“A Four Star Production” – 80 Years Ago Today

05 Mar

March 4, 1940

Lux Radio Theater Presents: Trade Wind

Hosted by Cecil B. De Mille

Starring Errol Flynn, Joan Bennett, Mary Astor and Ralph Bellamy

“The Gangplank is Down Curtain Call” during which Errol invites all to the March 16 premier of Virginia City:

The Full Show:

2012 Review on Amazon:

“TRADE WINDS is a real piece of Hollywood history – produced and narrated by no less than Cecil B. DeMille, this radio play stars some of the biggest heavyweights on the silver screen circa 1940, working before a live audience in the Lux Radio Theater. A detective story operating on the plane of light comedy, it features clever writing and laugh-out-loud performances, and manages to undercut the sappiest of its moments with stingingly sarcastic humor. Fans of Errol Flynn, or of Old Time Radio in general, will revel in this tale of love, murder, betrayal and personal growth, as told by a group of master-actors.

The story is quite simple. Errol Flynn is Sam Wye, a sauve, facetious, womanizing detective out to capture fugitive heiress Kay Karrigan (Joan Bennett), who may or may not be guilty of murder. Wise tracks Karrigan all over the Pacific, but he is not alone in his quest for the $ 100,000 reward put on Karrigan’s head. Working with him and at times, against him, are long-suffering ex-lover Jean Livingstone (Mary Astor), and blockheaded but bulldogish detective Filo Blodgett (Ralph Bellamy). Wye eventually hunts down Karrigan, but just as quickly falls in love with her, leading to a whole avalanche of comedic shennanigans that include numerous double crosses and, rather late in the story, some genuine detective work as Sam desperately tries to save his beloved’s neck from the noose.

The cast is marvelous and the dialogue often priceless. They simply do not write dialogue like they did back then: Bellamy’s mixture of pompous diction with dumb-guy delivery is fantastic, Astor steals many scenes with her sarcastic one-liners, and Flynn is, well, Flynn – suave as Satan and cool as diamonds, yet possessing a heart of (almost) pure gold.”

— Gentleman Tim


Fred and Errol

05 Mar

New York Times
Douglas W. Churchill

Fred MacMurray Will Co-Star With Errol Flynn in ‘Dive Bomber’ for Warners

Fred MacMurray Will Co-Star With Errol Flynn in ‘Dive Bomber’ for Warners

HOLLYWOOD, Calif., Fred MacMurray will be co-starred with Errol Flynn in Warner’s “Dive Bomber,” which will go before the cameras in ten days with Michael Curtiz directing, the studio has announced.

— Gentleman Tim


Flynn Tell

04 Mar

Dear Flynnstones,

finally we can get a one eye glimpse at Errol`s missing masterpiece “The story of William Tell”. The graphic novel “One against an empire” features a William Tell with Flynn`s features. Some scenes even resemble some of the movie stills of that missed appleshot from 1953. The content however striktly relies on the Friedrich Schiller book. A historic hybrid if you will, but not the baddest match.



— shangheinz


Posted in Main Page



04 Mar

March 2, 1943

From Mulholland Farm to Yale 1945

My most sincere thanks,

Errol Flynn

— Gentleman Tim


Back in the Saddle Again

03 Mar

March 1, 1949

Sidney Skolsky
Hollywood Citizen News

Errol Flynn is far from being the happiest man in the world at this point. Not only is his domestic life in a state of chaos, but he has to make a western as his next movie. Errol is tired of shooting it up in the saddle. He doesn’t want to be the rich man’s Roy Rogers.

May 29, 1949

Hedda Hoppa
Quoting Errol in
“Flynn and Dandy”

“Acting for me is sheer fun. There’s only one thing I really don’t want to do any more and that’s Westerns. I guess I’ve trod every back trail and canyon pass in the entire west. I’ve never literally had to read the line, ‘they went that a-way pard’, but there is one cliche I’ve said so many times it comes back to me in all my nightmares. Every time there’s a gap in the story, every time the writers don’t know what to do next, they have me pull up ahead of my gang, assume a decidedly grim look, and say ‘All right men, you know what to do now.’ The fact is I’ve made so many of these things, scripts seem so much the same, that what it adds up to in my mind is that the studio says, ‘Here’s a horse. Get on.'”

— Gentleman Tim


Not for Nothing

01 Mar

February 29, 1940

Sidney Skolsky
Watching Them Make Pictures

If you wait long enough on a Michael Curtiz set, you’re bound to hear a Curtizism. The other afternoon on the set of The Sea Hawk I had a long wait. In fact for the first time I thought reliable Mike was going to fail me. Director Curtiz had Errol play a scene over and over. And everytime he gave an order I expected him to pull a gem. But he didn’t.

Finally, Errol did the scene the way Curtiz wanted and reliable Mike came through. He said: “Errol, you worked hard. But it’s alright. You can’t get anything for nothing unless you pay for it.”

— Gentleman Tim


“A Follow-up to Robin Hood”

28 Feb

February 27, 1939

Louella O. Parsons
Los Angeles Examiner

How would you like to see the dashing Errol Flynn as the equally dashing Don Juan? Academy award winning producer Hal Wallis is plotting such a story as a follow-up to Robin Hood.

Nearly a decade later…

— Gentleman Tim


Cameraman & Referee: Best Assignment He Ever Had

26 Feb

On February 26, 2006, the American Society of Cinematographers (ASC) presented its Lifetime Achievement Award to Richard Kline. a prestigious honor presented annually to an individual who has made exceptional and enduring contributions to the art of filmmaking.

Richard Kline was born on Nov. 15, 1926, into a Los Angeles family that included three prominent ASC cinematographers: his father, Benjamin H. Kline, and two uncles, Sol Halperin and Philip Rosen. However, he said, he took up camera work at age 16 not out of any great love for the craft — his passion was surfing — but because World War II was raging, and his father believed such training would help him qualify for a camera unit when he was called to serve. He started at Columbia Pictures in 1943 as a slate boy on the Technicolor musical Cover Girl, and by the time he entered the U.S. Navy the following year, he had advanced to first assistant cameraman, spending two months in Acapulco filming The Lady from Shanghai. “Welles was brilliant, and here I was, this kid along for the ride.”

“In Acapulco, we used Errol Flynn’s yacht, The Zaca. Apart from a brief cameo, Flynn did not appear in Shanghai”

“Errol Flynn and Orson Welles were quite a pair. There was never a dull moment.” “We were on location down in Acapulco and it was a very wild time.” “Errol lent his yacht to Orson for the film. Errol himself served as the skipper.”

“Along with the rest of the crew, one of Kline’s responsibilities was to referee the nightly bar fights that would break out between Welles and Flynn after the two had spent several hours heavily “unwinding.””

Orson, Rita and Chula

Orson and Richard Kline

In order to shoot the location sequences, a company of 50 Hollywood actors and technicians flew to Acapulco, along with 60 Mexican extra players and technicians from Mexico City. More than 15 tons of equipment were shipped from Hollywood, one order of six tons comprising the largest single air express shipment ever undertaken by a movie location company.

Scenes were filmed above and below decks, at anchorages in Acapulco Harbor, at Fort San Diego in Acapulco Bay, at Morro Rocks and other scenic spots, as well as at sea. A lavish new night club, Ciro’s, located atop the swank Casablanca Hotel in Acapulco, also served as a setting, as did the 25-mile stretch of white sand beach at Pied de la Cuesta.

The transportation of heavy sound and camera equipment through the tangled Mexican jungle was a major problem, but overcome by the sheer manpower of several hundred Mexican porters and canoe men. Sound trucks and generators were placed on native canoes lashed together to form barges, and then were floated through jungle-cluttered streams into shooting position.

“Shooting aboard the yacht was, from the space standpoint very difficult, and these scenes, as they appear in the picture, are necessarily cramped in composition — but this actually worked in favor of the overall effect because it produced an authentic atmosphere of crowded life aboard a small yacht.”

During filming aboard The Zaca, a long line of native dugout canoes anchored astern formed a bridge from the barge holding the generator so that electrical cables could be stretched for the camera and sound equipment.

Said Kline six decades later: ” It was the best assignment I ever had,”

(Left) On location in Mexico, Welles briefs his crew prior to filming a sequence. (Center) The Zaca is anchored in Acapulco Harbor. Astern are a line of barges over which electrical cable was stretched between the yacht and the generator boat. (Right) For a scene shot in the jungle streams of Mexico, the camera is mounted on a dugout canoe alongside the boat in which the principle players ride.

— Gentleman Tim


Happy Birthday to Nora!

25 Feb

Errol’s beautiful wife, Nora, was born as Lenora Verna Eddington on February 25, 1924, in Chicago, at 3:45 pm. Happy Birthday, Nora!

— Gentleman Tim


Errol’s Casablanca?

24 Feb

Background to ‘Background to Danger”

This film was conceived by Warner Brothers to capitalize on the colossal success of Casablanca. The story was reported contemporaneously to have been purchased from highly-regarded author Eric Ambler as “a vehicle for Errol Flynn.” Ultimately it starred George Raft in the role originally intended for Errol. Raft himself was originally considered for Bogie’s role of Rick in Casablanca. Casablanca co-stars Sidney Greenstreet and Peter Lorrie were also in Background to Danger. William Faulkner contributed to the script. Directed by Raoul Walsh. I think this spy thriller could have been a very cool film for Errol.


One of the scenes depicted in the film was based on the attempted assassination of Nazi Ambassador to Turkey and former Chancellor of the Weimar Republic, Franz van Popen, who was trying to lure Turkey into the war on the side of the Axis powers, including the Soviet Union. To prevent this, Moscow recruited 25-year old Yugoslav Moslem Omer Tokat to kill von Papen, hoping that the assassination would cause a rift, possibly even a war, between Turkey and Germany.

On February 24, 1942, Tokat approached von Papen on a street in Ankara with a bomb. However, the bomb exploded early, killing only the attacker. The ambassador and his wife were only hit by a blast wave, suffering no significant injuries.

New York Times – February 24, 1942

ANKARA, Turkey – Franz von Papen, the German Ambassador, and his wife narrowly escaped assassination shortly after 10 o’clock this morning when, in the course of their customary walk from their residence to the German Embassy, an unidentified young man exploded a bomb, blowing himself to bits.

— Gentleman Tim