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Archive for the ‘Films’ Category

The Ides of Flynn

15 Mar

Eighty-Five Years Ago Today (Sydney Time), on March 15, 1933, Errol Appeared Live AND On Film at the Prince Edward Theater in Sydney.

Errol was paid £2 to stand on stage in what he later described as a bad wig and bizarre naval uniform, appearing more like “an elderly keeper at a [Sydney brothel] than Fletcher Christian. The Ides of March ended bad for Caesar, but great for Flynn. It signaled the birth of Errol’s acting career.

A superb assembly of contemporaneous news articles by EFB Author “Isabel Australis”:

“In the wake of the bounty” 1933

An intriguing history with some Errol and errors:

books.google.com…

And here’s the cinematic Flynn himself, just as he appeared at the Prince Edward Theater, eighty-five years ago today, March 15, 1933 – On the Ides of Flynn:

— Gentleman Tim

 

A Curious Pair

10 Mar

At the Wilder Theater on Wilshire, in Westwood

www.laweekly.com…

The Adventures of Robin Hood swoops into the Billy Wilder Theater to restore a measure of innocence to the jaded moviegoer. Splendidly operatic in style and resplendent in its Technicolor trappings, the film endeared Errol Flynn to a Depression-era audience and secured his place in the Hollywood pantheon. Director Michael Curtiz replaced William Keighley when Warner Bros. decided that the action needed more oomph, and the film certainly doesn’t lack for excitement, particularly during the climactic swordfight with Basil Rathbone. UCLA Film & Television Archive is pairing it with Flynn’s American debut, The Case of the Curious Bride, as part of its tribute to Curtiz. Alan K. Rode will sign copies of his new Curtiz biography in the lobby prior to the screening.

UCLA’s Billy Wilder Theater, 10899 Wilshire Blvd., Westwood; Fri., March 9, 7:30 p.m.; $10. (310) 206-8013, cinema.ucla.edu….

— Gentleman Tim

 

Mail Bag! Errol pitches The White Rajah to Jack Warner!

07 Mar

Our new subscriber, Eric Clarke, sends us a couple of images of Errol’s pitch to Jack Warner about his script of The White Rajah and a page of the 14 page synopsis.

 

 

Thanks, Eric!

— David DeWitt

 

The Shape of Errol

05 Mar

Errol’s connection to The Shape of Water? The extraordinarily talented and beautiful Millicent Patrick. Before she worked on the shape of Gil-Man in Creature from the Black Lagoon, she worked on the shape of Errol.

www.theerrolflynnblog.com…

“She began working as a “makeup illustrator” on an Errol Flynn film and worked her way up from there. Patrick created and designed the look of Mr. Hyde in Abbott and Costello Meet Dr. Jekyll and Mr. Hyde, and the Xenomorphs in the B-picture This Island Earth and of course the iconic Gil-Man himself from Creature from the Black Lagoon.”

* Lake Zaca near Santa Barbara, California, which may have inspired Templeton Crockett to name Errol’s future yacht “The Zaca”, is very frequently reported to have been the lagoon filming location in “The Creature from the Black Lagoon.” These reports however may be apocryphal. The true “Black Lagoon” may actually have been Wakulla Springs in Florida.

— Gentleman Tim

 

Tribute to Tony Thomas

20 Feb

Reminded recently by Jack Marino of his friend, Tony Thomas’s, preeminent contributions to the history of Flynn here is a recollection of his great work:

THE FILMS OF ERROL FLYNN

“This book is a complete record of Errol Flynn’s career from his first starring role in Captain Blood until his untimely death at fifty. All of his 58 films are here, with synopses, casts & credits, reviews of the more important vehicles, and hundreds of photos.”

ERROL FLYNN:THE SPY WHO NEVER WAS

Author of 30 books about movies and movie stars, Thomas here defends Flynn (1909-1959) against the charge made by Charles Higham in Errol Flynn: The Untold Story (1979) that the Hollywood swashbuckler, who played Captain Blood, Robin Hood, the Earl of Essex and Don Juan, was a Nazi spy. Thomas’s detailed examination of Higham’s evidence (including interviews with many original sources) convincingly shows that Higham quoted documents selectively, twisted witnesses’ words and made a flawed case based on guilt by association.

— Gentleman Tim

 

Ann and Errol

13 Jan

THE MERMAID AND MISTER CHRISTIAN

A counter-clockwise adaptation of twinarcher’s recent north-of-the-equator post, “Errol and Ann”

www.canberratimes.com…

Physicality and courage on screen were two notable attributes of Kellermann that would continue among a number of other Australian actors, including Errol Flynn, whose screen debut in Australia as Fletcher Christian in 1933’s In the Wake of the Bounty soon led to a major Hollywood career
.

Plus, check out this fabulous Annie Kellerman- related, history and gallery of early bathing suits and beauties!

www.boston.com…

The Original Mermaid (G, 2003), a documentary on Kellermann, will be on January 17 at 3pm at 4pm at the National Film and Sound Archive ($10/$8).

The Evolution of the Australian Actor talk will be at the archive on January 18 at 3pm (free, bookings essential) followed at 4pm by Captain Blood (1935, G, tickets $10, $8).

The Rise of the Australian Actor in Hollywood talk will be on at the National Portrait Gallery on January 20 at 2pm (free, portrait.gov….au).

For bookings and more information visit nfa.gov….au.

— Gentleman Tim

 

Rare shot of a scene during the making of TAORH.

10 Jan

A real determined Robin risking his life. Note the little fellow hiding under the camera platform!

 

 

— Don Jan

 

A Day in the Life of Flynn – New Year’s Day, 1942

02 Jan


“Errol Flynn is a dashing Custer. How he rides, and how wonderful he looks in his uniform.”

– Louell O. Parsons

Playing on the bill with Boots at Warner Theaters was the Academy Award Nominated Rhapsody in Rivets.

Also playing was Water Sports (Film not found):

“Diving, swimming, surf-board riding and water skiing are the topics in the Technicolor short from Warners. Champion diver Ruth Nurmi demonstrates some of the dives which have won her championship titles, while Fairid Sumaika does the same for his gender. Comic diver Bill Lewin also appears.”

— Gentleman Tim

 

Mail Bag! Adventures of Robin Hood Mistakes!

21 Dec

The Mail Bag brings us this interesting list of mistakes in Errol’s classic The Adventures of Robin Hood from our fellow Flynnmeister Jan Vander vliet:

Enjoy!

Revealing mistake: When Will Scarlet finds the injured Much in Sherwood Forest about three quarters of the way through the movie, a white vehicle can be seen travelling from right to left in the background.

Revealing mistake: When Robin jumps off the scaffold after being saved from hanging, you can see one of the soldiers spear tips bend under his weight.

Continuity mistake: In the scene where Robin is rescued from hanging, watch the shadows on the church in the background. It keeps going in and out of shadow.

Continuity mistake: After winning his fight with Guy of Gisbourne, Robin races to Marian’s door with his badly bent sword in hand. The moment he enters Marian’s chamber, the sword is perfectly straight again.

Continuity mistake: When Robin is competing in the golden arrow archery contest, Marion’s veil alters between being behind her right shoulder to in front of her shoulder, depending on which camera is shooting her.

Continuity mistake: The horse Robin is on when he is exhorting his men to return to Sherwood and the one he is on when he rides over to the right to slash the portcullis rope could be two different horses as their saddle cloths are different colours.

Continuity mistake: In the final swordfight, Basil Rathbone lunges past Errol Flynn, who dodges him and leaps to the floor below. Rathbone continues on dropping his sword at the base of the steps. In the next cut, however, the sword lies between Rathbone and Flynn – a good eight feet away – allowing Robin Hood to pick it up gallantly and offer it back.

Continuity mistake: The scene where Robin is being chased through Sherwood Forest, early on in the film, is supposed to be taking place at night. But, at several times, blue sky can be seen overhead. This was corrected on the DVD.

Continuity mistake: After escaping from hanging, Robin heads for the castle gate. The first time we see it, the portcullis rope Robin later cuts is hanging away from the castle in a nice loop. In the next shot it is hanging vertically, but reverts to being a loop again for the rest of the scene.

Continuity mistake: At the beginning of the movie when Errol Flynn is escaping from within the castle he starts with five arrows in his quiver. He shoots ten, and when he’s finished he still has five left.

Continuity mistake: Robin, in his escape from the scaffold, pauses on his horse before the portcullis and exhorts his men to return to Sherwood. He then rides over to the right, draws a sword from behind him and slashes through the rope which activates the portcullis and rides the rope to the top of the wall. No sword is seen on the horse when he is exhorting his men.

Continuity mistake: When the soldiers have the man tied to some wine barrels, they begin filling a metal jug, but then they throw a wooden mug over his head.

Continuity mistake: In the scene near the beginning when Robin is in the “great hall” — a spear is thrown at his chair. He arises in time to avoid injury, but the spear goes through the back of the chair. However, the next time you see the chair, there is no hole in it.

Continuity mistake: When Robin escapes from hanging, he jumps from the scaffold onto his horse and rides off, all with his hands tied behind his back. When he jumps, just briefly before the shot changes, you can see his hands break the breakaway bindings and grab the horse’s saddle.

Continuity mistake: In the feast in the forest scene which occurs after Robin Hood and his men capture Sir Guy’s entourage, Robin sits next to Marian and offers her a roasted bird. She refuses the bird, but when the camera cuts back to Robin he has a mutton leg. Next the camera goes back to Marian who looks at Robin who now has the bird agaain.

 

Thanks, Jan!

— David DeWitt

 

Mail Bag! Crossed Swords Remembered!

14 Dec

Vincenzo Castaldo writes us about his new book on the filming of Errol Flynn’s Crossed Swords circa 1954. You may remember him from a previous post last year. His book is finished and was the center of attention in the village of Lauro at the Lancellotti Castle where the movie was filmed when Vincenzo (who lives in Lauro) held a public showing of the film, and discussion of his book. It was a grand affair attended by all the dignataries of the town. Vincenzo speaks no English but does well with Google Translate:

Crossed Swords – Stories and anecdotes about the Holy Grail by Errol Flynn (Il Papavero).

(Il Papavero is the book’s Italian Publisher. It may also be purchased online, he says.)

The book, the result of a three-year research conducted by the author mainly between Naples and Rome, unveils the gestation and elaboration of “Crossed Swords” (M. Krims, 1954), a compelling and unknown film from ’52 and ’53 made in Cinecittà , at Real Bosco di Capodimonte in Naples and in the Irpinia villages of Lauro and Marzano with the main interpreters Errol Flynn and Gina Lollobrigida.

The book is divided into four parts. The first offers a historical synthesis of swashbuckling, which found fertile ground first in America and then in Italy since the Thirties, and pays tribute to stars such as Burt Lancaster, Sean Connery, Antonio Banderas and Johnny Depp who, in the wake of the mythical Errol Flynn, have made the caste of the hood famous. The second focuses exclusively on the cinematographic work of Milton Krims, revealing the artistic and technical cast, the plot, the places and the various assumptions about how the troupe has landed in Lower Irpinia.

The third part includes a series of stories, stories and very funny anecdotes retrieved by the author, who interviewed the exclusive diva Gina Lollobrigida, Prince Pietro Lancellotti with his sisters Ginevra and Maria Cristina, who met the main interpreters during the realization of the film in the family castle, and several citizens of the time of Lauro who have lived the period of filming or have participated in the film with more or less important roles.

The fourth and last part includes news and various curiosities about the vicissitudes of the company during the period of the film, the journalistic reviews of the major newspapers of the time and those “found” by four great critics of Italian cinema, including the late father of David Gian Luigi Rondi.

Everything is accompanied by scene photos and amateur shots found by the author.

The book uses the preface by Valerio Caprara (well known film historian and journalist) and the afterword by Alessandro Cecchi Paone. A well respected journalist).


Thanks, Vincenzo!

 

— David DeWitt