L'avventuriero di New Orleans

When the 1950s rolled around, Errol Flynn's fortunes in Hollywood began to dry up. While he still had a few good American films left in him, most of his later films were international productions, where the out of favor actor found a new lease on life. "The Adventures of Captain Fabian" is a film made in France...which is unusual because it's set in New Orleans. It's also VERY unusual because Flynn himself wrote the screenplay himself!

George Brissac (Vincent Price) is a pusillanimous weasel...albeit a rich one from a powerful family. Early in the film, he ducks out on his fiancee to have a good time with his plaything, Lea (Micheline Presle). But when they are confronted, the witness ends up being killed...and George promises to fix everything. Using his family influence, he ends up framing this servant for the murder...knowing his family who run the local court will make it stick. Unfortunately for George, Captain Fabian (Errol Flynn) is in town...and he knows enough dirt about the Brissacs that the court agrees to toss out the case in order to keep him quiet.

After arranging for her freedom AND buying Lea her own business, Captain Fabian leaves. Soon, Lea is kissing up to George again....and he's too dumb to see it's all a set-up. But George makes it easy for Lea when he murders his uncle, the family patriarch. She's witnessed it and insists he marry her instead of the rich and well-connected woman he's supposed to marry. Now this former servant is going to be the lady of the household...and one of the most powerful women in New Orleans. What's next? And, will Captain Fabian have anything more to do in this film since it IS named after him?!

Well, the name of the film is unfortunate. There really are no adventures to speak of and Flynn is actually more of a supporting character throughout much of the film. In fact, he doesn't even appear until 18 minutes into the movie is is rarely seen until late in the story. No, it's much more the story of the conniving Lea and how she fits in with or destroys the horrid Brissacs....as well as if George can possibly get away with yet another murder!

So is this film any good? Well, the characters certainly are interesting...particularly Lea. And, since the actress has a French accent already, she's pretty convincing as a resident of New Orleans. Odd, though how Price and many other Louisianans don't have such accents! Back in 1860, most well connected folks in the town would have had such accents. But there also are a couple problems with the picture...particularly when Lea declares her love for Fabian. This made little sense...especially since up until then she seemed more like a total sociopath. The other problem, though minor, was Agnes Moorehead's make-up. What was with THAT?!

By the way, I noticed a lot of low scores for this. Could this be because it is more unlike one of his films than almost any I'd seen up to this point in his career?

There is a myth perpetuated by film buffs that a film can be so bad that it's good.

This is absolute nonsense of course as there is no such animal.

Even allowing for the directorial inexperience of 'actor' William Marshall this lamentable opus is just plain bad.

The leading lady is Micheline Presle(here billed as Prelle so as not to challenge non-European viewers!) It is hard to believe that she had previously appeared in 'Diable au Corps' and 'Les Jeux sont faites'. Being married at the time to Marshall was probably her excuse although her role as a Creole femme fatale no doubt looked good on paper.

Agnes Moorhead and Victor Francen are wasted and Vincent Price's character is so obnoxious as to be almost unwatchable. This was not a happy experience for Price as he was obliged to sue for 'unpaid salary'.

The score by Rene Cloerec is atrocious and the screenplay, allegedly written by leading man Errol Flynn, is aimed at the slowest-witted person watching.

The professional relationship between Flynn and Marshall was short-lived and doomed from the outset, resulting in a legal dispute over a semi-documentary pacifist piece called 'Hello God'.

Watching Flynn in this is a sad spectacle indeed. An actor in his prime who has simply ceased to care.

Ten years were to elapse before Marshall was again let loose on a film set resulting in 'The Phantom Planet' which is no doubt yet another that falls into the category 'so bad it's good'!

Despite being named after Errol Flynn's character, as several other writers have observed it's not remotely the Technicolor swashbuckler promised by the title but a gothic black & white melodrama complete with Vincent Price as the sort of good-looking weakling he played in 'Dragonwyck'. The film is actually 'about' proud Creole temptress Micheline Presle (who turns 97 next week, by the way) clawing her way up from an existence that began ignominiously with her mother being hanged, but who quickly loses our sympathy since having married money she immediately starts treating her servants just as badly as she herself had formerly been.

It's a tinny, unfocused affair with far too much talk and too little action for most of it's duration; but handsomely designed and photographed and added atmosphere by the occasional use of a theremin on the soundtrack. Agnes Moorehead's character turn as pipe-smoking Aunt Jezebel anticipates her eccentric supporting role in 'Hush, Hush, Sweet Charlotte' nearly fifteen years later; while for connoisseurs of sophisticated 60's cinema there are youthful cameos from Howard Vernon ('Alphaville'), Gilles Queant ('Last Year at Marienbad') and Reggie Nalder ('The Manchurian Candidate').

Serving girl Micheline Presle is mistreated by Agnes Moorhead and made love to by her nephew Vincent Price, but she's not good enough to marry. Instead, she's framed for an accidental murder Price commits, until sea captain Errol Flynn wanders by, gets her out of trouble, sets her up with a nice tavern and clothes, and leaves again. So, Mlle Presle decides to get her revenge by conniving her way into New Orleans elite society by marrying Vincent Price.

Considering Flynn wrote the screenplay this movie was based on, and has the starring position in the credits, he's not around that much, nor does his character seem particularly interested in any of the events or characters. He very well may be having adventures at sea, but mostly it's Price and Mlle Presle being angry with each other, and trying to frame each other, until a corpse shows up. It's not clear if Price or Mlle Presle killed it, but Price decides to frame Flynn, who's in town, and then leads a lynch mob against him.

No one is particularly well served by this movie, even though there's a spectacular explosion and fire towards the end. Robert Florey did some uncredited direction on it.

Micheline Presle stars as Lea Mariotte, a Creole maid in 1860 New Orleans. She gets accused of murder in order to cover up the misdeeds of local wealthy scion George Brissac (Vincent Price), but she gets freed thanks to the intervention of merchant sea captain Michael Fabian (Errol Flynn). Fabian has a score to settle with the Brissac family, but Lea sees George as her entry into posh society.

This odd movie doesn't really work, but I liked parts of it. Although a shirtless Flynn is featured in the promotional art, which combined with the title make this seem like a swashbuckler, he's really more of a supporting player, and this is Presle's film all the way (she was dating or married to the director at the time). To say that her character is complicated would be an understatement, as she's at times the most evil person in the movie, but then the script tries to make her actions seem justified. Many of the characters are morally dubious and hard to pin down.

The production values are excellent in some scenes, but amateurish in others. There's some nice (if obvious) miniature work, and some good crowd shots. Vincent Price is squirmy and entertainingly hammy, and Agnes Moorehead also chews the scenery as a Creole relative of Lea's. I also enjoyed seeing future European "B" movie staples Howard Vernon and Reggie Nalder in minor roles.

The production of this movie was troubled, with director Marshall being accused of incompetence and Robert Florey being brought in to shoot some scenes. Flynn himself is credited with the screenplay, although he was later sued by an associate who claimed to have worked on it. Speaking of litigation, there was more to go around, as Flynn sued Republic to try and get the film blocked from release (it would have violated his contract with Warner Brothers). It may not be good as in cohesive, but it is entertaining.