Such a study in contrasts! On TCM the other night there were a few William Holden movies running. I tuned in as they were running the marvelous Sunset Boulevard, one of my favourite movies. It was followed by the movie below and … oh my!
The impish Errol Flynn in a swashbuckler
A few years ago I bought a fistful of Errol Flynn movies that were in one of those many Warner Brothers collections. I had only vague memories of Flynn movies but was curious having seen The Adventures of Robin Hood and, a few years earlier, having read his autobiography, My Wicked, Wicked Ways (recommended, by the way — it is so much fun to read).
Among the movies in the collection was the one I scribbled about below, The Sea Hawk. Interestingly, just as Robin Hood was directed (in part) by Michael Curtiz, he also directs this movie. He seems to have been aware of what Flynn brought to these movies and was very good at getting it.
The Sea Hawk (1940)
Directed by Michael Curtiz
I’m halfway through Errol Flynn: The Signature Collection and I think I’ve hit the real gem of the lot. (Not that the others aren’t good too.) It’s The Sea Hawk and it really does put the “swash” in swashbuckler.
It’s absolutely brilliant and in a number of respects. I can’t help comparing it to The Adventures of Robin Hood. It has much of the same feel while at the same time has a little something different.
For one thing, both films capture a sense of fun and exuberance. Both also manage to be rousing costume adventures without any sense of self-consciousness though The Sea Hawk differs slightly in that Errol Flynn plays the British pirate Captain Geoffrey Thorpe with a kind of very contained impishness.
His captain is apparently quite serious, patriotic and heroic, yet every now and then he seems to be restraining a smile or grin.
As someone in the special feature on the DVD says (The Sea Hawk: Flynn in Action), it’s almost as if Flynn is asking the audience, “Are you really buying this?”
But in these Flynn movies this kind of feeling is not one of mocking the audience but of having fun with them. Flynn seems to play his swashbuckling roles the way the early Springsteen played concerts – the more fun the audience had, the more fun he had and together they create a kind of synergistic relationship.
Another fascinating way in which The Adventures of Robin Hood and The Sea Hawk compare is in their look. Where Robin Hood is an incredibly exuberant display of colour, The Sea Hawk is nothing less than a magnificent example of black and white. (Although I could have done without the Panama scenes done in sepia.)
The sea battles between the ships are fabulous.
We know from recent films like Master and Commander that great sea battles can be done in colour but I’ll take The Sea Hawk’s scenes anytime. (It’s also incredible to think these were done on sets.)
There is also a great sword fight (as there must be to conclude an Errol Flynn swashbuckler) where, again, the black and white scenes with their use of light and shadow are exceptional. I loved the great shadows on the walls during the struggle.
The Sea Hawk is about as close to the quintessential swashbuckler as you can get. It has Errol Flynn, the man who pretty much defines the hero of such movies.
It has the great set pieces like the sea battles and the swordfights. And it has the music that has influenced the sound of almost all heroic adventures.
Credit for the music goes to Erich Wolfgang Korngold. His score (which is apparently not just rousing but quite clever as it uses, in part, themes from the earlier The Private Lives of Elizabeth and Essex but in a reworked form), is operatic which, if you think about it, is really what such romantic adventures require.
I really didn’t know a great deal about The Sea Hawk before watching it. And to be honest, I wasn’t expecting a great deal. I basically put it in the DVD player because I wanted to watch something and I hadn’t seen this one yet.
As often happens, when I was least expecting it, I encountered a wonderful movie. Highly recommended.
(The Sea Hawk also aired last night on TCM. I missed it but I may watch my copy again tonight. The above was written roughly about April 2005.)