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Tag Archives: Errol Flynn

Pirate Chic? Maureen O’Hara Shows Us How

Why do I like the 1952 pirate film Against All Flags? It’s very simple. It’s the scarf. That scarf had me at hello.

And the boots.

In fact, if I have to be a pirate, if I was forced into it, if someone pointed a gun at me and told me I had to be a pirate, I would want her wardrobe. I’d even take the hat with the purple feathers and the pistol. I’d probably take it if I wasn’t a pirate.

Anthony Quinn is mildly surprised

Another reason to like the film is that it stars Maureen O’Hara and Errol Flynn. She is a pirate named Spitfire and he is a British Officer pretending to be a deserter so that he can infiltrate the pirate island stronghold and scupper their cannons so the British navy can clean the pirates out.

This is a  latter-day swashbuckler for Flynn, though a somewhat more harassed Flynn than the derring-do Flynn of the 1930s. He still derring-does, but frequently wears an expression of….well, harassment. He’s trying to do this job, but has run into Spitfire and rather inconveniently fallen in love, which ignites distinct hostility and jealousy from Anthony Quinn’s pirate captain. Not to mention the slightly loopy Indian princess he rescues from a fate worse than death, who keeps flinging herself on his neck, which ignites the jealousy of Spitfire. It’s difficult to get a job done with people either trying to kiss you or kill you.

Spitfire, on the other hand, is the only woman of any influence on the island and inherited her pirate ships from her father. She was raised to be an excellent markswoman, the better to defend her honor. She will even fight her own duels if necessary. She’s also not bad at fencing, though we are, alas, deprived of the pleasure of seeing her fight against Flynn. He gets to fight Quinn while she takes on some nondescript pirates. Phooey!

Though having lived as a pirate her whole life, she doesn’t have any particular loyalty to them. She is a woman who has learned of necessity how to get along in an aggressively male world and by the time she meets Flynn has decided that she is tired of constantly warding off the unwanted attention of other pirates. It’s exhausting to be in a perpetual state of fending off rapacious men. She wants to try out a different life, one with maybe more room for wearing dresses and letting her hair down, so to speak.

She does actually wear some dresses in the film, but it’s her pirate costumes that catch one’s eye.

The pirate ships look more like sets and Flynn seems to have a double for his fight scenes, but the film is lighthearted and O’Hara in particular seems to be having fun striding about the scenes and fencing…and wearing those awesome boots. I’d make that movie for the sake of wearing those boots. And the scarf. And the hat with the purple feathers. And nearly everything else about her attire. If you have to be a pirate, you might as well be a stylish one.

This is my contribution to the “Swashathon,” hosted by Movies Silently. Make sure to read all the other piratical postings, here!

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Posted by on July 14, 2017 in Movies

 

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Olivia de Havilland in “The Private Lives of Elizabeth and Essex”

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Watching the man she aims to get

Olivia de Havilland is a jealous schemer in The Private Lives of Elizabeth and Essex. She’s jealous of Queen Elizabeth and scheming for Lord Essex. Since Bette Davis plays Elizabeth and Errol Flynn plays Essex, you could see how such a thing might come about.

After appearing in Gone With the Wind, de Havilland returned to Warner Bros., where Jack Warner had the idea that her success would go to her head and promptly put her in a tiny role in a film that is a showcase for Bette Davis and Errol Flynn.

She was, needless to say, not a happy woman when she made The Private Lives of Elizabeth and Essex. However, she bided her time and in 1944 won her lawsuit against Warner Bros. which ended the studio practice of considering the time an actor was not working as time their contract was not in effect. Previously, an actor’s contract could extend beyond the stated length of time, because they had not provided service during their off days. When she won her lawsuit, she was free from her contract with Warner Bros.

But considering that she asked for Ann Sheridan’s role in Dodge City (it was an even smaller role than this one) because she was tired of playing the heroine, perhaps she enjoyed  playing Lady Penelope Grey in The Private Lives of Elizabeth and Essex, at least a little. She loves Essex, but he belongs heart and soul to his queen. Lady Penelope is jealous of Bette Elizabeth, she is in cahoots with Essex’s enemies and she does everything she can to show up the queen as an old hag and herself as young and beautiful. Unfortunately, her machinations result in Essex losing his head, but it’s not really her fault. He was the ambition one who wanted the throne, even if he did love his queen. But Lady Penelope is still full of contrition.

She actually only has one scene with Errol Flynn. Most of her scenes are with Bette Davis. Because her role is so small, I couldn’t help wishing we could have seen more of her in coquettish and scheming mode. She is quite bold in how she takes on the queen, even singing a rather pointed song about the sad love of an older woman for a younger man (okay, so it’s probably not really her singing).

playing chess with the queen and conteplating taking the knight

playing chess with the queen and contemplating taking her knight

I’ve always thought that though Olivia de Havilland is known for playing sweet roles (think Melanie from Gone With the Wind), it was part of her persona and that there was always a savvy person with an iron will at work just underneath the persona (which isn’t to say the sweetness wasn’t genuine, either). Even when she plays airhead heiresses in films like It’s Love I’m After, I still feel like she’s far more intelligent than her actual role. The script rarely calls on her to do anything terribly drastic, but I always imagine that if the need arose, she could stab someone with a knife or double cross them without batting an eye.

I love Love Letters to Old Hollywood‘s description of Olivia de Havilland as a “swashbuckler at heart” in her role as Maid Marion. The script may not have required her to be active in the way modern heroines are, but you just know she would have had the backbone to do so if the occasion called for it.

Perhaps another description of her can be also borrowed from Helena Bonham Carter. I was once listening to her talk about how she approached the character of Elizabeth (the current Queen Elizabeth’s mother) in The King’s Speech. She said when she read the following description – that Elizabeth was a “marshmallow made by a welding machine – soft and yet hard underneath” – her approach to the character came together. That is how I see Olivia de Havilland, too. Apparently soft, but also with a spine of steel.

That’s why I believe she makes such a great Melanie. Anyone else might have been too much marshmallow, but she has enough inner strength to keep the character from dissolving into sweetness. As my grandmother pointed out to me, it was Melanie who was the glue that kept everyone together. As soon as she died, the glue was gone and everyone dispersed.

Admittedly, the role of Lady Penelope is a small one, but it does provide a fascinating peek into a different kind of role Olivia de Havilland could have pursued if she had ever wanted to. Scheming, resentful, jealous, coquettish, rebellious. It’s rather fun!

This post is part of the Olivia de Havilland Centenary Blogathon. My huge thanks to In the Good Old Days of Classic Hollywood and  Phyllis Loves Classic Movies for hosting! For more posts celebrating Olivia de Havilland, click here.

Happy 100th Birthday, Olivia de Havilland!

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Posted by on July 2, 2016 in Movies

 

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Antonio Banderas in “The Mask of Zorro”

MV5BOTk5MTM0ODI0NF5BMl5BanBnXkFtZTYwNDc0MTI3._V1_SX640_SY720_When I was growing up, swashbucklers were the men to admire among my circle of family and friends. Especially Errol Flynn and Orlando Bloom. They were the beautiful, athletic, pretty-faced charmers of choice and because I was young and ornery, I remained impervious to their charms and teased mercilessly about it. I was not going to be taken in by a pretty face. I was steadfast. I was proud of it.

But I did have a secret crush. Actually, it wasn’t really that secret, but somehow I managed to underplay it in comparison with everyone else’s crushes.

(Actually, I have always thought Errol Flynn was a man of distinct charm and handsomeness, but it took a movie other than Captain Blood and The Adventures of Robin Hood to make me admit it – I didn’t like his longish hair in those two movies.)

I wasn’t even a fan of swashbucklers. I was more of a BBC/Masterpiece Theatre kind of gal (which might point to another not-so-secret crush on Colin Firth’s Mr. Darcy). Long miniseries were my thing. Jane Austen, Anthony Trollope, Charles Dickens. Literary stuff. Talky stuff. Not muscular, roguish, sweaty action heroes.

But I saw The Mask of Zorro and I had to admit that I liked the movie. I seemed to be watching it quite often and I had to admit that Antonio Banderas was a large reason for that. He was awfully handsome, but he was more than that. He had a goofy charm as Alejandro Murrieta. He begins as an uncouth bandit, bumbling, bull-in-the-china-shop, until Anthony Hopkins takes him under his wing and gives him a make-over in a gender-reversed Pygmalion/Cinderella story twist and turns him into a gentlemen. Alejandro even gets to go to a ball of sorts and dance with Catherine Zeta-Jones. By the end, he can out-swashbuckle anyone.

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It’s not a traditional Zorro story. It’s channeling serial tropes and traditions. Revenge, secret identities, make-overs, good-old-fashioned sword fights, romance, children who don’t know who there parents are. Actually, the more I think of it the more it seems clear to me how much this film owes to Dumas’ novel The Count of Monte Cristo.

But I like Alejandro so much better than I ever liked the Count, who was often an implacable man in the novel, good at everything and very nearly a demi-god. He’s so perfect and so convinced of the righteousness of his mission that he’s irritating. Not Alejandro.

He’s not infallible, he has his awkward moments, he jumps the gun often, he’s not an aristocrat born to the graces of his position (like Anthony Hopkins’ Zorro). He has some ridiculously maladroit moments. He’s essentially a regular guy being beaten down by the authorities. Becoming Zorro gives him power to fight back. Like the Count of Monte Cristo, he is able to engage his enemy at their level and defeat them at their own game, but he’s doesn’t lose his humanity in the process.

He also looks pretty gorgeous while he does it.

This post was written as part of The Reel Infatuation Blogathon. Be sure to look up the rest of the posts for Days 1, 2, 3 and look out for more updates this week. Many, many thanks to Font & Frock and Silver Screenings for hosting!

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Posted by on June 16, 2016 in Movies

 

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