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The Moonraker (1958)

After the battle of Worcester at the end of the Civil War, the main aim of Oliver Cromwell's Commonwealth is to capture Charles Stuart. The future king's escape depends on the intrepid Earl... See full summary »

Director:

David MacDonald (as David Macdonald)

Writers:

Robert Hall (screenplay), Wilfred Eades (screenplay) (as Wilfrid Eades) | 2 more credits »
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Cast

Cast overview, first billed only:
George Baker ... The Moonraker
Sylvia Syms ... Anne Wyndham
Marius Goring ... Colonel Beaumont
Peter Arne ... Edmund Tyler
Clive Morton ... Lord Harcourt
Gary Raymond ... Charles Stuart
Richard Leech ... Henry Strangeways
Iris Russell Iris Russell ... Judith Strangeways
Michael Anderson Jr. ... Martin Strangeways (as Michael Anderson Jnr.)
Paul Whitsun-Jones Paul Whitsun-Jones ... Parfitt
John Le Mesurier ... Cromwell
Patrick Troughton ... Captain Wilcox
Julian Somers Julian Somers ... Captain Foster
Sylvia Bidmead Sylvia Bidmead ... Meg
Patrick Waddington ... Lord Dorset
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Storyline

After the battle of Worcester at the end of the Civil War, the main aim of Oliver Cromwell's Commonwealth is to capture Charles Stuart. The future king's escape depends on the intrepid Earl of Dawlish, who as the Moonraker has already spirited away many Royalists. Dawlish travels to the Windwhistle Inn on the south coast to prepare the escape, where he meets Anne Wyndham, the fiancée of a top Roundhead colonel. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

£500 REWARD! The Moonraker must be captured... DEAD OR ALIVE!

Genres:

Action | Adventure | Drama | War

Certificate:

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Details

Country:

UK

Language:

English

Release Date:

3 August 1958 (UK) See more »

Also Known As:

Blood on the Sword See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound Recording)

Color:

Color (Colour by) (Technicolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

Gary Raymond's film debut. See more »

Goofs

The Roundhead troops wear red sashes. This was the sash colour worn by Royalists - Roundheads wore tawny or blue. See more »

Soundtracks

The Moonraker
song
Music by Laurie Johnson
Lyrics by Geoffrey Parsons
Sung by Ronnie Hilton over the Main Titles
See more »

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User Reviews

 
We Gotta Get Out Of This Place
28 September 2014 | by SpondonmanSee all my reviews

In this English Civil War action drama the one thing more incongruous during the opening sequence than Ronnie Hilton crooning a 1950's style ballad is the sight of George Baker in costume galloping about on horseback. Get over that and it's plane sailing and you can believe anything. Well I enjoyed it anyway, it shows an aspect of the Interregnum which has been relatively neglected, much like the film itself.

It's the tale of Lord Protector Cromwell briefly played by John Le Mesurier and his army searching high and low for (prospective King) Charles Stuart, who is being protected by the Moonraker, a Loyalist Royalist played by the indefatigable Baker who is trying to get him safely to France. Was a time when brother was against brother over politics and religion, and rabidly too - in fact not like nowadays at all! Careless talk cost lives and no one was to be trusted, a rule not well adhered to in here though. Posh-speaking Baker falls gallantly in love with puritan Sylvia Sims; with the young and healthy as usual the rule is love conquers all. The production values and colour are excellent, the acting OK, the fight scenes bearable when not risible, the soundtrack music occasionally wobbles on the copy I've got but not too distracting and overall 'tis a very pleasant little tale well told, albeit on a low budget. Additionally there's a seemingly endless procession of British "faces" padding out the cast – Peter Arne, George Woodbridge, Marius Goring to name but a few.

If possible though because much stamina is required of the viewer what I would really recommend is to first watch the much applauded 2013 British film A Field In England which also has the English Civil War as its backdrop and then compare it to this. The more artistic and worthy film should hopefully be obvious and put this earlier British effort firmly into context. This is (literally) escapist entertainment which admirably helps keep the real world at bay for ninety minutes.


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