Die Piratenkönigin

Good-looking women pirates is probably one of those juvenile male dreams, like good-looking women burglars. That a good-looking woman would stand much chance among the scurvy cut-throats who make up the crew of a pirate ship is beyond plausibility.

(I think in particular of a generically named movie, "Swashbuckler" (1978), in which a good-looking woman played by Genevieve Bujold just nonchalantly doffs her clothes and jumps into the Caribbean -- not to escape, but just for a swim! Reality does not often intrude in movies about women and pirates.)

However, though women don't generally get much better-looking than Jean Peters, she came across as believable ordering men into battle and swinging a sword herself.

In fact, though maybe I'm not a good judge, I thought she looked fearsome dueling with sailors and pirates. Supposedly Basil Rathbone was at least one of the best fencers in Hollywood, if not the best, and I felt she could have taken him on.

Watching her incredibly expressive face, especially during the fight scenes, is the best part of viewing "Anne of the Indies." She struck me, in fact, as one of the best actresses I have ever had the pleasure of watching, and certainly the best woman pirate -- taking nothing away from any of the others.

She was ably assisted by a superlative cast, including Herbert Marshall playing the only really sympathetic character.

But James Robertson Justice did shine as the right-hand man. Thomas Gomez, usually so good in anything, was terribly over-weight to be Blackbeard but still seemed suitably scary.

Louis Jourdan was so cool and collected, so at home in his role, he almost blended into the background -- which might be a sign of great talent.

One of my personal favorites is Sean McGlory, whom I interviewed after his stage appearance in an Oscar Wilde play. He doesn't appear in "Anne of the Indies" until fairly late but just grabs a viewer's attention.

I think the ending was rather weak, and even disappointing, but every part is so well played, and the effects were so nearly perfect, I can rate the move very good over all.

I highly recommend "Anne of the Indies" if only for the joy and pleasure in watching Jean Peters and the admiration her performance will inspire.

WARNING : Please,DON'T READ this comment if you have never seen this movie,as it can reveal some crucial points of the plot,but I needed to speak about these points in order to express my idea.

Anne of the Indies is one of my favourite movies.On my point of view,the central theme is the impossibility for a woman to live her own identity as a woman.She is trapped in a male identity,being grown up under Blackbeard's school: sword,ships and pirates.

When she falls in love for the first time,she is unable to express female feelings she feels.She almost ridiculise herself for her love,a new experience,and her own humiliation is exceptionally well acted by Jean Peters.Her desperation became more evident as the film goes on,above all when she has to admit herself her own sorrow after having been betrayed(this betrayal is a terrible event which destroys her under-construction female identity) and she is forced to admit her own weakness she has always tried to hide with a splendid use of her sword.

The final scene with Blackbeard planting his sword on the ship floor is fantastic,because he does just the same act that every person who understand the dramatic situation of Anne-Captain Providence would have done.I find this a marvellous movie,almost perfect:the only scene I don't like too much is the very last,when the name of her ship is cancelled from the register of outlaw ships:on my point of view,Tourneur made an error to show her again.It would have been more effective if the last time we look at her was just when she cries to Blackbeard "Come and take me,old pirate"(I base myself on the italian dubbing).

A moving film,which reminds me of the powerful acting of equally desperate Ella Raines in "Tall in the Saddle".

The usual trappings of a pirate movie are here: sailing ships, Caribbean waters, firing cannons, powdered wigs, floggings, gold doubloons, sailors with peg-legs and eye patches, damsels in distress, etc. However, the captain of the pirate ship is a woman, which would seem to provide an opportunity for a fresh slant on an old genre. Unfortunately, Jean Peters seems uncomfortable in this part and her "toughness" never becomes more than a pose. Also, in a concession to the attitudes of the time, she isn't allowed to triumph but instead must "pay" for her usurpation of a male role by moving aside for the properly feminine Debra Paget. The result is a disappointingly conventional affair which, nonetheless, still delivers a passable hour-and-a-half of entertainment.

Like Jean Peters, Louis Jourdan seems miscast since his trademark brand of Continental charm and elegance doesn't fit a role that calls for a dashing athleticism. His physique also seems a bit too thin and pale to make him a suitable subject for a shirtless flogging -- perhaps the only flogging in mainstream movies in which the victim appears to be unconscious from beginning to end. (This scene ranks 95th in the book, "Lash! The Hundred Great Scenes of Men Being Whipped in the Movies.")

Anne of the Indies is one of my favourite movies.On my point of view,the central theme is the impossibility for a woman to live her own identity as a woman.She is trapped in a male identity,being grown up under Blackbeard's school: sword,ships and pirates.

When she falls in love for the first time,she is unable to express female feelings she feels.She almost ridiculise herself for her love,a new experience,and her own humiliation is exceptionally well acted by Jean Peters.Her desperation became more evident as the film goes on,above all when she has to admit herself her own sorrow after having been betrayed (this betrayal is a terrible event which destroys her under-construction female identity) and she is forced to admit her own weakness she has always tried to hide with a splendid use of her sword. The final scene with Blackbeard planting his sword on the ship floor is fantastic,because he does just the same act that every person who understand the dramatic situation of Anne-Captain Providence would have done.

I find this a marvellous movie,almost perfect:the only scene I don't like too much is the very last,when the name of her ship is cancelled from the register of outlaw ships:on my point of view,Tourneur made an error to show her again.It would have been more effective if the last time we look at her was just when she cries to Blackbeard "Come and take me,old pirate"(I base myself on the italian dubbing).

A moving film,which reminds me of the powerful acting of equally desperate Ella Raines in "Tall in the Saddle".

This is one of several period sea-faring yarns of its era, which has the added distinction (although not in itself unique) of a female buccaneer at its center. At first, both leads – Jean Peters and Louis Jourdan – might seem miscast but they grow nicely into their roles eventually, thanks no doubt to the talented players (Herbert Marshall, Thomas Gomez and James Robertson Justice) who support them. Velvety-voiced Marshall is uncharacteristically cast as the ship’s obligatory philosophical lush of a doctor, and Gomez is suitably larger-than-life as Blackbeard The Pirate.

The cast is completed by Debra Paget as Jourdan’s wife, who incurs the jealous rage of the tomboyish titular character in whom Jourdan instills the first pangs of love (which, however, does not spare him the occasional flogging or sword-wound); incidentally, the film was the second exotic teaming of Jourdan and Paget in one year, following Delmer Daves’ BIRD OF PARADISE. The direct result of this unexpected softening of Anne’s character is her falling out with Blackbeard’s crew, and her unlikely climactic sacrifice in order to save the lives of the stranded Jourdan, Paget and Marshall.

While the film is not a particularly outstanding example of its type, Jacques Tourneur’s energetic direction and Franz Waxman’s grandiose score ensure an above-average effort that moves along at a brisk pace; incidentally, Tourneur had already done service in the genre with the superior Burt Lancaster vehicle, THE FLAME AND THE ARROW (1950). As usual with vintage Technicolor productions, the cinematography gives the film a sumptuousness that is invigorating. By the way, differing running-times are given for this film (81 or 87 minutes) and, for the record, the version I watched was the shorter one.