En la ruta de los corsarios

I really must say how much i enjoy this movie a great deal. It has the gorgeous Paul Henreid as the romantic hero and Beautiful Maureen O'Hara ( as two reviewers are clearly blind for one, in Hollywood of the 1940's women always looked older due to the amount of makeup and hairstyles they have and for the second, manly Jaw i have yet to see anything manly about Maureen O'Hara in any of her films. Rude just Rude.) I am now finished with my rant only to say how much i adore this movie and Walter Slezak as the baddie he always seemed to play in films of the 4o's.If Swashbuckle films of the 1930's and 1940's are your thing them make sure to check this out.

Not Maureen Ohara's strongest role but she does play the fem fatal very well.This is a good family movie. Also being the first full color project by R.K.O. a very historical movie and they went with the queen of Technicolor for this very historical movie. Ohara's beauty along with her strong presence alone make this movie a must see for all.The love story love lost and found again makes for mild drama but a good story line. It is a shame that the ending the writer wanted at first could not be done but due to the cost it is understandable but with Ohara and Henreid is this film I feel it would have been Worth while.So sit down with the family with a Good coke and pop corn and watch an original action movie with a worth while story line.

What's this, Frank Borzage producing commercial popcorn fodder? Indeed yes it is. The Spanish Main is a good old pirate/seafaring romp, the production design is considerably better than the actual plotting, with RKO pushing the boat out (hrr hrr hrr), but as long as you have a kink for such old fashioned genre pictures then there is much to enjoy; and much that's easy to ignore...

Maureen O'Hara, Paul Henreid and Walter Slezak are the draw cards, though each one is short changed by the screenplay. O'Hara isn't called on to rise above being a feisty Technicolor beaut who will inevitably become Henreid's gal. Henreid himself is, in spite of the film very much being his baby, actually miscast and wholly unbelievable in the pirate stakes, while the ever wonderful Slezak is quite simply under used.

However, fans of such fare easily forgive the shortcomings, focusing on having a good time with the extended sword play and naval battle scenes, buying into the romance angle and shouting hooray at film's finale! It's all very conventional on the page, but the smart craft involved in bringing it to life is sometimes all you need to brighten a miserable winter's day. 6.5/10

I saw this on TV TCM today and will always enjoy the exciting story of the Spanish Main; with beautiful musical score and scenes rather well staged. Maureen O'Hara and Paul Henried are great! The scene stealer of course is that great character actor Walter Slezak, who plays a mean egocentric governor, but who gets it in the end. The duelling scenes are particularly good, and Paul Henried does a good job duelling. Binnie Barnes, who I remember so well in early films was especially great as a woman pirate

I had foolishly missed out quite recently on this one on late-night Italian TV and, consequently, was very glad now to get acquainted with it (albeit via a slightly washed-out print on DivX) – especially since I was surprised by its quality, making the film an underrated entry in the swashbuckling genre. Borzage was an unusual choice for this type of film – despite being a distinguished Oscar-winning director, he has become with time a largely forgotten figure but his reputation has deservedly soared of late among film connoisseurs and is now generally comparable to that of Douglas Sirk. To be sure, he is more renowned for movies like THREE COMRADES (1938) and THE MORTAL STORM (1940) rather than fluff pieces like THE Spanish MAIN, but that only goes to show how versatile he was, equally capable of handling personal projects and genre pictures.

Equally unlikely was the film’s choice of leading man: Paul Henreid, playing an honest man who turns buccaneer in the face of injustice, his character is similar to that of Captain Blood (in spite of an obvious lack of emphasis on the actor’s agility) but also to Henried’s signature role of French Resistance leader Victor Laszlo in CASABLANCA (1942). This alone makes it interesting viewing but, thankfully, they’re supported by solid talent on both sides of the camera (the actors – Maureen O’Hara in her prime, an unusually but effectively cast Binnie Barnes as a hardened lady buccaneer and O’Hara’s romantic rival, splendid villainy from Walter Slezak, John Emery and Barton MacLane being equally dastardly, J.M. Kerrigan, Curt Bois and Mike Mazurki as Henreid’s sidekicks, a script co-written by CITIZEN KANE [1941]’s Herman J. Mankiewicz, magnificent color photography by George Barnes, etc).

While the plot offers no real surprise or undue complexity – coming at the tail-end of WWII, it must have provided just the right dose of escapism – it’s professionally-handled entertainment (at which Hollywood excelled during its golden age) of the kind ‘they don’t make anymore’…despite the best intentions of today’s exponents!