Aeneas MacKenzie Movies

This very economical remake of the 1952 Errol Flynn vehicle Against All Flags stars Doug McClure in the Flynn role. Cashiered from the royal navy in disgrace, McClure becomes a buccaneer, guiding his loyal crew to an island completely populated by cutthroats. Here he links up with pirate-captain Guy Stockwell and lady-swashbuckler Jill St. John. The plot comes to a head when the pirates conspire to hold lovely Middle-Eastern princess Mary Ann Mobley for ransom. McClure comes to her rescue and routs the rascals, revealing along the way that he's been working under cover on behalf of the king (a fact rather given away by the title). The most fascinating moments of The King's Pirate concern a pair of well-proportioned belly dancers, who keep the other pirates occupied while McClure goes about his business. The camera lovingly and longingly records each bump, grind, and wiggle, allowing the audience to get its mind off the creaky plot contrivances. ~ Hal Erickson, Rovi

Beautiful Hedy Lamarr finds herself faced with a difficult decision when she must choose an appropriate costume for an important masquerade ball in this metaphorical fantasy that unfolds in three parts. To help her decide, she asks a trio of male friends. Their disparate suggestions that she go as either Helen of Troy, the Empress Josephine or Genieve de Brabant, and the reasons behind their choices provide the bulk of the film. Originally, the film was three hours long and purported to present the essence of being a woman. ~ Sandra Brennan, Rovi

RKO's Face to Face joined the "multistoried film" bandwagon set in motion by the Somerset Maugham omnibus films of the late 1940s. Produced by Huntington Hartford, Face to Face consists of two classic American short stories, each running approximately 45 minutes. Directed by John Brahm, "The Secret Sharer" is adapted from the Joseph Conrad story by Aeneas McKenzie. James Mason stars as a young, inexperienced sea captain who forms a symbiotic relationship with an imperiled sailor (Michael Pate). The second half of the film consists of Stephen Crane's "The Bride Comes to Yellow Sky," adapted by James Agee and directed by Bretaigne Windust. In this story, a frontier sheriff (Robert Preston), returning from his honeymoon with his bride (Marjorie Steele) in tow, must deal with an old and dreaded enemy (Minor Watson). Both the individual components of Face to Face were later reissued as separate films, with additional footage added to pad out the running times. ~ Hal Erickson, Rovi

Gregory Peck stars as the title character in this swashbuckling saga of the high seas based on C.S. Forester's novel. In 1807, Hornblower is given a special assignment by the British Navy: he is to deliver a supply of weapons to El Supremo (Alec Mango), a Latin American rebel leading an uprising against Spain. However, by the time Hornblower arrives, it is discovered that the political winds have shifted, Spain and England are once again allies, and El Supremo is now the enemy of the British forces. Hornblower and his men are also forced to take on a passenger, Lady Barbara Wellesley (Virginia Mayo), a sister of the Duke of Wellington who is trying to escape an outbreak of yellow fever. When she shows symptoms of the disease, Hornblower tries to nurse her back to health while attempting to organize an attack on the armada he just helped to arm. Upon his return to England, Hornblower parts company with Wellesley (while they were attracted to each other, Hornblower remained loyal to his wife) and is given a new mission to take on Napoleon's naval forces. Captain Horatio Hornblower was originally scheduled to star Errol Flynn, but the role was recast when it was decided he'd grown too old to play the role convincingly (the fact Flynn was in the midst of one of his periodic battles with the brass at Warner Brothers certainly didn't help matters). ~ Mark Deming, Rovi

Filmed in Argentina, Republic's The Avengers stars John Carroll as a handsome adventurer known as Don Careless. Our Hero hopes to save heroine Maria Moreno (Adele Mara) from a forced marriage to a ruthless revolutionary (Roberto Airaldi). Both Carroll and supporting actor Vincente Padula play dual roles, for reasons that the film makes clear (even though the official studio resumé does not). Billed tenth, Fernando Lamas is given "and introducing" billing in the credits, and never mind that he'd been in films since 1942. The Avengers is based on a novel by Rex Beach. ~ Hal Erickson, Rovi

RKO Radio's first film in the three-color Technicolor process was the standard-issue swashbuckler The Spanish Main. Paul Henried is his usual stoic self as Laurent Van Horn, a Dutch sea captain shipwrecked on the coast of Cartagena, a Spanish-held island. Sentenced to be hanged, Van Horn and his crew escape from jail and take up piracy as revenge against Spain. Soon afterward, they capture a ship carrying Francisca (Maureen O'Hara), the fiance of Cartagena's corrupt governor Don Alvarado (Walter Slezak). Van Horn vengefully forces Francisca to marry him instead, which causes dissension at the Pirate colony of Tortuga. Naturally, Van Horn and Francisca eventually fall in love with each other, but the bad guys must be vanquished before a happy ending can be realized. Binnie Barnes steals the show as feisty female buccaneer Anne Bonney (who in real life looked less like Barnes and more like Walter Slezak!) The script is a cynical melange of pirate-movie cliches and the performances are generally routine, but The Spanish Main pleased the crowd in 1945, posting a profit of nearly $1.5 million and encouraging future Technicolor adventure films from RKO. ~ Hal Erickson, Rovi

No slouch himself at rearranging the facts to make a good story, Colonel William F. "Buffalo Bill" Cody would probably have enjoyed this Technicolor version of his life and times. Well played by Joel McCrea, Cody is first seen as an army Indian scout, pursuing peaceful coexistence despite the animosity of Chief Yellow Hand (Anthony Quinn) and the obstruction of anti-Indian politicians. He also takes time out to court the lovely Louisa (Maureen O'Hara), the well-bred Eastern girl who will become his wife despite her initial (and quite justified) distaste for the West. Under the tutelage of impresario Ned Buntline (Thomas Mitchell), Cody follows up his military career with a more spectacular one as a larger-than-life super-showman, touring throughout the world with his spectacular Wild West show. In later years, Buffalo Bill director William Wellman would wince at the liberties taken with Cody's life -- especially the film's now notorious closing line, "God bless you, Buffalo Bill!" But Wellman allowed that, in terms of sheer entertainment, it was smarter to emulate Cody by perpetuating the legend rather than debunking the Buffalo Bill image with cold, hard facts. Or, as John Ford put it in The Man Who Shot Liberty Valance, "When the legend becomes fact, print the legend." ~ Hal Erickson, Rovi

The Fighting Seabees is Republic Pictures' rip-roaring tribute to the US Navy's Construction Batallions (C.B.), without whom no plane would ever have gotten off the ground during WW2. John Wayne stars as Wedge Donovan, head of civilian construction company stationed in a pre-Pearl Harbor South Pacific war area. Despite Donovan's pleas to the Navy brass, he is denied permission to train his men for combat, the better to stave off imminent Japanese attack. Only after incurring heavy losses is Donovan given a commission and his men officially enlisted in the Navy. The self-sacrifical climax, as Donovan destroys a Japanese tank batallion at the cost of his own life, is one of the best-staged action highlights of its kind. As Constance Chesley, Susan Hayward finds herself in the unenviable position of being the apex in a romantic triangle involving herself, Wedge Donovan and Lt. Cmdr. Robert Yarrow (Dennis O'Keefe); her climactic speech, explaining how it's possible to love two men equally, is so well delivered that it transcends its essential corniness. Of the supporting cast, William Frawley stands out as Irish seabee Eddie Powers, who virtually signs his own death warrant when he begins singing happily just before an enemy sneak attack. ~ Hal Erickson, Rovi

Though history is distorted almost beyond recognition in Warner Bros.' They Died With Their Boots On, audiences in 1941 ate it up like cotton candy. In the gospel according to Warners, General George Armstrong Custer (Errol Flynn) is neither an arrogant fool nor a rabid Indian hater. Instead, he is a flamboyant but brilliant cavalry officer, who during the Civil War defies his superiors' orders and becomes a hero as a result. After a period of forced retirement in the postwar years, Custer is put in charge of the 7th Cavalry in the Dakota Territory. Here he whips this ragtag group into spit-and-polish shape, and also does his best to extend a neighborly hand to the local Indian tribes. Custer even goes so far as to promise Chief Crazy Horse (Anthony Quinn) that the white man will never set foot in the sacred Black Hills. Alas, Custer is betrayed by greedy gold prospectors, whipped into a frenzy by scheming (and fictional) land speculator Ned Sharp (Arthur Kennedy). Forced by circumstances to do battle against Crazy Horse to prevent tribal retaliation, Custer and his command ride towards a rendezvous with destiny at the Little Big Horn on June 25, 1876. Though some of the historical inaccuracies in the film are real howlers, blame cannot be laid solely at the feet of Warner Bros.; the Custer legend had previously been perpetrated by the general's loyal widow Elizabeth Bacon (played herein by Olivia de Havilland), then eagerly elaborated upon by Eastern news journalists and dime novels. This film represented the final screen pairing of Errol Flynn and Olivia de Havilland, a fact that lends poignancy to their classic parting scene. Though an extremely long film, They Died With Their Boots On is never dull, especially during the spectacular Custer's Last Stand finale. ~ Hal Erickson, Rovi

Juarez was originally designed to concentrate almost exclusively on the tragedy of Hapsburg Emperor Maximillian, whose attempts to establish a puppet government in Mexico on behalf of Napoleon III ended in disaster and death. But when Paul Muni decided that he wanted to play Zapotec-Indian-turned-Mexican President Benito Pablo Juarez, the film's emphasis perceptibly shifted -- and Bette Davis, cast as Empress Carlotta, was shunted to second billing rather than first. Muni's makeup and costuming convincingly transforms him into Juarez incarnate. But unlike his other historical impersonations (Pasteur, Zola), Muni's Juarez is a one-note characterization: stoic, uncompromising, and v-e-e-r-y slow of speech. Far more exciting dramatically is Bette Davis as Empress Carlotta, whose highly stylized descent into madness is a tour de force both for the actress and for director William Dieterle. Claude Rains and Gale Sondergaard, as Napoleon III and Empress Eugenie, in essence repeat their diabolical characterizations from Anthony Adverse (1936), while John Garfield is singularly miscast as Pofirio Diaz. The best performance is delivered by Brian Aherne, whose kindly, honorable Emperor Maximillian is less a despot than a misguided political pawn. When Aherne, about to be executed at Juarez' orders, requests that his favorite Mexican song "La Paloma" be played as he is led before the firing squad, audience sympathies are 100% in Maximilian's corner--which was not quite what the filmmakers intended. Based largely on Bertita Harding's book The Phantom Crown (the film's original title), Juarez takes every available opportunity to parallel its title character's fight against foreign intervention with the then-current European situation. To protect their investment in Juarez Warner Bros. purchased outright a like-vintage Mexican film on the same subject, The Mad Empress, suppressing the latter film's release in the United States. ~ Hal Erickson, Rovi