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Tyrone Power was only 22 with a few films and Broadway credits when he was given his first major role in "Lloyds of London." This film was originally assigned to Don Ameche, but Henry King insisted on testing Power and, on viewing the test, told Zanuck he wanted the young man for the role. "In two years," King told Zanuck, "he will be one of the biggest stars ever." Good instincts. Power plays Jonathan Blake, a fictional character, whose childhood friendship with Horatio Nelson helps Nelson through the Napoleonic war. Blake becomes one of the syndicate owners at Lloyd's of London and, against every other syndicate, continues insuring the damaged British fleet so that Nelson has all the power necessary to defeat the French.

The radiant Madeline Carroll is Power's love interest and George Sanders is her cad husband. Sanders worked with Power on many films, including the one Power was making when he died 22 years later. Virginia Field is Polly, a young waitress in love with Jonathan, but it's unrequited.

The acting is top-notch, including beautiful performances from Freddie Bartholomew and Douglas Nelson as the young Blake and Nelson. Sir Guy Standing is marvelous as Power's mentor. Power is gorgeous, with his unlined face (even with a streak of gray hair as he ages -"Zanuck would never let me age in any film," he once said) and the world's longest eyelashes, and his acting is excellent. He carries the bulk of the film beautifully, conveying a strong presence, though he merely suggests an English accent. Darryl F. Zanuck was his biggest fan and for good reason, as the actor would bring in hit after hit during his long tenure at Twentieth Century Fox.

This is a great period piece, interesting as well as touching. Highly recommended.

Lloyds of London concerns two boyhood chums, Jonathan Blake and Horatio Nelson who come upon a plot to scuttle a ship, steal a cargo, and collect the insurance. Jonathan goes off to London to Lloyd's coffee house where the insurance underwriters gather to warn them of the scheme. But Horatio can't make it. His uncle on his mother's side is going to take him on as a midshipman in the Navy. Well we all know what happened to him.

As for the fictional Jonathan Blake, he goes to work for Lloyd's of London and grows with the company. He also falls in love with a married woman, but she's married to a Regency cad.

And when the Napoleonic wars resume, British shipping is in peril of the French Fleet. It's a crisis that Lloyd's of London and particularly Jonathan Blake have a hand in seeing the nation through. For how that's done, you have to watch this very enjoyable period piece.

No actor, before or since, has ever done costume pieces better than Tyrone Power. This film was his big break as an actor and he shines in the part of Jonathan Blake. George Sanders is of course the Regency cad and no one was ever a better cad on the screen. Madeleine Carroll was Sanders's lost suffering wife.

This also marked the debut of the combination of Director Henry King and player Tyrone Power in the first of nine films they collaborated on. Some of the best work done by both men.

In one of his last films Sir Guy Standing is the wise and honest Mr. Angerstein who serves as Power's mentor/father figure. It is probably the best thing he ever did on screen. And big kudos in the supporting cast go to Virginia Field who was waitress Polly who's carrying a Statue of Liberty size torch for Ty.

I can't also forget the boys, Freddie Bartholomew and Douglas Scott, who play Blake and Nelson in the first thirty minutes of the film. They both shine in these roles and their friendship is deep, sincere, and affecting. They have to be good because their performances explain the motivation behind Ty Power's character and what he does.

Lloyd's of London is a wonderful costume drama with real heroes and villains, the kind they unfortunately don't make any more in this day and age.

Lloyd's of London is a very enjoyable piece of entertainment.With those actors involved I wasn't surprised.Tyrone Power delivers a good early performance,but the acting honors go to George Sanders as a despicable regency cad.Madeleine Carroll is a radiant heroine. The story is only mildly engaging but one gets caught up in the beauty of the sets and the good direction of Henry King,who makes this picture flow easily. I hope this title will be available on DVD soon along with other Tyrone Power titles. He did a lot of very entertaining movies in the three decades he was active. So watch this one in good faith, you won't be disappointed.

Hollywood takes many liberties when combining History and the real life of great Englishmen. In this sea epic, based on an original story by Curtis Kenyon, the movie is called " Lloyd of London. " Combining the navel exploits of Horatio Nelson (1758-1805) with that of the Insurance Market, Lloyds of London (1688-1900). This is a fictional account of two boys Jonathan Blake (Freddie Bartholomew and Tyrone Power) and Horatio Nelson (Douglas Scott and John Burton) growing up through the ages culminating during the Napoleonic Wars. Realizing that wealth and snobbery go hand in hand, Blake is determined to become an integral part of English aristocracy and influence, while Nelson raises through the naval ranks to achieve notoriety against the French. The movie makes much between men at sea and the financial power in England, so too between lovers both unrequited and not. George Saunders plays Lord Everett Stacy the principal foil which Powers had to contend with. An interesting contest between loyalty and love and which becomes more adroit when it comes to dealing with life. Tyrone is superb and the cast makes this movie a good candidate to become a Classic among Black and White films. ****

Our story begins in a fishing village in Norfolk, on the east coast of England in the year 1770. This is when adventurous preteen Freddie Bartholomew (as Jonathan Blake) and his pal Douglas Scott (as Horatio Nelson) learn some sailors are planning to swindle an insurance company. The young lads want to report the skulduggery by taking a one hundred mile walk to London. When Master Scott takes a midshipman's job, Master Bartholomew makes the trip to "Lloyd's Coffee-House" alone. His warning results in a job with the origination, which of course becomes "Lloyd's of London"...

The story jumps to 1784 as Bartholomew grows up to be Tyrone Power, who is the real star of the film (top-billed Bartholomew makes an additional, brief flashback appearance). Mr. Power makes advances in the insurance business and meets beautiful blonde Madeleine Carroll (as Elizabeth). They are mutually attracted, but she is married to unscrupulous George Sanders (as Everett Stacy). Odd as it seems, Power and Bartholomew are believable as the same person. The heroic story of an insurance company, with action and romance, is difficult to follow; but it's a nice looking production.

****** Lloyd's of London (11/25/36) Henry King ~ Tyrone Power, Madeleine Carroll, Freddie Bartholomew, George Sanders

A bright young lad goes to work at LLOYD'S OF London, the famous insurance house. He grows up to become a power in the institution, with much adventure & financial intrigue along the way, but love continues to elude him...

This lavish film is great fun to watch for two primary reasons: some very good acting & the history of Lloyd's, preeminent in its field, which it details. 20th Century Fox obviously spent a pretty penny on the production values, and it shows.

Freddie Bartholomew has top billing and effortlessly steals the first half hour of the film. When his character grows up, Master Bartholomew is sorely missed. He turns into Tyrone Power, who is billed fourth. This was the film that made Power a star, and he's quite effective in the role, if you overlook the American accent.

An excellent supporting cast lends a hand: wonderful old Sir Guy Standing as Power's mentor at Lloyd's - this powerful actor would soon have his life cut short by a rattlesnake bite; Una O'Connor as Bartholomew's harridan aunt; Montagu Love as a duplicitous pirate; obese Robert Greig as the jocular First Lord of the Admiralty; E. E. Clive as a dyspeptic magistrate; oily George Sanders as a noble cad; and marvelous old Sir C. Aubrey Smith as a flirtatious peer.

The romantic subplot is ludicrous: Power moons over beautiful, married Madeleine Carroll for 20 years, while pert barmaid Virginia Field pines for him; none of them so much as gain a wrinkle or an extra ounce during this time.

The film earns high marks in its generally faithful depiction of the history both of Lloyd's, and of Horatio Nelson.

While I read that this movie was a very, very fictionalized account of the early days of Lloyd's of London, it still was a nifty 1930s-style adventure film. This is not exactly a wonderful endorsement, I know, but the film was far from perfect. Now if you are a Brit or a real Anglophile, then you will probably like the film more than the average person--with all its "Huzzah and God save the King" style of hooplah. I am not 100% sure why Hollywood embraced Britain so strongly in the 1930s (WWII would explain this for 1940s and 50s films).

A very young Tyrone Power played the lead and much of the film concerned the British shipping industry during the time of the Napoleonic Wars. It was mildly interesting but that's about all. His love interest was the married Madeleine Carroll, though for the life of me, I didn't understand why he didn't pursue the prettier and available (and very amply endowed) Virginia Field--she seemed just as nice and almost identical to Ms. Carroll in looks and devotion to Tyrone--especially since his unrequited relationship that lasted years to Ms. Carroll just made him seem awfully desperate and pathetic.

In the end, this is yet another costumer from the era--neither great nor bad. The acting was decent and the production values good. It's worth a look, but certainly not great or deserving special attention by anyone.

In response to ADAMSHL's comment on LLoyd's insuring slave ships-In one scene when the insurers were in deep trouble, Blake was asked if he would insure a slave ship and he curtly said no! to emphasize the director's view of that practice.

It is a pleasant change to watch a movie that flows through the acting and dialog rather than sound effects and extreme graphics. I could even understand all the actors voices in spite of 60 yr old audio technology. Most present day English movies have horrible sound and many words are lost because of the actors elocution.

The main value of this movie is not a history lesson in politics but one in the lives of those who lived in that period and their environment, clothing, etc.

OK, so here's the deal, this movie ruined my life. How can such a thing be? Well, listen up: At the age of five (or thereabouts) I watched this movie on television. I fell in love with Ms. Carroll. Her golden-ringletted cloying prettiness was perfectly suited to a five-year-old's notion of female beauty. She was married to Mr. Saunders, who dressed REALLY well, spoke beautifully, was rich and was exceptionally urbane. Naturally, she didn't care for him. She was in love with Mr. Powers, who was, frankly, breathtakingly beautiful -- much more beautiful than Ms. Carroll at her best.

But I digress. Anyway, my five year old brain decides, "In order to win M.C., you have to look like T.P." Well, it's been over 50 years and I'm STILL WAITING to be as handsome as Mr. Power (probably NOT going to happen -- what's your guess?). So, here I am in (advanced) middle age, still functioning under the delusion that you have to look like Mr. Power in order to secure the attentions of the lady of your dreams. How messed up is THAT?

Silliness aside, the movie is thin on (rational) plot but long on star-magic. Enjoy Mr. Power and Ms. Carroll at their loveliest and Mr. Saunders at his most vile. The rest of the flic is just and excuse to watch them dress up in period costumes.

Film was all right, though a long time since I saw it.

But in reference to the comment above from adamshl, British ships may or may not have carried 3.5 million slaves for sale to Americans, yet equally the Portuguese, French and Spanish carried three times that number. The American colonies only took 5% of the total trade.

Since the trade was around 1% of British investment it is doubtful if Lloyds benefited from it as a primary source of income. Which is neither to whitewash the trade or Lloyds or the disgusting traders, since no profit, no matter how small, from sin is allowable.

Virginia Field was very pretty.

A boy grows to manhood waiting tables in the cafe that becomes Lloyds of London. He learns the value of being honest and forthright in the insurance business. Not long after this I stopped watching.

In retelling this piece of history, the writers left out one item. Between 1688 and 1807 one of the prime sources of Lloyd's of London's revenue was by insuring ships engaging in slave trading.* This enabled Britian to establish itself very rapidly as the chief slave trading center in the Atlantic.

British ships carried more than three and a quarter million humans into slavery. This shocking statistic casts a deep pall on Lloyd's of London. It may be have been an embarrassment to the writers to include this in their screenplay; still a fact of this magnitude can be considered a sad omission.

The rest of the film is well presented with beautiful acting and production values. Both Bartholomew and Power are excellent, as are Carroll and Sanders. _______________ *According to Wikipedia Enclycopedia "Lloyds in London...was a popular place for ship owners...especially those involved in the slave trade....Historian Eric Williams notes 'Lloyds insured slaves and slave ships...and quickly obtained a monopoly on maritime insurance related to the slave trade and maintained it up through the early 19th century.' "

This is a thoroughly enjoyable film which will keep your interest and attention sustained through two hours with constantly intensified excitement and fascination, as 35 years roll by of Jonathan Blake's dramatic life as an insurance agent at Lloyds, starting in 1770 and ending up at Trafalgar. It's actually a Nelson film, although he isn't seen much (except as a boy) he is the red thread of the film and the backbone of the story. Jonathan Blake is a poor urchin who finds Horatio Nelson as a lifetime friend from boyhood onward, although they never see each other again after Nelson has joined the navy as a young midshipman. But the most interesting part of the film is the insight into how Lloyd's worked during the years, the office and its routines have been recreated with astounding accuracy, almost as if made like a documentary on the rise and crises of the great ship insurance company. Freedie Bartholomew plays Blake as a boy who grows up into Tyrone Power in one of his very early roles, but it's actually one of his best. His character remains fascinating throughout, challenged by George Sanders in his first American film as one of his typical wicked rogues - he and Tyrone Power would meet as enemies again in other films, and George Sanders will try to get him killed again. It's one of the best and greatest of the fine biopics of the 30s. and it has withstood the changing of times very well, just like the old firm Lloyds of London.

There were quite a few reasons to want to see 'Lloyd's of London'. A fascinating subject matter. That it had a director (Henry King) that, while not one of my favourites, made some very good films. Especially the wonderful 'The Song of Bernadette'. And that it had a cast of truly talented actors in roles that sounded perfect for them, including seeing Tyrone Power so young and George Sanders in a type of role that he played better than most actors at that time.

'Lloyd's of London' turned out to be more than worthwhile. Historical accuracy is not a strong suit, same with authenticity, but the subject is a long way from wasted, the production values seldom get much better and the cast and King are on point. It's not one of the best films ever seen but there is so much to like about 'Lloyd's of London', as long as one takes it on its own terms rather than constant comparing, and it deserves more appreciation.

Not all the story is consistently engaging, with some occasional dragging in the middle in the slighter sections.

Also felt that some of the romantic subplot strained credibility, it was sweet enough and the chemistry is there but it is agreed that seeing no signs of ageing over a long period of time was not easy to swallow.

Other than these, 'Lloyd's of London' has so much that works. Especially the production values and the cast. The film looks fantastic, one of in my view the most visually beautiful films of the late 30s that isn't one of the highly acclaimed and revolutionary classics. The costumes and settings are truly sumptuous, lavishly captured in the photography. It is very easy to see why this was the role that launched Power's stardom, he is very dashing and charismatic. Very much in his youthful prime. Freddie Bartholomew dominates the first portion of the film with effortless ease and grace.

Madeleine Carroll is radiant and few other actors at the time did suave and caddish as good as let alone better than Sanders, also aristocratically made up. C. Aubrey Smith and particularly Guy Standing, both always dependable, are marvellous. King directs with class and efficiency and the film is intelligently and wittily scripted. Most of the story is involving and both fun and charming. The characters are not complex but are at least interesting. The music isn't too jaunty or goes too thick on the syrup.

In summary, a lot to like here and more appreciation is due. 8/10

(1936) Lloyd's Of London ADVENTURE

Works almost like a book centering on two friends growing up to take different paths- one is Jonathan Blake (Tyrone Power) who eventually works in an insurance firm while the other, Horatio Nelson (Douglas Scott) is gearing toward the direction of becoming an admiral of a ship. There's so much going on, that's it's hard to fit all of this in a two hour movie. Also, the movie doesn't showcase Horatio Nelson's life as much as Jonathon Blake's, to grasp the feel of the ending it presented. "Lloyds of London" is the first of eleven movies director Henry King collaborated with Tyrone Power.

I could understand how one might feel that this film isn't an explosive epic and why should it have made Power a star. It's a great story though clocking in at just under two hours. I think Zanuck and Henry King, did they know what they were doing? Yes, they did. Tyrone Power's presence carries the film and it's incredible because he had such little experience. They were going to insert Don Ameche into this role and would it have made a difference? Any viewer can decide that for themselves. The battle sequence near the very end when Horatio Nelson is cut down, that was nicely done. Less is more and it brought the whole film together to a perfect, yet bittersweet, ending. I've seen so many of Power's films, he was great and a very capable actor. It seems as though he was better and had his whole heart into what he did in the films he made before the war. Compared to after WWII. "Lloyd's of London" is expertly made and it helped to have Freddie Bartholomew chipping in to start the narrative. I'm more impressed by the picture and like it more with each subsequent viewing. I have a nice print on a fully licensed DVD to watch it on. I don't know why a full restoration has not been done on this title at this late date. It looks great but I know it has not been fully restored as have so many have from Hollywood's Golden Age. It fired the unknown Power to the top of his profession, why don't they restore this?

If you're really interested in the history of Lloyd's of London, the famous insurance market that traces its origin back to the 1600s, you might be riveted by this movie. However, it's highly fictionalized and most of the plot is given to the love story between Tyrone Power and Madeleine Carroll. For me, there was enough history in the plot to confuse me. All in all, I found it too boring to keep my attention, which is why I think history buffs will probably enjoy it more than I did.

Freddie Bartholomew headlines the movie, but, as he was in hot demand in 1936 and filmed two other movies that year, he's only in the first twenty minutes of Lloyds of London. Those are the best scenes of the film, as he has a very sweet friendship with Douglas Scott. They witness a pirate attack but before they can relay the message to the famous coffee house in London, they're separated. Douglas goes to sea and Freddie walks-as he did the previous year in David Copperfield-hundreds of miles until he reaches his destination. Freddie gets intrigued by Lloyds of London and wants to become a member of the great elite London society, but then he's out of the movie. Tyrone Power takes over for the rest of the movie, in blond waves, false eyelashes, and plucked eyebrows. His close-ups almost make you burst out in giggles at the thought that there was such a man who looked so perfect. He's quite distracting, and he might have been the reason why I wasn't able to pay attention to the rest of the plot.

He works at Lloyds, serving C. Aubrey Smith, George Sanders, Guy Standing, E.E. Clive, and others, but the high brow patrons don't respect him as a messenger and waiter. Ty falls in love with George's wife Madeleine Carroll, but as you might suspect, George plays a total villain and won't let her go without a smarmy fight.

If you do decide to rent this historical drama, you'll get to see twenty minutes of adorable Freddie Bartholomew, and you'll probably shed a couple of tears during the scene in which he has to say goodbye to his friend Douglas Scott. You can also find Una O'Connor, Miles Mander, and Virginia Field in the supporting cast.

This gem from Hollywood's 1930s British period revolves around an enduring friendship between Horatio Nelson and a fictional boyhood friend, Jonathan Blake. The boys are separated early in their lives, after spotting an attempted scuttling of a ship on the Norfolk coast in order to claim the insurance. Horatio is sent away to sea and goes on to become Lord Nelson of Trafalgar. Jonathan goes to London to warn Lloyds, and is subsequently taken on to work there.

The superb cast includes Freddie Bartholomew, Tyrone Power, Madeleine Carroll, Sir Guy Standing, George Sanders, Virginia Field, C Aubrey Smith, Una O'Connor and Douglas Scott, as the young Horatio Nelson. I don't want to single out one actor because they are all so good.

The film is very touching but never descends into sentimentality. It is available in its entirety on You Tube. Not to be missed!

Put aside the unimaginative title and ignore the underlying storyline ostensibly concerning maritime insurance in Georgian England, as this really is a highly enjoyable vintage Hollywood historical drama.

Even if it contains almost no major action scenes, bar the briefest snippet of the great naval Battle of Trafalgar near the end and not even the expected, at least by me, climactic duel between Tyrone Power's Jonathon Blake and George Sanders' dastardly Lord Stacey principal characters, it only makes me appreciate all the more how clever director Henry King and his writers were to create such an entertaining feature with Nelson's great victory as its backdrop and yet only afford the heroic admiral barely a few minutes screen-time on board the Victory and even those only at the moment of his death. That is of course if you discount the prologue which features child actor Freddie Bartholomew as the young Blake, where we see he and a youthful Nelson establish their lifelong friendship.

Of course Nelson grows up and goes into the navy to make his name and disappears from the film for the next ninety minutes while young Blake grows up into Power and the leader of a syndicate of shipping investors at Lloyd's. Before he does that though Blake has already audaciously rescued Madeleine Carroll's Lady Stacey from being seemingly the only English woman in France just when all English nationals are decreed enemies of France. In the process the couple fall in love but the beautiful and wealthy M'lady is however, unhappily married to Sanders' cold, idle and parasitic nobleman Lord Stacey which would make you think there's no future in the lovers' relationship.

Fate however brings the star-crossed duo back together again but in a film of many ups and downs, their own destinies are intertwined with those of Nelson and through him the imperilled futures of Lloyd's the institution and Great Britain itself before the outcome of the Battle of Trafalgar brings a happy ending for all, although not of course for Nelson himself.

I must admit I love these old-time studio-system classics even if I appreciate that you would likely fail any history exam on the Napoleonic Wars using the evidence shown here as a revision aid.

Instead, just sit back and roll with the waves, admiring as you do a charismatic breakthrough performance by the handsome young Power, a vivacious outing by Carroll and a delicious boo-hiss display by Sanders, all expertly helmed by director King in this imaginative, top-notch period feature.