Columbus entdeckt Amerika

It is very odd that this prestigious 1949 Technicolor production should emanate from Britain – dealing as it does with the Italian explorer who discovered America, a nation which had to fight the very British monarchy to attain its independence! Perhaps it was bankrolled as a token of appreciation towards the U.S. for having joined the Allied Forces in WWII; if so, I cannot say that it was particularly appreciated at the time as it was a resounding box-office flop. In fact the film is often dismissed as a tedious costumer but, while no classic for sure, I found it to be a well-crafted and engrossing picture buoyed by a good cast and fine production values.

Since Columbus was 41 when he set sail for The New World, the casting of 52-year old Fredric March to portray him here may seem to have been a strange choice; indeed he is fitted with a most unbecoming white-haired wig for the film's entire duration but one cannot deny the fact that he gives the role his utmost in stature and dignity – after all, Columbus was firstly an inspired cartographer then a swaggering adventurer. Indeed, March's real-life wife Florence Eldridge is also present here as Queen Isabella of Spain who, after the initial but long-winded skepticism, lends a sympathetic ear to Columbus' pleas for funding his exploratory marine enterprise (though what ultimately propels this is pure movie fabrication!). The rest of the cast list is peppered with familiar faces from post-WWII British cinema: Francis L. Sullivan and Linden Travers (as Columbus' major opponent in the Spanish court and his attractive scandalous cousin who tries to ensnare the former); Derek Bond and Niall McGinnis (as Columbus' companion and navigator – his major allies during his tumultuous sea voyage); Felix Aylmer and Abraham Sofaer (as the Queen's former confessor and Chancellor – Columbus' first champions who were instrumental in obtaining him royal favour); James Robertson Justice and Edward Rigby (as the ambitious and ultimately treacherous Captain Pinzon and a perennially grumpy mutineering sailor).

Needless to say, the producers' aim here was less to instruct than to entertain and, as such it may seem surprising today to find that half of the film's relatively trim 104-minute length is spent in court intrigues that dissipate Columbus' energy but not his spirit. The initial sea voyage that almost ended in mutiny and failure takes up the next quarter of the film while the arrival on land, the meeting with and subsequent colonization of the natives, Columbus' first triumphant return to Spain and his disgraceful second one in chains (at the behest of incoming governor Sullivan) and eventual disillusionment and abandonment by the Spanish crown are crammed into the last quarter of an hour! Although the TCM-sourced print (which cut off rather too abruptly during the end credits!) I watched was hardly pristine, with the colour looking especially insipid, I still managed to enjoy Stephen Dade's cinematography and Arthur Bliss' rousing score.

For the record, this is the fifth movie about the Italian explorer I have gotten under my belt, following the star-studded eponymous 1985 partly-shot-in-Malta Italian TV mini-series and the 3 disparate but simultaneous cinematic renditions made in time for the 500th anniversary of the historical event: George Pan Cosmatos' CHRISTOPER COLUMBUS: THE DISCOVERY (also partly shot on our shores), Ridley Scott's 1492: THE CONQUEST OF PARADISE and the spoof CARRY ON COLUMBUS (a one-off revival of the popular comedy franchise). Apparently, Anthony Dexter also played him in Irwin Allen's infamous historical charade THE STORY OF MANKIND (1957) and I also have a four-part Italian TV mini-series from 1968 directed by Vittorio Cottafavi and starring Spanish actor Francisco Rabal in my unwatched pile.

This dreadfully dull film was one of three great financial failures in the 1940s. London Town and Caesar and Cleopatra being the others. So by 1950 he had a massive overdraft which led to the closing of studios and companies, Gainsborough included. Rank just never had any true feelings for film in the way that say Korda had.

There are so many questions you can ask about this film. Why choose March for the lead role,he was already over the hill as a star attraction. Why use the peculiar sepia colour to photograph this film. Finally why bother to watch this turgid mess.

This film depicting the last throw of the dice for Columbus was also Gainsborough's final attempt to crack Hollywood. But despite Technicolor, a Hollywood star (March probably wasn't anything like the original, but as usual is excellent all the same) and a score by Arthur Bliss the generally talky studio-bound result (apart from Cyril Knowles' second unit work) promptly bankrupted the studio.

So while Columbus's gamble to conquer America paid off handsomely, Gainsborough's certainly didn't. And the rest is history.

Being an Aussie, I don't know the story of Christopher Columbus in much detail, so I was able to enjoy this movie as a Fredric March fan first and foremost. Just one question - were the natives *really* that accommodating? Definitely an engaging tale, and not all set on the high seas. The first half hour or so, in the Queen's court, had some of the best scenes, though the ending fell flat and just kinda "happened". All up - a jolly good show!

As a history teacher, I generally avoid film depictions of Christopher Columbus because they bear little similarity to real life. The biggest problem is that although he became famous, little is actually known about the man--especially before his famed voyages to the New World. So, much of the 'fact' in the film is fiction. In addition, the films also perpetuate myth--stories often retold so many times people just assume it to be true. THe sad fact is that we have no idea what he looked like and aren't even positive about where he was born. When the film begins, it says that during Columbus' time people assumed the world was flat--something practically no sane person at the time thought! They could see that the Earth had a curved horizon and the reason few traveled across the Atlantic had to do with a previous lack of navigational tools as well as it being completely unknown. People just did NOT think they'd fall off the world--a myth perpetuated by a mostly fictional history book by Washington Irving that purported to be a biography of the man.

Today we are in an age of deconstruction of Columbus. Whereas in 1949, he was practically depicted as super-human, today he's seen as a genocidal maniac. Neither depiction is quite correct. There is a lot to admire as well as dislike about the man--and it's a darn shame that no film I know of even tries to give a balanced account of what we know about this skilled sailor.

So why, then, did I watch this film? Well, I like Frederic March and think he's a bit underrated as an actor. Even a second-rate film (which this clearly is) with March is worth watching. There are some nice qualities about the film--the costumes and sets are reasonably accurate. As for the acting, it is a bit stilted and dull. Perhaps they talked this way back then, I am no expert on this, but the people seemed a bit too constricted and formal throughout. There were a few exceptions--the jolly fat guy was pretty cool. But even with a few decent performances, nothing can change the fact that the film is wildly inaccurate and rather dull. Plus, it perpetuates the idea that Columbus discovered America--omitting the fact that natives had discovered it first and the Vikings had been there several centuries earlier. Of course, there are several other possible expeditions that MIGHT have made it there before Columbus as well, but there just isn't enough space here to discuss the recent Chinese claim or other ideas that most likely will never be proved.

By the way, the print shown on Turner Classic Movies is strongly sepia-toned. I am not sure if this was intentional--it might just need restoration!