Geoffrey Thorpe, a buccaneer, is hired by Queen Elizabeth I to nag the Spanish Armada. The Armada is waiting for the attack on England and Thorpe surprises them with attacks on their galleons where he shows his skills on the sword.
Highly fictionalized account (see 'goofs' for examples) of the life of George Armstrong Custer from his arrival at West Point in 1857 to his death at the battle of the Little Big Horn in ... See full summary »
Olivia de Havilland,
Union officer Kerry Bradford escapes from Confederate Prison and is set to Virginia City in Nevada. Once there he finds that the former commander of his prison Vance Irby is planning to send $5 million in gold to save the Confederacy.
Geoffrey Thorpe is an adventurous and dashing pirate, who feels that he should pirate the Spanish ships for the good of England. In one such battle, he overtakes a Spanish ship and when he comes aboard he finds Dona Maria, a beautiful Spanish royal. He is overwhelmed by her beauty, but she will have nothing to do with him because of his pirating ways (which include taking her prized jewels). To show his noble side, he suprises her by returning the jewels, and she begins to fall for him. When the ship reaches England, Queen Elizabeth is outraged at the actions of Thorpe and demands that he quit pirating. Because he cannot do this, Thorpe is sent on a mission and in the process becomes a prisoner of the Spaniards. Meanwhile, Dona Maria pines for Thorpe and when he escapes he returns to England to uncover some deadly secrets. Exciting duels follow as Thorpe must expose the evil and win Dona Maria's heart. Written by
Julie Sherman <email@example.com>
While the film was already in production, Seton I. Miller raised a fuss over Howard Koch's determination to receive sole screen credit for the script. In a letter to the studio dated March 18, 1940, Miller outlined the similarities in the two scripts, noting a few minor details added by Koch, such as a softening of the characterizations of Elizabeth and the two villains, a change in the nationality of the servant of the Spanish noblewoman, and the addition of a pet monkey for Captain Geoffrey Thorpe. Miller conceded that Koch had tightened the structure of the story, shortening some scenes, eliminating others, adding a few new ones, and changing some of the dialogue. But he also insisted the meaning of the dialogue was the same and in some cases lifted wholesale from his own script, while the basic story and characters were all present in Miller's version. He suggested that fair credit would be Original Story by Seton Miller (since, contrary to the studio's initial decision to include Sabatini's name, the screenplay had nothing to do with the original novel) and Screenplay by Koch and Miller. A couple days later, Koch countered that while Miller was correct in many of his facts, he was mistaken in "most of his conclusions." Koch also insisted he did not want sole credit but that he did feel he should get top billing. By the end of that week, Miller agreed to take second screenplay billing and not go into arbitration. The studio also dropped Sabatini's name from the credits. See more »
During the initial battle between the Albatross and the Spanish ambassador's ship, the Spanish captain orders the cannon to be double-shotted. That means to load two balls (shots) into each cannon. While such a tactic was used during battles, typically it was reserved for close-in battles when distance was not a concern - the object was to maximize damage. No wonder the Spanish broadside fell short. Also only one splash per gun can be seen - double-shots would have generated two splashes per gun and while they may have been close together, they would have been distinct. See more »
King Philip II:
The riches of the New World are limitless, and the New World is ours - with our ships carrying the Spanish flag on seven seas, our armies sweeping over Africa, the Near East, and the Far West; invincible everywhere... but on our own doorstep. Only northern Europe holds out against us; why? Tell me, why?
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It's Erich Wolfgang Korngold who carries "The Sea Hawk". He picks it up at the first frame with a rousing trumpet fanfare; he follows the story all the way from England to Panama, where a kind of syncopated not-jazz-exactly with saxophones makes its way into the score; he even bursts into song (well, not him personally) when Captain Thorpe's and his crew win through to freedom - and, after so much musical participation, that moment when the sailors become a chorus never strikes me as unnatural.
Korngold's brisk motion would count for nothing if the actors or the direction or the story were lethargic, of course - and they aren't. Errol Flynn plays an "I know I'm breaking international law, but hey, I'm charming and dashing and the Spaniards aren't" role - and hey, he IS charming and dashing, and the Spaniards aren't. A lot of films are described as roller-coaster rides. Many of them are just one thing after another, and don't feel at all like a single ride in a single vehicle. With "The Sea Hawk", I'm not sure about the vehicle, but we ARE taken on a single, swift ride. Few adventure films can beat it.
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