The Three Musketeers (1973)

Some stories and literature just translate well to the big screen. Plain and simple. What do you think is the piece of literature that has inspired the most film adaptations? Okay, as I write this I'm assuming the Bible, but I'm talking about author Alexandre Dumas' The Three Musketeers. There have been one adaptation after another over the years, an estimated 200 for Dumas' career work. Well, that's add another review from that list, 1973's The Three Musketeers.

It's the 1620s in France, and a young, poor and idealistic Frenchman, D'Artagnan (Michael York) is on his way to Paris to become a Musketeer. Without the experience necessary, D'Artagnan is quickly turned down and turned away. In the span of a few hours, he manages to insult three different Musketeers, agreeing to duel with each of them at three different times back-to-back. When he meets them later, D'Artagnan ends up fighting at their sides, including Athos (Oliver Reed), Aramis (Richard Chamberlain) and Porthos (Frank Finlay), against the Cardinal's guards. While he's not officially a Musketeer, young D'Artagnan is welcomed by the friendly trio, especially when they are thrust into some intrigue between the French queen and an English lord while Cardinal Richelieu (Charlton Heston) seeks to gain more and more power over the inept French king.

Ready to get your mind blown? This movie was originally intended for.....The Beatles!!! Director Richard Lester had worked with the famous British rockers in Help! and A Hard Day's Night, but the Musketeers a la The Beatles never came to fruition. Instead, we get this entry, a solid action-packed story with a great cast and some funny physical humor that works surprisingly well. With a ton of attention to period detail, 'Musketeers' shot on location in Spain (a nice stand-in for France, kudos to cinematographer David Watkin) and features a fun, big, fast-paced score from composer Michel Legrand. It isn't the cleaned-up, glossy vision like the 1948 version or even the 1993 reboot. I can't speak for the the newest take on Dumas' iconic characters from 2011. Lester's version though? It seems to be the favorite of all the versions, so good that most of four hours of footage was shot, Lester deciding to make one film into two. Yeah, the cast was less than pleased. Paid for one film, turned into two. That's good business.

Go figure, the high point of this 1973 take is the Three Musketeers. I haven't seen much with Michael York in it other than the Austin Powers trilogy so it was cool to see him in a part like this. Playing D'Artagnan, he just goes for it, committing to bringing the almost hyper-active, goofy, idealistic young man to life. He also falls for the lovely Constance Bonacieux, played by Raquel Welch, and that's never a bad thing. York fits in well with Reed, Chamberlain and Finlay as the three established Musketeers who all come to respect young D'Artagnan, originally thinking of him as one of their own. If anything, the group is underused through much of the 105-minute movie. I wanted to see more of them. Of the three, I was most impressed with Oliver Reed as the fiery Athos, the unofficial leader of the trio. Reed defined on-screen intensity in the 1970s, and his Athos is just a cool character, waiting for an enemy to make his mistake and unleash an attack. Also look for Roy Kinnear as Panchet, D'Artagnan's hired servant who becomes an unofficial fifth member of the group.

If there's a weakness, it's that Dumas' novel just has so much going on. A ton of characters, a fast-moving story, it's a lot to handle in a movie that's 15 minutes short of 2-hours, and that's including a credit sequence. There's a ton of talent here, but it gets lost in the shuffle at times. Heston is underused as Cardinal Richelieu, the treacherous papal official looking to take over France, Faye Dunaway playing his gorgeous spy, Milady de Winter, and Christopher Lee as Rochefort as the head of the Cardinal's guards. As for the French royalty, look for Geraldine Chaplin and Jean Pierre Cassel. Rounding out the cast is Simon Ward as the Duke of Buckingham and Spike Milligan as Bonacieux, Constance's dimwitted husband.

But what are the Musketeers all about? Sword fighting. Lots of sword fighting. Master swordsman William Hobbs choreographed some great fight scenes that are big and all over the place with four and five swordsman on either side. The highlight is a great extended fight at a quiet countryside convent, a group of laundry women working away when the Musketeers arrive to fight a group of the Cardinal's guards. The action features some great physical gags, rope swings that don't quite reach where they're needed, trips and falls at will. Kinnear provides some good laughs too, always ready to hit some baddies over the head with a blunt instrument while the Musketeers duel away with their swords. Fun throughout.

Because it was decided post-production to turn one movie into two, the ending is just sorta there. A tad disjointed to say the least with not much resolved. I hope to check in with the follow-up soon. In the meantime, this one was pretty good. How can you pass up a movie where Roy Kinnear walks around dressed up as a polar bear who can juggle and then causes massive amounts of havoc? Or a catfight between Raquel Welch and Faye Dunaway. I submit that you CANNOT.

The Three Musketeers (1973): ***/****

Return to Lonesome Dove

Based off a novel by author Larry McMurtry (one of my all-time favorite books) in 1985 and turned into a wildly successful TV miniseries in 1989, Lonesome Dove is one of the all-time greats. Great characters, story, scope and scale, it has few rivals in the canon of miniseries. Some four years later in 1993 an unofficial sequel, Return to Lonesome Dove, was released, one McMurtry supposedly hated to the point he altered his official sequel like he was thumbing his nose. Oh, this should be good.

Having completed his mission for his friend, Gus, back in Texas, former Texas Ranger Woodrow Call (Jon Voight) undertakes another daring, almost impossible task. With his cattle ranch back in Montana focusing on the cattle herd, Call intends to drive a herd of mustangs north, breeding the horses with the best animal stock he can find. With help from another former Texas Ranger, Gideon Walker (William Petersen), and a veteran cowboy, Isom Pickett (Louis Gossett Jr.), Call readies a herd. Back in Montana at the Hat Creek ranch, Newt Dobbs (Rick Schroder) is doing his best to keep the ranch going. When he receives a telegram from Call, he heads south to meet with Clara Allen (Barbara Hershey) at her ranch. What awaits them all will not come easy as rustlers, outlaws, range wars and even good old-fashioned greed rear their ugly head.

First off, this 1993 sequel isn't Lonesome Dove. No miniseries could replicate the original's success on basically every single level. To be fair, the original didn't need a sequel of any sort, but here we sit. McMurtry wrote an official sequel to Lonesome Dove the same year as this TV follow-up, Streets of Laredo, that was apparently the author's less than pleased response to this miniseries. He hated it and ended up writing a book that seemed needlessly hateful, even spiteful, in wiping out characters, making some characters make ridiculous jumps that were based in no reality whatsoever. I read the book (and watched that miniseries) because I loved the characters. It was a disappointing, unnecessary follow-up. Did McMurtry think this 1993 series was just a chance for some easy money for a studio and TV? Maybe, but you know what else? It works in a big way.

Let me say it again. This isn't Lonesome Dove. What is it then? Fans of the 1989 miniseries shouldn't be disappointed. I came away very impressed and ended up loving it. It is a well-written, well-acted story that picks up logically where the story left off. My biggest concern was 'What's the point?' The characters didn't necessarily need more resolution. My worries were unfounded. Director Mike Robe and script writer John Wilder -- for lack of a better description -- do the characters right. They do the story right. It has it all; action, romance, sweep and scale to boot. While it's a personal story that succeeds because we like the characters, it's also a big, sweeping story about the taming of the west. It wasn't easy, and people died in the process (good and bad people alike). A couple different things aid the success here. 'Return' was filmed in Montana and Texas, and it is a beautiful miniseries to watch from beginning to end. The biggest thing though is composer Ken Thorne "tweaking" of the score from the original by Basil Poledouris. That music is like another character being transitioned from one miniseries to the next. Listen to a sample of the music HERE.

The actor with the biggest shoes to fill here is without question Jon Voight, replacing Tommy Lee Jones in a career-best performance as Woodrow Call. This is a tremendously layered character, one who can be infuriating to watch one second, and the next you can't help but feel for him. Strong, resolute, and living by a personal code of honor, Call expects others to do the same....and is typically disappointed by them. I was suspicious of the Voight casting, and early on, I wasn't a huge fan. But as the movie goes along, I grew to like the performance more and more. I came away vastly impressed with what Voight was able to do, making the character his own. Replacing Angelica Houston, Hershey too does an admirable job as Clara Allen, the tough as nails horse trader living near Ogallala, Nebraska who has to deal with all sorts of history with Woodrow. Two pairs of big shoes to fill, but both actors fill them admirably.

I thought the best thing going for this miniseries though was the return of Rick Schroeder to play young cowboy Newt Dobbs. A boy growing into manhood in 'LD,' he is a man now, but trying to learn and figure out what kind of man he really is. With the taming of the west, it's a great character to see these changes in as everything around him changes. We're seeing him grow up in front of us. His main subplot involves a rival cattle rancher in Montana, Gregor Dunnigan (Oliver Reed), who becomes a father figure of sorts to him. There's a Shakespearean/mythological edge to the relationship with Gregor's young wife, Ferris (Reese Witherspoon), seeing something she likes in young Newt. Also returning from the original are Chris Cooper as July Johnson, former sheriff now working at Clara's ranch, and Tim Scott as Pea Eye Parker, a former ranger who's long worked with Call and the Hat Creek outfit. Scott is given far more screentime and is a scene-stealer every minute he's in front of the camera. Other returnees include Barry Tubb, William Sanderson and David Carpenter as Jasper, Lippy and Needle, three more Hat Creek cowboys.

If there is an issue with this miniseries, it's that there are a lot of different storylines covered in four episodes. Yes, they criss-cross here and there, but there are a lot of characters and stories to be dealt with. You're going to love some more than others. I certainly did, although I liked them all. My favorite beyond Newt's story was the focus on the mustang herd being driven north from Texas. Playing a character similar to Robert Duvall's Gus, Petersen is a breath of fresh air as Gideon Walker, my favorite new character to the story. Gossett Jr. is underused but still very good as Isom with CCH Pounder as his wife, Sarah, along for the drive with their two children. The cowboys include mostly Mexican vaqueros led by Agostina Vega (Nia Peeples), a young Mexican woman looking for something from Call. Also look for Dennis Haysbert as one nasty villain, Cherokee Jackson, a half-breed outlaw who keeps crossing the herd's trail. Reginald T. Dorsey also a cool if small part as Isaac, Isom's brother leading the mustangs north.

Because the story does have so much going on, the 5 hour and 45-minute running time never really lags. That doesn't mean that some parts aren't better than others. Not surprisingly, the best is saved for the finale. It is an incredibly moving finale, including one absolutely gut-wrenching scene between Voight's Call and Schroder's Newt. It's the scene you wanted to see at the end of Lonesome Dove only to have it never come to fruition. As is though, this is a nearly perfect ending. It's a great capper to a great miniseries, a worthy addition to a great series in general.

Return to Lonesome Dove (1993): *** 1/2 /****

Gladiator (2000)

The age of the historical epic has long since past, the 1950s and 1960s full of three-hour movies with a cast of thousands, scale to spare and a window into a historical time long since past. It's hard to beat these movies in terms of pure entertainment quality, a time when Hollywood -- a pre CGI Hollywood -- was willing to drop a lot of money for that quality. Over 40 years later though, there was and still is a demand for movies like that, and when done right, they rank up there with the best of the past, especially 2000's Gladiator.

Having won a brutal victory for Roman emperor Marcus Aurelius (Richard Harris) in Germania, Roman general Maximus (Russell Crowe) is betrayed and left for dead for when Marcus' son, Commodus (Joaquin Phoenix), forcibly takes the throne away from his aging father. Maximus races home to find his wife and son tortured, raped and murdered, but in the aftermath he is scooped up by a traveling caravan and as a slave is sold to Proximo (Oliver Reed), the owner of a gladiator school in Zucchabar. At first wanting nothing to do with this life, Maximus realizes that with each win in the gladiator ring, he takes one step closer to meeting Commodus again, and for the general-turned-slave-turned gladiator, all he wants is one more shots at meeting the Roman emperor who took his life away from him.

If the story has a little bit of a scatter-brained quality, I apologize. That's more on me trying to condense a 155-minute movie into a paragraph synopsis. Fans of 1960s epics will no doubt recognize some of the story; it borrows somewhat liberally from 1964's The Fall of the Roman Empire and does use some real-life historical basis for its story. Some historical inaccuracies aside, director Ridley Scott has an epic gem here. It has the feel and look of an epic, and sometimes that alone can be enough. Is the portrayal of ancient Rome spot-on in terms of accuracy? No, not especially, the screenplay taking some liberties there. But traveling from the gloomy battlefields of Germania to the far-off desert communities of the Roman provinces to the glory and majesty of Rome, Scott gets it right in spite of any historical inaccuracies.

A respected and at least somewhat well known actor who'd been working in Hollywood for years, Russell Crowe became a household name courtesy of this movie and his starring role. Crowe won the Best Actor Oscar for his part as Maximus, the betrayed Roman general who must avenge his family's murder at all costs. It's appropriate that Crowe was chosen for the part because he has the star-power quality of a Charlton Heston or John Wayne. As an actor, he belongs in big, expansive epics where that star power can shine through. A story of an obsessed man looking for revenge can be tricky, but Crowe makes Maximus likable which sounds easy but is essential to the movie's success. He is an ultra-capable commander, a brutally effective and skilled warrior, and a stout and ready leader of men. Great lead performance.

Without the huge A-list supporting cast, Gladiator is probably a little better for it. The cast -- big names or not -- does not disappoint, the depth of the cast making up for any lack of star power. Phoenix is uncomfortably evil as Commodus, the power-hungry but ultimately insane Roman emperor. He sneers and glares as he scoops up power, wanting nothing more than an incestuous love from sister Lucilla (Connie Nielsen in a very strong supporting part). My favorite character is Reed's Proximo, a former gladiator granted his freedom and now an owner of a gladiator school. A cynic looking for the biggest payday, Proximo sees that potential in Maximus -- dubbed the Spaniard in the gladiatorial ring -- but also starts to see more than that, sees there's good and bad, right and wrong, more than just money. Reed unfortunately died before production wrapped, but it is a scene-stealing performance. The same goes for Harris as Marcus, an aging, dying emperor looking to right wrongs he's done and save Rome from itself.

Beyond those key supporting roles are several more, a little more in the background but just as important. This was my first introduction to Djimon Hounsou who plays Juba, an African slave turned gladiator. He bonds with Maximus, both men having been violently separated from their families. Ralf Moeller is also very good as Haken, a bear of a man and a Germanic gladiator who sides with Maximus and Juba. Derek Jacobi plays Gracchus, a strong-willed member of the Senate who hates what Commodus has done to Rome, with David Schofield and John Shrapnel as other Senators of varying loyalty. Tomas Arana plays Quintus, Maximus' former second in command, with Tommy Flanagan playing Cicero, Maximus' aide in camp. David Hemmings also has a brief but memorable part as Cassius, the Colosseum's announcer.

With the epic story moving all over the Roman Empire, one thing rises above all others as I rewatched Gladiator recently, and that's the scale and blood-splattered quality of the action sequences.  Oh, and there's plenty of them. In creating these sequences, Scott uses computer-generated images, but he never overdoes it. The opening battle in muddy Germania is a bloody, chaotic mess, the action then moving onto the equally bloody but beautifully photographed gladiatorial fights. The fights in the provinces are efficient and bloody, the scale more impressive once Maximus, Proximo and Co. reach Rome and the Colosseum. All of the action is aided by composer Hans Zimmer's score, everything you hope and want an epic musical score to be. Listen to a sample of a battle sequence music HERE. Action galore and on a gigantic scale, you should not be disappointed in that department.

The only thing I did come away somewhat disappointed on my recent viewing was the talky quality of the movie as Commodus takes power in Rome. Yes, they're necessary scenes to establish characters and motivation, but dialogue scenes of Rome, republic, the mob, and the Senate become a little tedious. Scott seems to know it too, never waiting too long to unleash another action sequence in our direction. That said, the last 45 minutes are nearly perfect, the pieces all falling into place for one final showdown. Epically dark and cynical as betrayals, backstabbing and murder rule the day, the last half-hour plus does not disappoint, helping make up for some of the slower portions building up to it.  An epic and a great one at that. They're getting rarer these days so enjoy them as much as you can.

Gladiator <---trailer (2000): ****/****

The Assassination Bureau

I can't think of a movie that surprised me more recently than 1969's The Assassination Bureau. The Netflix description of an international company that performs murders/assassinations for hire sounded like a drama, maybe an action movie. Or as I figured out, maybe that's just my head jumping to conclusions. I assumed it was a drama or action flick. So imagine my surprise when I found out it instead was a period piece mixed in with a screwball comedy. Oddly enough? It works.

In the early 1910s in London, an aspiring journalist, Sonya Winter (Diana Rigg), approaches a newspaper headed by Lord Bostwick (Telly Savalas) with a story idea. She has evidence of a murder-for-hire company that could date back centuries and has managed to arrange a meeting with its leader, Ivan Dragomiloff (Oliver Reed). Her catch? She intends to put a contract on Ivan himself. Seeing a chance to do some housecleaning among his own company, Ivan oddly enough agrees, challenging the other members of Assassination Bureau, Limited to a proposal. Can he kill all of them before they kill him? Secrets and twists await, more than Sonya originally counted on.

Can you see now why I was more than a little confused? From director Basil Dearden, the story certainly doesn't scream out screwball comedy. But using the jumping off point of a murder-for-hire company and its inherent very dark comedy, 'Assassination' somehow and some way works. I was expecting a late 1960s thriller set in modern times and got the complete opposite, a period piece set in 1910s Europe. The story bounces from London, Paris, Vienna, Venice and Zurich with a colorful lavish look. The sets are impressive, the costuming period accurate, and the screwball aspect not overdone thankfully. 'Dark' and 'screwball' don't always work in terms of comedy, but Dearden's film manages to put the two together.

It is a unique plot device of having a "company" like the Assassination Bureau at work, keeping tabs on the world. Reed's Ivan leads a committee of international representatives from around Europe and Asia including Germany, England, France, Austria, Russia, Switzerland and several more. Their only policy is simple...there must be a moral reason for killing. Ivan lives up to that standard, but his committee doesn't live and die by its principles. Semi-twist coming....Savalas is his vice commissioner. Come on, did you think Telly Savalas was around to play a newspaper editor? His Lord Bostwick is interested in cash, control and power, not Ivan's ideological beliefs. Some of the Bureau's members include General von Pinck (Curd Jurdgens), the militaristic German, Lucoville (Philippe Noiret), the woman-chasing Frenchman, Weiss (Warren Mitchell), the efficient Swiss, Spado (Clive Revill), the life-loving Italian, and Muntzof (Vernon Dobtcheff), the moping Russian among a few others. Comedy, drama or action, 'Assassination' gets points for originality.

The murder-for-hire story was one thing. I can buy that as a dark comedy. But as that surprise washed over me, I think the biggest reason for my thinking was the casting of Oliver Reed. A notorious partier/drinker/carouser, Reed does not strike me as someone to star in a dark comedy with romantic comedy undertones. He was typically the definition of intense so it was a welcome surprise to see him play a lighter role, and he doesn't disappoint. He's genuinely funny, can woo Rigg's Sonya, and is a master of disguise as he unleashes his attacks on his committee members turned opponents. Rigg as Sonya is the aspiring journalist who doesn't seem to figure out that both sides are playing her...to a point. She makes a good pair with Reed too as they jump from country to country in Europe. Also look for Italian beauty Annabella Incontrera as Senora Spado, the wife of one of the Bureau members who's got her own plans.

With obviously a much darker edge, 'Assassination' reminded me in many ways of 1965's The Great Race. The highlights are the impressively scaled set pieces. The intro to the Bureau has shades of a comedic James Bond movie while a madcap chase through Lucoville's high class house of ill repute gets the screwball aspect of the chase going at full speed. The comedy is often off-screen, allowing Reed, Rigg and Savalas to sell the humor with their reactions. Resorting to some action genre conventions, the finale is full of action as Reed stumbles onto Savalas' plan to take over Europe, a nice tie-in for history fans with the start of WWI and a zeppelin playing a key role. So what can I say? Sometimes the movies that surprise you are the best ones. An underrated, funny flick with a great cast.

The Assassination Bureau <---Youtube clip (1969): ***/****

The League of Gentlemen

One of the many positives I can take away from my Netflix membership is a feature available to me right up there with the DVD queue.  There is an option to 'Save' DVDs, those that are not available currently, the disc has been lost, or Netflix hasn't acquired said DVD yet.  Spending far too many hours cruising through available movies, I've stumbled across my fair share of hidden gems (or so I hope), just waiting for them to become available.  The most recent to make the jump from Saved to Queue was 1960's The League of Gentlemen.

As a sucker for heist films, I fell hook, line and sinker for this British heist flick. Add in the element of a team of specialists working together to pull off an impossible job, and I was officially done for. 'League' was released this summer through the Criterion Collection as part of the Basil Dearden's London Underground Collection, featuring three other movies. The cover art grabbed my attention right away, and once I read who starred in the movie, I couldn't wait to see this one. One of the earlier heist films I've seen, it's an obvious influence on countless movies since, all the while maintaining its own unique British style.

After 25 years serving in the military, Colonel Norman Hyde (Jack Hawkins) is being forcibly retired.  He's devoted his life to the army, and being separated from his wife has little to occupy his time. With nothing but time to spare, he goes about preparing a heist, a bank robbery, an intricate job that will need to be planned down to the tiniest detail.  To help him pull off the robbery, Hyde assembles a group of seven fellow ex-soldiers, including right hand man and wheeler dealer Race (Nigel Patrick). As they plan for the robbery, Hyde insists his crew live by military standards and rules, instilling a mindset in them of efficiency and effectiveness.  With a huge payday almost in their laps, he reasons that nothing can stop an organized, brutally efficient group of highly trained soldiers. But with a job like this, there's always something you can't plan for.  

There is something that's hard to explain about the appeal of a movie like this. It is easy to see its influence on future heist movies from the characters to the set-up to the actual heist to the aftermath. Dearden is calm behind the camera, and it rubs off on the movie. It runs 116 minutes and is a patient -- some critics say boring -- story that slowly builds tension. It is filmed in black and white, reflecting a general darkness and cynicism in the story. There are some odd moments of attempted humor that fall short, but some lines work because they do come out of left field. When asked if his wife is dead, Hawkins' Hyde replies "No, I regret to say the bitch is still going strong." It's 1960. How great a line is that?  An easy-going confidence is an inherent part of the story, helping out the slower parts because you know it's heading in the right direction.

That general darkness and cynicism comes across best in the casting and the characters. Would it have been nice to get some more personal development, some background on these men? Yes, but the importance is the team aspect, all of them working together, not individually.  Hawkins and Patrick just work smoothly together, their scenes together flowing with an equal give and take. The catch with Hawkins' team is that they're all ex-soldiers cashiered out of the army for one thing or another. The group includes Richard Attenborough as Levy, the radio expert, Roger Livesey as Mycroft, a con man who works as a priest, Bryan Forbes as Porthill, a possible executioner of prisoners, Kieron Moore as Stevens, a Fascist, Terence Alexander as Rupert, a money launderer, and Norman Bird as Weaver, the former alcoholic and demolitions expert. With the exception of Hawkins, none of the characters are particularly likable, but I still found myself hoping they pull off the job. Go figure.

Like so many quality heist movies before and since, 'League' succeeds because other than a few vague details we don't know how the actual robbery is going to be pulled off.  Relative to some more modern heist flicks, this one is pretty simple, although it does depend on split second timing, and a lot of things going right.  The sequence is Rififi-esque, around 15 minutes in length where little is said, just the action and build-up and musical score moving things along.  You're waiting for something to go wrong, anything at all, especially after almost 90 minutes of that slow-burning adrenaline.

Where the movie fails somewhat is the end. It is still 1960, and the whole 'crime doesn't pay' angle is one that movies often played up. It's not how something will get messed up, but when it will get messed up. If you can call it one, the twist is somewhat disappointing, partially because it was hinted at earlier, and also because it wastes a ton of potential. It could have been a classic ending, one that would have been true to the movie's dark roots.  As is now, it is still far from a happy ending, but the movie ends on a bit of a whimper if you ask me.  That said, I still very much enjoyed the movie. Little known but worth seeking out.

Also, keep your eye out for Patrick Wymark as a sugar daddy, Nigel Green as angry man on a date, David Lodge in a quick but funny supporting part, and Oliver Reed as a gay actor. Three odd, but funny parts considering the caliber of actor and the stars they would become. 

The League of Gentlemen <---trailer (1960): ***/****

The Pirates of Blood River

Because I don't typically review a lot of horror movies here at Just Hit Play, the horror/thriller genre sometimes gets the short end of the stick, and more specifically certain actors.  Whether you know him by name, it's basically a sure thing that you've seen a movie starring British actor Christopher Lee. At almost 90 years old, Lee has been in almost 200 movies all told, many of them horror and thrillers from Hammer studios in the 1960s and 1970s.  He is synonymous with old school British horror movies, but in his Hammer films, there were some oddities, including 1962's The Pirates of Blood River.

Thanks to the Pirates of the Caribbean movies over the last decade or so, pirates in general have had a bit of rebirth in pop culture recently.  No doubt a lot of that can be attributed to Johnny Depp's Captain Jack Sparrow, a lovable scab of a pirate who even as he commits all these despicable acts still finds a way to be endearing in his greed, stupidity and general cluelessness.  Long story short? Pirates were just plain old nasty folks, killing, pillaging and raping wherever they went. 'Blood River' is certainly in that boat, portraying pirates in a negative light in an adventure story that is just a lot of fun.

It's sometime in the early 18th Century on the Isle of Devon, and in a small community of Huguenots, Jonathan Standing (Kerwin Matthews) is in trouble. Accused of having an affair with a married man's wife, Jonathan is sentenced by his own father to 15 years working in the penal colony. He goes, working several months before pulling off a dangerous escape. Fighting his way through the jungle, he's rescued by a crew of pirates led by a Frenchman, Captain LaRoche (Lee), who cuts a deal for Jonathan to lead him to the village. The pirate captain says he's looking for a resting spot for his ship and crew, but Jonathan quickly figures out otherwise. LaRoche is looking for treasure, and he's convinced there's hidden riches waiting for him. With help from an old friend, Henry (Glenn Corbett), Jonathan does everything he can to rescue his people.  

After finishing this movie, I somewhat stupidly started investigating some.  Where was this Isle of Devon? Who were these Huguenots?  Is there any truth to this pirate story, any basis in fact? Basically it was all wasted time.  As near as I can figure, there's no Isle of Devon, the Huguenots were a real people, and there was no basis at all for this premise. This island appears to be somewhere in the Caribbean, maybe somewhere off of Central or South America?  Who knows though, it's never said and it's not really that important. The point is that the movie doesn't need any of that background. It doesn't matter where this island is or who these people are. Jonathan's folks are the good guys, and Lee's pirates are the oh so bad guys.  Enough said, sit back and enjoy the flick.

There is something appealing about the films that came out of the Hammer Studios that is hard to explain. The stories have a small scale to them, but never feel like low-budget features.  A simplicity to the story is always nice as is the case here, good guys vs. bad guys with no real shade of gray.  It's never trying to deliver a message. It's a fun movie with lots of action, gunfights and sword play.  A win-win combination if there ever was one.  Director John Gilling actually never left England to film this movie which is impressive because I had the sense to think he filmed in some sort of Caribbean/jungle location. The pirates are all duded up, the Huguenot community looks like pilgrims, and there's enough action to keep everyone involved and entertained.

The casting is interesting, and in a positive way for the most part. Matthews is the heroic lead given a chance to redeem himself, but Corbett takes some of his screentime as friend and sidekick Henry.  I guess Jonathan needed some help dispatching the pirates so cue Henry, and away we go.  Lee not surprisingly steals his scenes as LaRoche, the smooth, above-it-all pirate captain who always knows how far he can push his men and still get results.  Lee's LaRoche does look ridiculous in his silk shirt, eye patch and tight black pants, but it's just one more weird oddity that adds up. Marla Landi plays Bess, Jonathan's sister, while Andrew Keir has a good part as Jason Standing, Jonathan's stubborn, strong-willed father. LaRoche's pirates include a young Oliver Reed, Peter Arne as Hench, LaRoche's right-hand man, and Michael Ripper as Mac, a possibly mutinous, back-stabbing pirate. 

Looking back over what I've written, I'm seeing that I haven't gone into much detail about the film.  I think it would be a case of over-analyzing a movie that just doesn't call for it.  Is this a great movie? No, not even close. What it is though is an exciting historical action flick from a studio that knew how to appeal to the wants and likes of an audience. From the credits to the final scene, I very much enjoyed Pirate's 87-minute running time. Underrated, exciting, and with some interesting casting. A weird one, but a good one. There are three extended clips available at Youtube, but there's no real rhyme or reason to them so I'm not going to link to them.

The Pirates of Blood River <---trailer (1962): ***/****

Revolver (1973)

Watching Quentin Tarantino's Inglourious Basterds recently, part of the fun was picking out the director's musical choices for his soundtrack. I recognized a good amount of the tracks, including many from Ennio Morricone, but one really caught my attention for the first time, Morricone's 'Un Amico.' It's used perfectly in Tarantino's WWII movie so I investigated and found out it was originally used in a 1973 Italian thriller called Revolver.

It's a movie from director Sergio Sollima who made no bones about getting his political beliefs into his movies. Some work better than others, The Big Gundown is a classic, because sometimes the political preaching can get to be a little much, especially in westerns where that element is unnecessary to add to a story's depth or lack of. I liked Revolver because Sollima's feelings are mostly left out of it, and what's there is actually a worthwhile commentary on society.

The problem isn't with the political undertones, but the pacing of the first hour. It's the type of movie that throws everything at you with seemingly unrelated storylines and lets the plot develop. That's fine in itself in some cases, but the story is so muddled at times with Revolver I was never quite sure what was going on for the first 60 minutes. The story rights itself when things are explained and makes that last half of the movie much better and much more enjoyable.

Coming home one day, prison warden Vito Cipriani (Oliver Reed) finds his wife (Agostina Belli) is gone from their apartment. The phone rings, and a mysterious voice at the other end says she's been kidnapped, and the only way he'll get her back is to free a prisoner, Milo Ruiz (Fabio Testi), from his jail. Vito struggles with what to do but ultimately decides to do it. The only problem? When he frees Milo, the criminal has no idea who would want to help him out of prison.

In another storyline that seems to have no link, a higher-up politician is murdered while leaving his office by an assasin on a motorcycle. It's not long before the police find him, kill him and destroy the motorcycle and have a friend of the killer, folk singer Al Niko (Daniel Beretta), identify what's left of the body. Of course, the stories do connect at the movie's midpoint, and it generally works. Some unexplained scenes now make sense, and the unfolding of the rest of the plot comes together.

The somewhat political message of the movie is that society has ways of guarding itself against danger, laws, police, government, but that sometimes all it takes is for one man to take a revolver and right a wrong. Reed's Vito is put in this situation when faced with a decision on trading Testi's Milo in exchange for his wife in a prisoner exchange. He knows Testi will most likely be killed so as a warden and former police officer can he rationalize one life for another? That question certainly makes for an interesting resolution.

While other characters bounce in and out of the story, it's Reed and Testi that carry the movie. On the DVD, an interview with Sollima talks about how you can throw just about everything else away. It's a movie about a good guy, Reed, who's not so good, and a bad guy, Testi, who's not so bad. Known as much for his drinking ability as his acting career, Reed is an incredible presence here, a brooding, intense, driven man who will stop at nothing to get his wife back safely. Testi, often known for his looks more than anything, provides a strong balance as the criminal thrown into the middle of a situation he has little to no control over. All other things aside, the movie is about these two men and their unlikely partnership, a buddy movie on steroids if you will.

Other nice touches include the French and Italian shooting locations, and a gritty style Sollima had by then become known for. Here's the opening, which features 'Un Amico' with lyrics which isn't as effective as the song itself. The rest of the Morricone score isn't his best and seems too similar to some other scores he'd done. But the main track is a keeper and is used perfectly in the opening and especially in the final scene. While it may have been difficult getting there at times, the ending is worthwhile to say the least.

Good casting and an intriguing storyline but it takes too long getting there. Worth a watch but don't expect a classic. Here's the DVD interviews in two parts, one and two, with Sollima and Testi interviewed. SPOILER ALERT though, don't watch the interviews if you don't want the ending ruined.

Revolver <----trailer (1973): ** 1/2 /****