“ADVENTURES OF DON JUAN” (1948) Review

 

 

“ADVENTURES OF DON JUAN” (1948) Review

I will be the first to admit that I have been a fan of several movies starring Errol Flynn for years. Ever since I was in my early teens. However, my preference for Flynn movies tend to be for those that were released during the first five years of his Hollywood career – between 1935 and 1941. However, I recently took a chance on viewing one of his films made during the second decade of his Hollywood career – the 1948 adventure film, “ADVENTURES OF DON JUAN”.

The character of Don Juan had originated some time in the early 17th century – actually in the 1630 Spanish play by Tirso de Molina called “El burlador de Sevilla y convidado de piedra” (“The Trickster of Seville and the Stone Guest”). Only in de Molina’s play, the character of Don Juan was portrayed as an evil man who seduced women, thanks to his ability to manipulate language and disguise his appearance. Over the next century or two, Don Juan had transformed into a wealthy libertine, who devotes his life to seducing women in the belief that he had plenty of time to repent later for his sins.

In the 1948 movie directed by Vincent Sherman, Flynn’s character is a Spanish nobleman named Don Juan de Maraña, a charming libertine, whose penchant for seducing women has landed him in scandal after scandal for many years. The movie opened in the last few years of Elizabethan England, when Don Juan is caught in a diplomatic scandal after a dalliance with the British fiancée of a Spanish nobleman. An old family friend and Spain’s ambassador to England, Count de Polan, advises Don Juan to return to Spain as soon as possible. He also sends a letter to Queen Margaret of Spain and consort to King Philip III, recommending that Don Juan serves as the Spanish court’s fencing instructor to rehabilitate the latter’s reputation.

Upon his arrival in Spain, Don Juan discovers that the country is under the thumb of the king’s premier minister, Duke de Lorca, who also has the weak-willed Philip under this thumb. Don Juan also falls secretly in love with Margaret, but remains a staunchly loyal subject to both her and the king. Don Juan discovers a treacherous plan by de Lorca, who is holding the loyal Count de Polan as a secret prisoner. The Duke plans to depose the monarchs, usurp their power over Spain, and declare war on England. With the support of his friends at court, Don Juan heroically defends the Queen and the King against de Lorca and his henchmen.

If I did not know any better, I would have sworn that “ADVENTURES OF DON JUAN” reminded me of Flynn’s 1940 movie, “THE SEA HAWK”. Like the 1940 film, Flynn’s character is trying to save his country and monarch from a scheming prime minister, plotting to take control of the throne. But there are differences. One, he is in love with a married royal figure, instead of a single noblewoman. Also, the film’s narrative remains firmly land-locked, unlike the 1940 movie. And unlike “THE SEA HAWK”, “ADVENTURES OF DON JUAN” has a strong underlying streak of comedy in its narrative and in its portrayal of most of the main characters.

Do I have any complaints about “ADVENTURES OF DON JUAN”? Not really. The worst I can say about the film is that it seemed to lack an edge that a good number of Flynn’s earlier swashbucklers had possessed back in the mid-to-late 1930s. Despite the plot regarding the Duke de Lorca’s oppression of Spain and his plot to assume control of the throne, the screenplay written by Herbert Dalmas, George Oppenheimer and Harry Kurnitz just seemed to lack some kind of real edge or darkness that could be found in “THE SEA HAWK” and a few of his other films between 1935 and 1941.

On the other hand, I cannot deny that “ADVENTURES OF DON JUAN” was a joy to watch. I found it to be a very entertaining film. It possessed a strong comedic streak. Some of Flynn’s other adventure films had their moments of comedy, but a part of me began to wonder if “ADVENTURES OF DON JUAN” was basically a comedy-adventure. It certainly seemed so. And you know what? The strong comedic element really worked. I believe the topic of Don Juan’s womanizing behavior provided a great deal of strong humor for this film.

Comedy or not, “ADVENTURES OF DON JUAN” provided some good dramatic moments – especially in scenes featuring the main character’s interactions with Queen Margaret and the Duke de Lorca. And since this is an Errol Flynn swashbuckler, I have to bring up the film’s action scenes. The movie did feature its share of action scenes, but I can only think of two that really impressed me. One featured Don Juan’s fencing students fighting de Lorca’s men around the beginning of the last action scene. The other happened to be Don Juan’s main duel against the Duke de Lorca. It is fortunate that both Flynn and Robert Douglas were experienced on screen/stage fencers. Mind you, I still regard Flynn’s duel against Henry Daniell’s double in “THE SEA HAWK” as my favorite sword fight to feature the Australian actor. But I cannot deny that both he and Douglas managed to provide a first-rate duel in the movie’s final action scene.

The performances in “ADVENTURES OF DON JUAN” were excellent. The movie provided either solid or first-rate supporting performances from Romney Brent, Robert Warwick, Helen Westcott, Fortunio Bonanova Jerry Austin, Mary Stuart and Douglas Kennedy. I was surprised to find Ann Rutherford, who was a MGM contract player in the late 1930s and early 1940s in this film. She gave a funny, yet sly performance as Dona Elena, the amorous older sister of one of Don Juan’s students. Una O’Connor, a veteran of Flynn’s two earlier films, provided a breath of comedic fresh air as the maid of one of Flynn’s conquests. I was also surprised to find future television star Raymond Burr as Captain Alverez, one of the Duke de Lorca’s villainous henchmen. I thought he gave a very solid performance. Robert Douglas, who must have made a career of portraying villains, was very effective as the traitorous and scheming Duke de Lorca. “ADVENTURES OF DON JUAN” proved to be the last of 13 or 14 movies that Alan Hale co-starred with Flynn. Not only did Hale give a highly entertaining performance as Leporello, Don Juan’s personal servant; both he and Flynn managed to continue their great screen chemistry they had maintained for over a decade.

I have to be honest. I thought Viveca Lindfors gave a strong and excellent performance as the high-minded and no-nonsense Queen Margaret. But for some reason, she seemed out-of-place in this movie and as Flynn’s co-star. I think her presence in this film would have worked if there had been a lot less humor in the story. I could say that portraying Don Juan de Maraña seemed like a walk in the park for Errol Flynn. He seemed to portray the role so effortlessly. I suspect that certain film historians would be inclined to dismiss his performance . . . as they are inclined to dismiss his talent as an actor altogether. But I must admit that Don Juan has become one of my favorite Flynn roles. Mind you, I thought he handled his dramatic scenes with Viveca Lindfors and Robert Douglas with great skill. But I found Flynn’s comedic acting in this movie to be exquisite. This was especially apparent in scenes in which Don Juan had expressed annoyance by the unwanted attention of enamored women or mild resentment by his inability to put his seductive reputation behind him.

Overall, I really enjoyed “ADVENTURES OF DON JUAN”. I thought director Vincent Sherman did an excellent job of using Herbert Dalmas, George Oppenheimer and Harry Kurnitz’s screenplay to create an adventurous tale that also included romance, intrigue, action and a great deal of humor. And Sherman also worked well with a top-notched cast led by the talented and woefully underappreciated Errol Flynn.

Favorite Films Set in the 1800s

Below is a list of my favorite movies set during the decade between 1800 and 1809: 

FAVORITE FILMS SET IN THE 1800s

1. “Emma” (1996) – Gwyneth Paltrow starred in this very entertaining adaptation of Jane Austen’s 1815 novel about an upper-class Englishwoman’s attempts to play matchmaker for her friends and neighbors. Co-starring Jeremy Northam, the movie was adapted and directed by Douglas McGrath.

2. “Master and Commander: The Far Side of the World” (2003) – Russell Crowe and Paul Bettany starred in this Oscar-nominated adaptation of several of Patrick O’Brian’s Aubrey–Maturin series. The movie was co-written and directed by Peter Weir.

3. ‘Buccaneer’s Girl” (1950) – Yvonne De Carlo starred in this entertaining romantic adventure about the relationship between a Boston singer and an elite sea trader/pirate in old New Orleans. Directed by Frederick de Cordova, the movie co-starred Philip Friend and Robert Douglas.

4. “Captain Horatio Hornblower” (1951) – Gregory Peck and Virginia Mayo starred in this adaptation of three of C. S. Forester’s Horatio Hornblower novels. The movie was directed by Raoul Walsh.

5. “Mansfield Park” (1999) – Patricia Rozema adapted and directed this adaptation of Jane Austen’s 1814 novel about an impoverished young woman living with her wealthy relations. Frances O’Connor and Jonny Lee Miller starred.

6. “The Duellists” (1977) – Ridley Scott directed this adaptation of Joseph Conrad’s 1908 short story, “The Duel” about a small feud between two Napoleonic officers that evolves into a decades-long series of duels. Keith Carradine and Harvey Keitel starred.

7. “Lloyd’s of London” (1936) – Tyrone Power was featured in his first starring role as a young man who worked for the famous insurance corporation, Lloyd’s of London, during the Napoleonic Wars. Directed by Henry King, Madeleine Carroll and George Sanders co-starred.

8. “Carry On Jack” (1963) – Bernard Cribbins, Kenneth Williams and Juliet Mills starred in this eighth entry in the “Carry On” comedy series, which is a spoof of the high-seas adventure genre. Gerald Thomas directed.

 

 

Top Ten Favorite Movies Set During the 1600s

Below is a list of my favorite movies set during the 1600s: 

 

TOP TEN FAVORITE MOVIES SET DURING THE 1600s

1. “The Four Musketeers: Milady’s Revenge” (1974) – Richard Lester directed this adaptation of the second half of Alexandre Dumas père‘s 1844 novel, “The Three Musketeers”. The movie starred Michael York, Oliver Reed, Raquel Welch and Faye Dunaway.

2. “The Man in the Iron Mask” (1977) – Richard Chamberlain portrayed duel roles in this loose adaptation of Alexandre Dumas père‘s 1847-50 novel, “The Vicomte of Bragelonne: Ten Years Later”. Directed by Mike Newell, the movie co-starred Jenny Agutter, Patrick McGoohan and Ralph Richardson.

3. “The Three Musketeers” (1973) – Richard Lester directed this adaptation of the first half of Alexandre Dumas père‘s 1844 novel, “The Three Musketeers”. The movie starred Michael York, Oliver Reed, Raquel Welch and Faye Dunaway.

4. “Adventures of Don Juan” (1948) – Errol Flynn starred in this swashbuckling movie as the infamous Spanish nobleman and fencing master for King Philip III and Queen Margaret of Spain’s court, who comes to the aid of the couple when another nobleman plots to steal the throne from them. Vincent Sherman directed.

5. “The New World” (2005) – Terrence Malick wrote and directed this cinematic look at the founding of the Jamestown, Virginia settlement. The movie starred Colin Farrell, Q’orianka Kilcher, Christopher Plummer and Christian Bale.

6. The Three Musketeers” (1948) – George Sidney directed this adaptation of Alexandre Dumas père‘s 1844 novel. The movie starred Gene Kelly, Van Heflin, Lana Turner and June Allyson.

7. “Girl with a Pearl Earring” (2005) – Colin Firth and Scarlett Johansson starred in this adaptation of Tracy Chevalier’s 1999 historical novel about a Dutch housemaid; her employer, painter Johannes Vermeer; and the creation of his famous 1665 painting. Peter Webber directed.

8. “The Wicked Lady” (1945) – Margaret Lockwood starred in this adaptation of Magdalen King-Hall’s 1945 novel, “Life And Death of the Wicked Lady Skelton”. Directed by Leslie Arliss, the movie co-starred James Mason and Patricia Roc.

9. “Forever Amber” (1947) – Otto Preminger directed this adaptation of Kathleen Winsor’s 1944 novel about the rise of a 17th century English orphan. Linda Darnell and Cornel Wilde starred.

10. “The Crucible” (1996) – Daniel Day-Lewis and Winona Ryder starred in this adaptation of Arthur Miller’s 1953 stage play about the Salem Witch Trials. The movie was directed by Nicholas Hytner.

“BUCCANEER’S GIRL” (1950) Review

“BUCCANEER’S GIRL” (1950) Review

I have always been a sucker for old films – especially those that are costumed flicks. Between my late teens and late twenties, I had developed a habit of watching old movies on late night television. One of those films was the 1950 comedy swashbuckler, “BUCCANEER’S GIRL”.

Directed by Frederick De Cordova, the movie began with a ship commanded by a pirate named “Frederic Baptiste” attacking and ransacking a trader ship bound for New Orleans during the first decade of the 19th century. One of Baptiste’s victims is a Boston-born young woman named Deborah “Debbie” McCoy who also happens to be a stowaway. Although Baptiste’s first mate had ordered two crewmen to place Debbie in one of the long boats with the passengers, they decide to keep her aboard the pirate’s ship for . . . entertainment. However, Baptiste intercepts them and decides to keep Debbie on board before delivering her to Tortuga.

Although Debbie gets to know Baptiste’s crew, she stows away aboard the pirate’s long boat, when his ship arrives in New Orleans. Not long after her arrival in the Crescent City, Debbie is taken in by one Mademoiselle Brizar, the proprietor of a “School for Genteel Young Ladies”, who also serves as an agent for young women like Debbie with musical talent. After a few months of training, Debbie performs at a local tavern, where she learns that the pirate “Baptiste” is actually a local sea captain and trader named Captain Robert Kingston who has been using his piratical activities to plunder the ships of another wealthy shipping magnate named Alexander Narbonne, who had earlier used the real Baptiste (killed by Kingston) to get rid of his business competition. Debbie also discovers that Captain Kingston is engaged to the Governor’s niece, Mademoiselle Arlene Villon, who is also coveted by Narbonne.

One has to be blind, deaf and dumb not to realize that “BUCCANEER’S GIRL” is basically a B-movie. The plot, written by Samuel R. Golding, Joseph Hoffman, Joe May and Harold Shumate; does not exactly possess any real depth. In fact, I am rather surprised that so many writers had worked on screenplay for this movie. Nevertheless, “BUCCANEER’S GIRL” proved to be a very entertaining movie.

Did the movie have any faults? Well, since it is a B-movie, I would not describe the sets and production values as particularly top notch. And although I found Yvonne Wood’s costume designs very colorful and attractive, I cannot help but wonder if they were accurate depictions of fashion from the first decade of the 19th century.

However, I do have one major complaint about the film. But I do not really consider that to be a fault. I will admit that I found the movie’s ending rather vague and slightly confusing. The majority of the film centered on the conflict between Captain Robert Kingston aka the fake Baptiste and his business/romantic rival, Alexander Narbonne. Both men sought the hand of the Governor’s niece, Arlene Villon. Kingston used the “Captain Baptiste” persona to go after Narbonne’s ships in revenge for the latter using the real Baptiste to destroy shipping rivals. Well, Kingston eventually achieved his goal when he destroyed the last three ships in Narbonne’s fleet during a two-to-three minute montage in the movie’s second half. Unfortunately, the movie’s last act focused on Kingston being arrested for piracy and a scheme to spring him out of jail. And I found this last sequence rather anti-climatic and a little disappointing, if I must be frank.

But despite the film’s ending, I must admit that I enjoyed “BUCCANEER’S GIRL”. Very much. It is a very entertaining film, thanks to a rather clever screenplay. The 1950 film is one of the very few swashbucklers that starred a woman. And get this, the movie’s main protagonist – one Debbie McCoy – is not a pirate or a seaman of any kind. And . . . she is certainly no swordsman. Instead, Debbie McCoy is that rare protagonist in a swashbuckler film, whose possess a talent for singing, witty repartees, stowing aboard ships and clever thinking. Universal Studios was wise to cast Yvonne De Carlo in this role. Not only did the actress gave an excellent and entertaining performance, she also seemed to be up to the task for her musical numbers. I did notice that of the three songs she performed, only one of them were lip synced by a sorprano.

Since the movie’s protagonist turned out to be a singer from Boston, naturally she required a leading man who is more of a swashbuckling type. In another act of clever acting, the screenwriters created Captain Robert Kingston, a respectable sea captain who doubled as the pirate “Baptiste”. Due to her penchant for stowing away, Debbie not only becomes familiar with Kingston and his crew, she also becomes one of the few people who knows about his double act. The filmmakers went out of their way to hire Philip Friend, an actor with a credible screen presence, but one not as strong as the leading lady’s. The odd thing about “BUCCANEER’S GIRL” is that although the leading protagonist is a woman and entertainer, the movie’s narrative focused upon the conflict between the protagonist’s leading man and the film’s main villain.

The movie also featured very entertaining performances from Elsa Lancaster, who portrayed Debbie’s mentor Madame Brizar and Jay C. Flippen, who portrayed Kingston’s first mate, Jared Hawkens. Robert Douglas made an effective villain as shipping magnate Alexander Narbonne. Norman Lloyd, who eventually became well known to television audiences on NBC’s “ST. ELSEWHERE”, gave a sly performance as Narbonne’s slimy assistant, Patout. And Andrea King was sufficiently haughty as Kingston’s well born fiancée Arelene Villon. I was surprised to see Henry Daniell in this film as the local militia’s commander, Captain Duval. Five to ten years earlier, Daniell would have been cast as the main villain.

However, there is more to appreciate about “BUCCANEER’S GIRL”. It has a funny and very witty narrative, thanks to its four screenwriter. And although I found the historical accuracy of Yvonne Wood’s costumes a bit questionable, I cannot deny that I also found them colorful, as seen in the images below:

The movie also featured some mildly entertaining songs written by Walter Scharf and Jack Brooks. I especially enjoyed the last song performed in the film, “A Sailor Sails the Seven Seas”. Very jaunty. I was especially impressed by Russell Metty’s photography. It was unusually sharp and beautiful for B-movie. Metty put a lot of care into it.

In the end, “BUCCANEER’S GIRL” proved to be a surprisingly entertaining film. Yes, the ending struck me as slightly vague and anti-climatic. But everything else about the movie have so much to offer, including energetic direction from Frederick De Cordova, a clever narrative and excellent performances from a cast led by Yvonne De Carlo and Philip Friend. This is one film I have never grown tired of watching.

“CENTENNIAL” (1978-79) – Episode Seven “The Shepherds” Commentary

 

“CENTENNIAL” (1978-79) – Episode Seven “The Shepherds” Commentary

The seventh episode of “CENTENNIAL” is set thirteen years after Episode Six. And it is a doozy. Although I would not consider this episode to be the best of the miniseries, I definitely believe it is one of the better ones.

Some of the events of the last two episodes end up having major consequences in this episode, set in 1881. The feud between farmer Hans Brumbaugh and the English rancher Oliver Seccombe spill out in an ugly range war between the region’s farmers and the ranchers, led by Seccombe. Acting as the ranchers’ hired guns are members from the Pettis gang, the same outlaws that had attacked the Skimmerhorn/Poteet cattle drive, in the last episode. After killing several farmers, whose land Seccombe managed to purchase, the Pettis boys set their sights on Brumbaugh’s farm. However, they encounter stiff resistance from Hans, his family and two men from the Venneford Ranch – John Skimmerhorn, who is now ranch foreman; and Jim Lloyd, now a strapping 27 year-old ranch hand.

Brumbaugh turns to Centennial’s sheriff for justice, but Axel Dumire is reluctant to move against the Pettis boys, claiming that no one could identify them as the attackers. However, the ranchers’ focus upon the farmers transfer to a new enemy, with the arrival of one Messmore Garrett. The latter decides to settle near Centennial in order to raise sheep – something that cattle ranchers find abhorrent. Three men from the previous cattle drive end up working for Garrett – Nate Pearson, Bufe Coker (who was a former Venneford ranch hand) and Amos Calendar. The feud between Garrett and the ranchers spill into an ugly shootout that leaves Pearson, Coker and the latter’s lady love, a former Cheyenne prostitute named Fat Laura, dead. As the only surviving shepherd, Calendar recruits his former fellow cowhand, Jim Lloyd and Brumbaugh to seek vengeance against the Pettis boys.

More personal matters also loomed large in this episode. Levi Zendt, just barely into his sixties, receive a visit from his Lancaster nephew, Christian Zendt, and gives him a tour of Centennial. Christian’s visit leads Levi to visit his hometown in Pennsylvania one last time. Brumbaugh’s struggles to find decent farmhands leads him to hire a family of Japanese immigrants named Takemoto. Love also hits Centennial in this episode. Jim Lloyd falls in love with Levi and Lucinda’s wayward daughter, Clemma; who feels no affection towards him whatsoever. And Oliver Seccombe meets two visitors from England – a British investor named Claude Richards and Charlotte Buckland, the daughter of another investor – and ends falling in love and marrying the latter.

Screenwriter Charles Larson and director Virgil W. Vogel really did an outstanding job with this episode. I thought they did a great job in balancing the various storylines – including the romances, Levi Zendt’s memories of the past via a visit from his nephew, and Brumbaugh’s labor problems. But the episode’s pièce de résistance were the range wars that threatened to overwhelm the region surrounding Centennial. It is believed that James Michner had based this particular chapter on the infamous Johnson County War in 1892. This was very apparent in three brutal action scenes featuring the attack on the Brumbaugh farm (shot at night), the attack on Bufe Coker and Fat Laura’s homestead, and the vigilante attack on the Pettis gang.

The amount of violence featured in this episode seemed to contrast rather well with the more dramatic scenes directed beautifully by Vogel. I was especially taken by the romantic scenes between Seccombe and Charlotte, Brumbaugh’s meeting with the Takemoto family, and Amos Calendar’s heartfelt speech about the bonds of brotherhood, as he convinces Jim to seek vengeance against the Pettis boys. Apparently, those bonds formed during the Skimmerhorn cattle drive had failed to disappear, despite the brutal range wars. But the one scene that brought tears to my eyes turned out to be Levi and Lucinda’s emotional parting, as he prepares to board an eastbound train for Pennsylvania.

If “The Shepherds” had one fault, it was its running time. A great deal of narrative and characterization occurred in this particular episode. And not all of it was focused around the range wars inflamed Centennial. Some of the story arcs – including the visit by Claude Richards and Charlotte Buckland, Levi Zendt’s visit to Pennsylvania, and Hans Brumbaugh’s labor problems – served as introductions to the main plots for the next two or three episodes. The episode started out well paced. But when Messmore Garrett’s character was introduced into the story, I got the feeling that the pacing increased in order to include the entire plot within ninety minutes. In all honesty, “The Shepherds required a longer running time of at least two hours and fifteen minutes.

But I cannot deny that the performances featured in the episode were outstanding. Timothy Dalton continued his excellent work of conveying the ambiguous nature of Oliver Seccombe, whether the latter was plotting the destruction of Messmore Garrett and the shepherds or allowing himself to be wooed by Charlotte Buckland. “The Shepherds” served as the introduction of Lynn Redgrave as part of the main cast. She did a solid job in this episode, but her time to shine will appear in the next two to three episodes. I could say the same for Brian Keith, who gave a remarkable performance as the ambiguous and frustrating sheriff, Axel Dumire. Alex Karras was superb, as always, in his portrayal of Hans Brumbaugh. Both Mark Neely and Adrienne Larussa were excellent as Levi and Lucinda’s children, Martin and Clemma. The two did a great job in conveying how their characters dealt with the stigma of being mixed blood. Gregory Harrison and Christina Raines shone once more in the wonderful and poignant scene that featured Levi’s departure from Centennial by train.

William Atherton stepped into the role of Jim Lloyd for the first time and did a great job, especially in a scene that featured his desperate attempt to convince Amos Calendar to give up working for Garrett. Speaking of Amos Calendar, I thought Jesse Vint gave one of the better performances in this episode in a scene in which he convinces Jim to seek revenge for Nate and Bufe’s deaths. While watching Glenn Turman and Les Lannom portray Nate Pearson and Bufe Coker for the last time, it occurred to me that their characters had come a long way since setting eyes upon each other for the first time in “The Longhorns”. And both gave beautiful performances, as their characters prepared to meet death during the shootout with Pettis boys.

The running time for “The Shepherds” was very frustrating for me. I believe the episode’s transcript would have been better served with a longer running time. But as far as I am concerned, this was the only drawback to the episode. I believe it is still one of the more exciting and fascinating episodes in “CENTENNIAL”, thanks to director Virgil Vogel and screenwriter Charles Larson.

Favorite Movies and Television Set During the EARLY AMERICA Period

Below is a list of my favorite movie and television productions set during the Early America Period (1783-1828):

 

FAVORITE MOVIES AND TELEVISION SET DURING THE EARLY AMERICA PERIOD

“John Adams” (2008) – Paul Giamatti and Laura Linney deservedly won both Emmys and Golden Globes for their excellent portrayals of John and Abagail Adams in this excellent seven-part miniseries about the 2nd U.S. president.

“The Journey of August King” (1995) – Jason Patric and Thandie Newton starred in this adaptation of John Ehle’s 1971 novel about a North Carolina farmer on his way home from market, who helps a runaway slave evade her master.

“Davy Crockett and the River Pirates” (1956) – This adventure conveyed the experiences of Davy Crockett and George Russel with keelboat riverman Mike Fink and river pirates along the Ohio and Mississippi Rivers. Picturesque and a lot of fun. Fess Parker, Buddy Ebsen and Jeff York starred.

“Buccaneer’s Girl” (1950) – Yvonne DeCarlo starred in this entertaining costume romp about a Boston-born entertainer who falls for a pirate with a secret identity as a respectable New Orleans aristocrat. Directed by Fredrick De Cordova, the movie co-starred Philip Friend, Robert Douglas, Andrea King and Elsa Lancaster.

“Interview With a Vampire” (1994) – Neil Jordan directed this fascinating adaptation of Anne Rice’s 1976 novel about a pair of vampires during a period of 200 years. Tom Cruise, Brad Pitt, Kirsten Dunst, Antonio Banderas and Christian Slater co-starred.

“Brother Future” (1991) – Phil Lewis starred in the PBS movie about a Detroit teen who is transported back in time to 1822 South Carolina, where he finds himself about to participate in a slave revolt instigated by one Denmark Vessey.

“Sleepy Hollow” (1999) – Tim Burton directed Johnny Depp and Christina Ricci in this adaptation of Washington Irving’s 1820 short story, “The Legend of Sleepy Hollow”

“The Seekers” (1979) – This adaptation of John Jakes’ 1975 novel about the Kent family’s experiences from 1794 to 1814. Randolph Mantooth, Timothy Patrick Murphy and George Hamilton starred.

“Many Rivers to Cross” (1955) – Robert Taylor and Eleanor Parker starred in this western-comedy about a footloose frontiersman in early Kentucky, who is targeted by a spirited spinster for marriage. Directed by Roy Rowland.