Davis played nor the masochistic self-made idol Cate Blanchett espoused, is a warrior in frilly collars wide enough to serve as radar dishes, strutting about in costumes that contain her homely features within declarations of monarchic strength and wealth. This Elizabeth’s lack of good looks is initially the sport of men’s talk (“They say Elizabeth surrounds herself with beauty in the hope it may be contagious,” Lopez quips), but her flirtatious relationship with Thorpe is a dance of patriotic and erotic fascination, crystallising Thorpe’s similarity to Walter Raleigh – I love the big, hearty, satisfied breath Robson takes in after meeting with Thorpe, his descriptions of gallant action and explanations of daring plans, mixed with flattery, leaves her with orgasmic pleasure. Such liaisons reflect The Sea Hawk’s place in a genre that was always defined by a playfully anarchic take on sexual mores, so often played out in the dance of fascination and repulsion between mischievous, swarthy, criminal, usually lower-class males and ladies fair, dying to be ravished even as they spit in the rogues’ faces. The Sea Hawk however sustains the courtly, restrained take on this essential element of the swashbuckler that Flynn’s films offered, keeping the star’s overflow of randy energy on a tight leash, in comparison to the out-and-out kink in Henry King’s deployment of Tyrone Power and Maureen O’Hara in the reflexive self-satire The Black Swan two years later.

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Here Marshall’s Maria, like De Havilland’s ladies from Captain Blood and Robin Hood, is the daughter of the oppressive regime won over by the untamed but innately good male, but whereas in those earlier films the final kiss of hero and damsel set the seal on a reconciliation of social spheres – classes, races, and genders – here Maria is left behind by her father and forced to pick a side in the upcoming war, choosing her mate’s side rather than her sire’s in a matter of moral as well as sexual gravity. Curtiz pulls off a marvellous visual coup in a sequence in which Thorpe visits an increasingly smitten Maria, who gains an almost religious solemnity in regarding the man she now loves whilst holding an armful of roses: “That’s how I’ll always think of you from now on,” Thorpe says to her, likening her to a religious icon he once say in South America, “As Our Lady of the Flowers.” Simultaneously, the image of the two standing in the garden, underneath the palatial sprawl, in a symmetrically balanced shot, gives true visual resolution to the notion of the film’s driving oppositions, the masculine and the feminine, the natural and the civilised, the warlike and the civil, meeting in perfect harmony in the English country garden. Later, in a ripely iconic scene that hovers on the edge of a semi-mystical gulf of longing, just as the last scenes of Casablanca offer, Maria’s attempt to warn Thorpe before he leaves that her father has unlocked his intentions, sees her gazing tragically at his just-sailed ship from a foggy wharf, and Thorpe, not knowing he’s just missed her, still gazing back to land clearly thinking of her, from the stern of his boat.

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Of course, in spite of its modernist touches and the elements that reflect a sub-genre entering a state of flux, The Sea Hawk still often embraces and defines the big, unabashedly fanciful, theatrical, slightly campy quality that defined the classic swashbuckler, in moments like the lengthy, rivetingly structured escape sequence that resolves in the liberated crew burst into singing, in perfect harmony, along with Erich Wolfgang Korngold’s music. Korngold’s music, like Max Steiner’s, although arguably in a more sophisticated manner, maintained direct links between Hollywood scoring and the Vienna music schools, capital-R Romanticism, and the legacies of Richard Strauss and Gustav Mahler, both of whom had praised the prodigious young Korngold. Korngold’s lush style eventually fell way out of favour before becoming, in the late ‘70s, the model again for anyone who wanted to make an adventure film and needed the sweeping emotional thunder Korngold’s work offered. Here his work, particularly the major heroic theme and its constant partner, the central romantic theme which ebbs and soars to the rhythm of ships upon the waves, is indelible and arguably even better than his great work on The Adventures of Robin Hood. The effect of that fade-out upon the boisterously singing crew is precisely the glory of films like this, even if it’s a touch embarrassing, especially in how it caps off the escape, the culmination of the steady, musically intricate build from deadly, intense silence to frantic, liberating action.

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The escape from the galley is just as good a piece of filmmaking as the opening battle in a subtler fashion. Again, there’s a ferocious sense of realistic detail and storytelling rhythm as the galley slaves, grimy, sweaty, hairy, quietly and carefully work their plan to escape, picking away at the embedded hooks that keep them chained to their oars, sliding the chains out from their shackles, in feverish, desperate, ingenious labour. The English then slowly, remorselessly work their way up through ship as an embodiment of the resurging repressed, strangling their captors and infiltrating the neighbouring ship where the plans that confirm the Armada’s purpose are in the hands of Spanish officers, and Thorpe has to wrestle with one as he tries to dispose of them over the side. Doubtlessly Spielberg was thinking about this scene for the opening of Amistad (1997), and it feels like a draft for generations of prison escape movies and heist movies – as in Rififi (1955), the escape sees the men attempting to break their bonds in as near-complete a silence as possible – and other entries in more familiarly realistic genres. The finale shifts gears into another proto-genre, the spy movie, as Thorpe has to sneak back into the queen’s palace where now he’s a proscribed outlaw and Wolfingham’s cadre has cut off access to Elizabeth, to bring her news of Philip’s plans. This demands using the cover of Maria’s carriage: she’s incidentally at the wharf as her uncle plans to leave on the Spanish ship that Thorpe and his followers now possess, only to find the mysterious stranger in her cab is her lost lover. Thorpe then has to make a dash through the cordons of spies and guards, and Flynn gets to cut loose as a swordsman, ticking off the now-iconic moments of any good swashbuckler, including taking on three enemies at once in a whirlwind of physical genius, until Thorpe tries to elude his pursuers only to lock himself into a room with Wolfingham.

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The essential, ritually demanded climactic duel promptly erupts, for a third and final piece of bravura cinema, with the witty touch of Thorpe being the one clad in a Spanish uniform, which Wolfingham airily announces he should be wearing. Curtiz enlarges some of the flourishes of Robin Hood’s final battle as the duellists leap and tumble, crash over furniture and through windows, and dance across the cavernous spaces, shadows projected like titans against the castle walls. Daniell, though a great actor, clearly wasn’t as athletic an opponent for Flynn as Basil Rathbone, and the duel is augmented with more stunt doubling therefore than Rathbone needed on Captain Blood, Robin Hood, or The Mark of Zorro (1940), and thus the near-lethal sense of physical unity those duels provide is slightly despoiled by deft edits. And yet you’d have to be paying the closest kind of attention to really notice before the twentieth viewing. By this point, the Kafka-esque quality of the settings, the grand halls of the palace now shadow-flooded and oppressive, and the attendant mood of oncoming tyranny, has become dominant. Thorpe bests Wolfingham but, unlike other Flynn heroes, he is finally driven into a corner and at the point of being skewered by Wolfingham’s guards when Elizabeth, fetched by Maria, arrives to save his neck. The fade out leaves the audience not with the sense of missions fulfilled and final romantic clinches, but conflict only just begun, as Elizabeth gives a rousing speech upon launching the first of her new fleet to take on the Armada with obvious morale-raising purpose. In movie terms and in real life, a long fight was only just starting.

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The great old swashbucklers seemed to have sadly short lives, with Fairbanks dead at 56, Power at 45, and Flynn had only another 19 years of life ahead of him, albeit years he crammed with experience and indulgence far beyond most and which accorded strangely with the aura he gave off on screen of mercurial manhood. He died with an awful swan song, Cuban Rebel Girls (1959), just after he’d gained new appreciation as an actor with The Sun Also Rises (1957) and Too Much Too Soon (1958), where he exhibited the harsher lessons of growing old with a fearlessness equal to his heroic image. And yet, as long as the cinema continues to exist, I think, the image of Flynn in his prime will continue to reign over cinema’s fantasies like his Sea Hawk ruled the oceans.

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1980s, Action-Adventure

Indiana Jones and the Temple of Doom (1984)

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Director: Steven Spielberg

By Roderick Heath

Picture my five-year-old self hiding in horror behind the chair of Sydney’s State Theatre cinema, unable to face the unthinkable: Indiana Jones (Harrison Ford) allowing his leading lady Willie Scott (Kate Capshaw) to be lowered into a pit of boiling lava. Indiana Jones…evil?! And yet, soon enough, an iconic moment of heroism personified, with a long line of screen ancestors, supplanted this nightmare: Jones appears silhouetted before a (literal) Thug who’s about to beat the hell out of an enslaved child, before the lamp of an advancing mining car slowly reveals his face, glowering in righteous fury. The concussive punches Jones lands aren’t even shown, only the result, as the Thug slides away through the dirt, as if the wrath of Jehovah just hit him. In Raiders of the Lost Ark (1981), the first Indiana Jones film, Jehovah intervened personally to teach some Nazis a lesson: in Temple of Doom, Indiana becomes a Maccabee.

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Raiders of the Lost Ark was an almost perfect mean for action-adventure filmmaking. It’s worth pointing out that it wasn’t the baby of masterminds Steven Spielberg and George Lucas alone. Two other notables of the Movie Brat generation, Philip Kaufman and Lawrence Kasdan, helped write Raiders, and in that first film, the hero bore as much resemblance to the shady noir and Western antiheroes Kaufman and Kasdan loved as to Spielberg’s battered everymen and Lucas’s super-warriors. By the second Indiana Jones film, Kaufman and Kasdan were busy with their own directing projects, so the installment was written by Willard Huyck and Gloria Katz, who had penned Lucas’s American Graffiti (1973) and polished the script for Star Wars (1977). (Huyck would go on to inadvertently demolish Lucas’s own temple of cash with the bizarre Howard the Duck in 1986.) Indiana Jones and the Temple of Doom was another colossal hit, and yet one that’s often been treated as a bit of a millstone and a turning point for its maker. I’ve always adored it, for strong is the hold the things that scare the hell out of us at five years of age, so it’s worthwhile for me to study what I get out of it that others don’t.

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As usual, the lightning-paced, serial-inspired storyline sees Dr. Jones leap from the frying pan—battling Chinese kingpin Lao Che (Roy Chiao) and his psycho son (Ric Young) after they’ve poisoned him—into a different fire. Indy and his new tagalongs, Willie, a singer at Lao’s nightclub, and Wan “Short Round” Li (Jonathan Ke Huy Quan) face death as the pilots of a plane they used to escape Shanghai—a plane belonging to Lao—try to ensure their demise by draining off the fuel and bailing out. Indy’s quick thinking gets them off the plane using an inflatable raft as a parachute and soon enough, after plunging over a cliff and riding swollen rapids, they come to a peaceful stop in northern India. They are confronted by a wizened old shaman (D. R. Nanayakkara), who takes their having fallen from the sky as a sign they’re destined to help rescue his village from the withering curse laid upon it when the sacred Sankara Stone was stolen from the village by the followers of a revival of the dreaded Thugee cult. These murderous worshippers of the goddess Kali, the Shaman says, is based in the palace of the young Maharajah of Pankot (Raj Singh).

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After comedic hesitations, Indy, Willie, and Short Round reach the palace, and Temple of Doom fulfils the darker horror-movie-inspired edge of Raiders—so much so that the filmmakers unnerved themselves, especially after the result was persecuted as a saga that kept the imperialist precepts of writers like Rider Haggard, Sax Rohmer, and Rudyard Kipling overly intact. There is some truth in this as an ingrained aspect of the kind of pulp Spielberg and Lucas were celebrating, but to be honest, it’s hard to know exactly why bad guys deserve a hammering any less when they’re Thugs than when they’re Nazis and when the cultural clashes are so cartoonishly overdrawn. Bad guys these are: their wicked high priest Mola Ram (Amrish Puri, whose effectiveness secured him a lucrative career playing baddies in dozens of Bollywood films) tears the hearts out devout of Hindus and lowers them into that pit of lava, whilst an army of enslaved children labours to enrich his cult.

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There is an ironic felicity in plunging Willie into a third world situation where she’s constantly freaked out by wild animals, smelly elephants, crawling insects and repulsive foreign delicacies. Willie, though inspired by the drama queens of ’30s screwball films, is equally a contemporary Hollywood diva (desperately seeking a phone to call her agent and complaining about broken nails) and an extremely caricaturised version of a rich white tourist out of her comfort zone, one that confirms the solipsism of such a species: “You’re insulting them and embarrassing me,’ Indy tells her when she tries to decline some of the villagers’ bad-looking food, which represents for them an excruciating generosity. The obvious contrast is with Indiana, who is in many ways the quintessential, rugged American male, but who is also a multitalented, innately multicultural man with a vast appreciation and respect for the lore and religions of other peoples. The essential theme of the series – uncovering profound, often earth-shaking truths through the dusty, lost representative relics of the past – has a quieter added meaning for the potential of humans to understand each other, or pit their primal selves in struggle, in the hunger to grasp such signs and stories, and Indy, broad-minded as he is, has to orientate himself anew every time.

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Although driven by his religion of archaeology and the “fortune and glory” that can come with it, Indy always gives in finally to humanistic impulses, and is always finally humbled by evidence of the power of faith. Here, Shiva’s truth is as inarguable as Jehovah’s in Raiders. “I understand its power now,’ Indy finally states to the shaman in comprehending the relevance of beliefs he at first half-dismisses. Lucas has always been proud of the Jones series’ basis in actual folklore and breadth of cultural focus, and I can agree with him on that: Temple of Doom, whilst making me scared shitless of Kali worshippers, also introduced me to figures of Hindu faith and the pulchritudinous wonders of Indian mythology. Caution about respecting other cultures was a lesson often learnt in the works of imperialist-era writers, like, say, “The Monkey’s Paw,” but those tended much more toward the “look, don’t touch” lessons of imperial management. Missing from them was the interventionist element exemplified by the fact that Indiana cannot walk away from suffering when he encounters it.

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Pointedly, this is the only film in the series in which Indy is entirely shorn of his Stateside associations. He’s a citizen of the world here, and Indy’s creed is more that of deep humanism and the seeking out of evil where it dwells, evinced particularly in the scene in which, instead of fleeing the Thug’s temple with the Sankara Stone, he’s distracted by a child’s screams, and discovers the slaves and tosses a stone at the colossal, vicious overseer (Pat Roach) as he beats an exhausted boy. When Indy, Willie, and Short Round first arrive in the cursed village, the images of the starving, emaciated locals crowding about them were instantly familiar to me as a child in 1984: I was seeing the same scenes every night on television in news reports on famine in Ethiopia. Short Round himself is an orphan, having been caught by Indy trying to pick his pocket after his parents died in the bombing of Shanghai by the Japanese. Indy’s reluctant father status for him broached another of Spielberg’s recurring future themes, as the three interlopers form a pick-up nuclear family. The Jones of Raiders hints at darkness in his soul, described as a mercenary by his mirror-image antagonist Bellocq (Paul Freeman), with a suggested edge of the cad in his flirtations with students and sordid past with Marion Ravenwood (Karen Allen). He’s redeemed chiefly by his genuine dedication to the potential for wonderment he finds in archaeology and love of kicking Nazi ass.

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In Temple of Doom, he’s being scrubbed clean of his faults, which would be absent by the time of the second two, much more homogenous entries. Although Temple of Doom was technically a prequel, set a year before Raiders, thematically it’s very much an extension, as Indy, when captured by the Thugs, is forced to drink a mystic draught that brings on the “Black Sleep of Kali.” The drink turns him into one of the pliable cultists, so much so that Mola Ram forgoes the joy of ripping out Willie’s heart before sacrificing her for the even more pleasurable sadism of watching her freak out as Indy chains her up. The darker precincts of Indy’s character are revelled in, before Short Round, after escaping his chains in the mine, brings him back to his senses by jamming a flame in his side. Indy returns more righteous than before, declaring with hard purpose in response to Willie’s suggestion that they should get out of there: “All of us.” Temple of Doom represented new reflexes in Spielberg’s oeuvre: he would soon try, not without criticism and mistakes but with similar ardency, to take on conflicted historical milieus filled with schisms of race and power. The importance of Temple of Doom’s variation on a Messiah myth and imagery of oppression would become clearer as cinema’s most successful Peter Pan grew up.

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The Indiana Jones films were chiefly a pop-art tribute to the idea of the past, fantasias of exoticism and danger, and even Nazism was just another prop to kick around. But that’s not to take them too lightly: in many ways, Spielberg articulated his anxieties here more fluently than in his dramas. The main problem, which renders this effort inferior to Raiders, is one that has dogged Lucas badly in his efforts since: an uneasy fondness for clumsy, overdrawn comic relief, particularly in the sequence in which Willie and Short Round are grossed out by the bizarre dishes on offer at Pankot, which, though it does serve a purpose as I’ve said above, is silly and grating and almost grinds the film to a halt. The greatness of Raiders was in how casual and uniquely antiheroic a lot of its humour was, with a hero who pulls off incredulous legerdemain in battle, but who feels the pain all too vividly afterwards. Some of that is still here, but muted in favour of slapstick. Although Capshaw gives an enthusiastic and occasionally funny performance, most effectively in the memorable flirtation she has with Ford, Willie’s a serious comedown from the Hawksian toughness of Marion.

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Still, in its first 15 minutes and last hour, Temple of Doom displays Spielberg’s gifts as a prodigy of cinematic movement. He commences with a moment of nutty cultural hybrid, as Willie sings Cole Porter in Chinese with a chorus of fan dancers before segueing into a Busby Berkeley-esque dance number that exists purely on a plane of ethereal entertainment, declaring, like Willie, that anything goes. This musical prelude also amusingly prefigures the later, equally rhythmic, but very different staging of the Thug’s rites, the evil-dosed cultists chanting in horrid passion: Temple of Doom puts the melody in melodrama. It’s this heightened, almost surreal intensity of imagery and staging that makes the film such a disorientating and potent mixture. Where Raiders had adorned the Republic serial basics of the action scenes with grander flourishes borrowed from De Mille’s The Ten Commandments (1956), Temple of Doom maintains a stygian darkness until virtually the end. If some Hammer films, like Fisher’s The Devil Rides Out (1967) and Don Sharp’s The Face of Fu Manchu (1965), had first attempted to meld gothic imagery with serial-like pacing and rolling set pieces, Temple of Doom, with Mola Ram as high priest of evil, returned the compliment.

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The action set-pieces, like that in which Indy tries to battle the overseer on a conveyor belt before a huge rock crusher, while spasmodically folding up in agony as the Maharajah jabs a pin into his voodoo doll with sadistic relish, have a brute physicality to them that, these days, appears much closer to torture-porn horror than to the plastic action of Michael Bay or the Wachowskis. The scene in which both Indy and Short Round are simultaneously whipped in punishment is nearly pathological, but it also prefigures the key moment of Shorty reviving Indy from the Black Sleep by searing his flesh: the bonds of love are a painful, corporeal contract. The plot also contrives to break Indy’s reliance on guns, and by plunging him into the backwoods of India, to essentially create a timeless fantasy and a level playing field—except for Captain Blumburtt (Philip Stone), representative of the British Empire, whose rifle-wielding soldiers arrive too late to be any real use. Blumburtt, although only a minor figure, is important to the narrative’s echoes. Lal is eager to please the Captain to get him away from the cult’s centre, whilst not resisting taking digs at the imperialists: “How the British worry so for their Empire. Makes us all feel like well-cared-for children.”

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The shade of an equal and opposite reaction is then mooted as Mola Ram triumphantly announces to Indy his plan for religious hegemony: “The British in India will be slaughtered. Then we will overrun the Muslims. Then the Hebrew God will fall. And then the Christian god will be cast down and forgotten.” Of course it’s a blind alley to dwell on such things too deeply in a film that climaxes when the hero’s cunning plan to foil the baddies involves his cutting the rope bridge he and his friends stand on. Temple of Doom is a swashbuckler through and through, and often references the kinds of comedic action seen in older variations on the genre, as trios of armed villains trip over each other and Indy fights off one swordsman by gripping the arm of another swordsman like a puppeteer.

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The film’s brilliant, raucous set pieces, like the mining car chase, are more frenetic than those in Raiders, and it’s easy to underestimate how well that sort of thing is pulled off compared to the many dolorous subsequent imitations, in, for example, Stephen Sommers’ works. But 26 years can be a long time, especially if you’re Harrison Ford: watching his droll, dashing performances in these early films, compared to the often negligible vehicles he so often struggled through in the 1990s and 2000s. Critic Chris Peachment wrote in 1982: “What some Peckinpah could do with a Harrison Ford, made anxious by middle-age, would be very interesting to see.” But Ford has singularly lacked a guiding hand equal to a Peckinpah for his late career. His credentials as a passionate man of action were still writ large here. I can’t think of any contemporary actor appearing in action films these days who seems as real on screen as Ford does here, dripping blood and sweat and dirt but still defying Mola Ram, delivering a promise to introduce him to his deity in hell with a grit John Wayne would envy.

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