| Photos (See all 14 | slideshow) |
| Douglas Fairbanks | ... | The Duke of Arnoldo / The Black Pirate | |
| Billie Dove | ... | Princess Isobel | |
| Anders Randolf | ... | Pirate Captain | |
| Donald Crisp | ... | MacTavish | |
| Tempe Pigott | ... | Duenna | |
| Sam De Grasse | ... | Pirate Lieutenant | |
| Charles Stevens | ... | Powder man | |
| Charles Belcher | ... | Chief passenger (Nobleman) | |
| E.J. Ratcliffe | ... | The Governor | |
| rest of cast listed alphabetically: | |||
| Fred Becker | ... | Pirate (uncredited) | |
| Nino Cochise | ... | Pirate (uncredited) | |
| Barry Norton | ... | Youth (uncredited) | |
| Mary Pickford | ... | Princess Isobel in Final Embrace (cameo appearance) (uncredited) | |
| John Wallace | ... | Peg-Leg Pirate (uncredited) | |
Directed by | |||
| Albert Parker | |||
Writing credits | ||
| Douglas Fairbanks | (story) (as Elton Thomas) | |
| Jack Cunningham | (adaptation) | |
Produced by | |||
| Douglas Fairbanks | .... | producer | |
Original Music by | |||
| Mortimer Wilson | |||
Cinematography by | |||
| Henry Sharp | |||
Film Editing by | |||
| William Nolan | |||
Production Design by | |||
| Carl Oscar Borg | (uncredited) | ||
Art Direction by | |||
| Carl Oscar Borg | (supervising art director) | ||
| Edward M. Langley | (uncredited) | ||
Set Decoration by | |||
| Jack Holden | (uncredited) | ||
Makeup Department | |||
| George Westmore | .... | makeup artist | |
| Robert Stephanoff | .... | makeup artist: Mr. Fairbanks (uncredited) | |
Production Management | |||
| Theodore Reed | .... | production manager | |
Art Department | |||
| Jack Holden | .... | associate artist | |
| Edward M. Langley | .... | associate artist | |
| Charles Gemora | .... | set design/sculptures (uncredited) | |
Stunts | |||
| Richard Talmadge | .... | stunts (uncredited) | |
Other crew | |||
| Arthur Ball | .... | staff: Technicolor | |
| George Cave | .... | staff: Technicolor | |
| Fred Cavens | .... | fencing master | |
| Robert Fairbanks | .... | general manager | |
| Dwight Franklin | .... | consultant | |
| Robert Nichols | .... | consultant | |
| P.H.L. Wilson | .... | marine technician | |
| Arthur Woods | .... | research director | |
| Lotta Woods | .... | scenario editor | |
| Hertzel Effensachs | .... | boat wrangler (uncredited) | |
| Charles Lewis | .... | assistant: Mr. Fairbanks (uncredited) | |
| Recent Posts (updated daily) | User |
|---|---|
| Review and gala screening | intercostalclavicle |
| First color film? | Rebel40 |
| love pirates? | irunwitscissors |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Adventure section | IMDb USA section |
This was an excellent pirate movie and was better than many sound pirate films. However, it's really hard to rate the movie---compared to other silent pirate films, it might just be the best. But, compared to THE SEA HAWK, CAPTAIN BLOOD or THE BLACK SWAN (all wonderful sound pirate films from the 30s and 40s), it isn't as good a film.
So what does the movie do that worked so well for me? First, being a Douglas Fairbanks film, it had wonderful stunts and impeccable production values--something he was known for in his silent films. Second, this film had excellent sets and was the best film money could buy in its day. In fact, it was such a lavish production that it was supposedly the first full-length film made in 2-color Technicolor--an early and somewhat crude way of producing a color movie. Because the film was dyed with green-blue and orange-red dyes, the film mostly looks reddish-green--definitely NOT true color. But, it doesn't look that bad--certainly much better than the horrid colorized films destroyed in the 1980s. Plus, if it hadn't been for films like this, the infinitely better 3-color system might never have been developed by Technicolor. And, finally, the plot is pretty good for a silent film--not the most complex when compared to later films, it's not nearly as simplistic as most other silents.
This video was produced by KINO FILMS. Some of their silent films in the past were less than wonderful (especially some of their Buster Keaton videotapes), but this videotape is top quality and has nice extras at the end of the tape. Some cheaper prints apparently are only black and white, not color. Nice job for the restoration, KINO! However, despite what the video box said, it was apparently NOT the first full-length two-color Technicolor film. I recently saw a restored print from TOLL OF THE SEA (1922) and it was in fact made using this process four years earlier than THE BLACK PIRATE.