I am sure many of us use several sources to confirm the movie premiere dates for Flynn’s films. One of the largest, and generally reliable, is is IMDb. But it is always good to double check.
As an example I checked the date for The Sea Hawk with IMDb and it is listed as July 1, 1940 with a second listing of August 10 in New York City. Wellll, that’s not quite right.
After filming was completed on April 19, 1940 there was no release date set. On July 4th there was a special sneak preview of the film in Pomona, Cal. and still no release date set. On July 17 there is an all day preview of the film at Warner’s Hollywood theatre with guests anD reporters and a tentative premiere date was announced to be the Labor day wekend, but not printed. Read the rest of this entry »
— Ada Klock
Wanted to know a bit more on this guy and found that they used an existing painting instead of having the art department make one up. At least I think so.
Ride to the Sound of the Guns
Just watched this again a few days ago and was very happy with the real locations used rather than the back lot. Makes me wish Against All Flags was filmed in Europe too.
I think that many reviews in the book The Films Of Errol Flynn are a bit too critical and was happy to find this one.
Master of Ballantrae’ at Paramount
H. H. T.
Published: August 6, 1953
With plenty of good, old-fashioned muscularity crowding a highly pictorial Technicolor frame, at least three-fourths of “The Master of Ballantrae” makes a rousing, spectacular outlet for a pair of estimable adventurers, Errol Flynn and the master himself, Robert Louis Stevenson. In the new Warner Brothers arrival at the Paramount yesterday, Mr. Flynn is leading a fine, predominantly British cast through one of the liveliest, handsomest and most absurd screen free-foralls ever to leave the Victorian talespinner’s pen.
If the excessive length and staggeringly heroic exploits can be pinned on Warners and Mr. Stevenson, respectively, no one, assuredly, should question the lavish elasticity of the proceedings. It is played well by the entire cast, and seasoned throughout with some brazen drollery. The film was gleamingly authenticized in such locales as Scotland, England and Sicily.
Herb Meadow’s adaptation fittingly charts a cluttered, tumultuous odyssey for the indefatigable protagonist, leader of the fiery Durisdeer clan and fugitive champion of the Stuart Restoration, as he engineers a magnificent career in high-seas piracy and returns home, a wiser, if no less boisterous, rebel. The direction of William Keighley is equally alert and scenic, whether scouring the craggy, heather-strewn battlegrounds of the clansmen or capturing the lusty barbarism of the pirates’ island sanctuary. And since the dialogue is more often pungent than standard, the motivations and characterizations retain a surprising air of conviction, for all the flying kilts, sabers and sails.
Mr. Flynn is, in turn, bold, roguish and forgiveably self-satisfied in his best swashbuckler since “The Sea Hawk,” thirteen long years ago. The featured players, a spanking round-up, are crisp, restrained and forceful, one and all, particularly Roger Livesey and and Anthony Steel, and the ladies in the case, Beatrice Campbell and Yvonne Furneaux.
Last but not least, the truly stunning color photography of that British ace, Jack Cardiff, provides a canvas that stands as a model of its kind and fully rates the classic archive reserved for Mr. Stevenson, long, perhaps, after Mr. Flynn and company are forgotten. Meanwhile, Mr. Flynn is having himself, as well he might, a field day.
THE MASTER OF BALLANTRAE, screen play by Herb Meadow, based upon the Robert Louis Stevenson story directed by William Keighley and presented by Warner Brothers.
Jamie Durisdeer . . . . . Errol Flynn
Col. Francis Burke . . . . . Roger Livesey
Henry Durisdeer . . . . . Anthony Steel
Lady Alison . . . . . Beatrice Campbell
Jessie Brown . . . . . Yvonne Furneaux
Lord Durisdeer . . . . . Felix Aylmer
MacKellar . . . . . Mervyn Johns
Arnaud . . . . . Jack Berthier
Mendoza . . . . . Charles Goldner
Maj. Clarendon . . . . . Ralph Truman
In looking for colorized images from The Sea Hawk I found this page which had some surprises one of which was an ad for a toy ship. I gave up not finding any screen caps of the VHS version. Check out the link though.
I wonder how many of you would like to see any of Errol’s films colorized with today’s technology? I would start with Captain Blood and see what happens. Objective Burma would be another. How do you think they would look? I am sure better than what Ted Turner did back in the VHS days.
Our good friend Karl Holmberg sends us this today:
Autograph Auction TV Sport Historic Military Music
by Chaucer Covers & Auctions
05 February 2016, 10:00 GMT
Folkestone, United Kingdom
Lot 190: Olivia de Havilland and Errol Flynn autographed vintage photograph. Vintage magazine photo still from The Adventures of Robin Hood, 1938, signed by the two stars Errol Flynn and Olivia de Havilland. Very, very rare. Dedicated. Small tear to the top left which would disappear if mounted well. Signatures are not affected. Good condition. All signed items come with Certificate of Authenticity. Can be shipped worldwide.
— David DeWitt
In the Heart of the Greatest Sea Films Ever
— Gentleman Tim
Star Wars Took Charge of Errol’s Elephants
We all know the Star Wars movies are a feast for the eyeballs, but when you think about it, they are also a special treat for the ears, too. According to Mentalfloss, legendary sound designer Ben Burtt got his star on Star Wars fresh out of the University of Southern California’s film school and “was tasked with coming up with a completely new and organic soundscape for the movie.”
Burtt created Chewbacca’s iconic voice by blending the vocalizations of a bear, a lion, a walrus and a badger. The beloved pint-sized droid R2-D2’s endearing chirps were made using loops on a synthesizer matched with beeps and boops modelled after baby coos performed by Burtt. The infamous deep breathing of the evil Darth Vader was created by putting a microphone inside the regulator on a scuba tank.
But our favourite iconic sound, the swooshing shriek of the film’s TIE fighter engines, are — brace yourselves for a shock — the sound of an elephant call mixed with the sounds of a car driving on wet pavement. According to the blog Unidentified Sound Object, Lucas had seen a documentary about the Battle of Stalingrad and told Burtt the sound of the Nazi rockets would make a great laser-gun noise.
That’s when Burtt stumbled on recordings of some stampeding elephants from an old Errol Flynn movie, which he mixed with recordings of cars speeding through puddles in a rainstorm. He slipped the sound in for a screening at the last moment, and everyone went wild. “I’d really put it in because I had no other alternative, but it got great reviews, so naturally it became the sound of the TIE fighters,” the sound legend said.
— Gentleman Tim