Corsário dos Sete Mares

My fourth trip to the Maltese sexton who's been an avid film buff/collector/projectionist all his life provided me with the opportunity to watch this solid seafaring adventure (albeit opening rather incongruously in a Moroccan Sheik's harem!) which, in the words of the award-winning lyricist friend who (as usual) set up the screening, was very popular locally in its day among schoolboys and is still fondly remembered today among people of his generation. Although perhaps not one to be mentioned in books on film history (much less criticism) – I don't think I've ever come across it in essays I've read specifically dealing with the swashbuckler genre – the title itself has a familiar ring to it and, actually, I do recall catching a glimpse of it in the early days of Cable TV.

Another reason for the film's relative neglect over the years is the fact that it was not a major studio effort (Global Productions but released theatrically through United Artists) and has second-league stars (John Payne and Donna Reed) as leads. Furthermore, the film-makers behind the low-budget studio-bound RAIDERS OF THE SEVEN SEAS may not have had the required dough to erect the necessary sets but at least proved savvy enough to shoot it in Technicolor – by pioneering color cinematographer W. Howard Greene, no less – for added vividness (even though the print I saw screened theatrically boasted the tell-tale signs of aging via a constant reddish hue for most of the film's first half). Having said that, this negative aspect is ironically suited to the material at hand since Payne stars as legendary Pirate Barbarossa (Red Beard) with his hirsute attributes appropriately colored in that fashion (even when posing as a beggar in his nemesis' household, which begs the question of why he wasn't suspected at all); wondering why Payne seemed to drop off the cinematic radar in the late 1950s, I learned from his IMDb biography that he had suffered facial scars in a terrible car accident in 1962! For the record, I have obtained (and have further access to) several John Payne movies of late – although, regrettably, not his other Technicolor pirate yarn CARIBBEAN (1952).

Anyhow, to get back to the film proper: no self-respecting pirate goes without a genial sidekick by his side and Lon Chaney Jnr. (as the one-legged old sea dog Peg-Leg) fits the bill here and in turn has a resourceful kid to take care of. Perhaps thankfully, however, we are spared the would-be comic relief characteristics that usually pervade both these personalities in similar fare and, in truth, it must be said that RAIDERS OF THE SEVEN SEAS has an admirably somber tone throughout that is atypical for pirate adventure pictures. Indeed, having Peg-Leg murdered by a duplicitous member of their gang (Anthony Caruso) and the awaiting folk – including, so we are told, women and children – mercilessly wiped out at their hide-out by the villainous Spaniards (Gerard Mohr and Henry Brandon) gives the whole an unexpectedly Shakespearean tragedy feel a' la "Henry V"!

It also goes without saying that Reed is, at first, understandably miffed that Payne has abducted her from her pampered surroundings to his island hideaway and that she bribes Caruso to set her free but, what is also unusual here is that Payne's predictable love for Reed actually seems to cloud his judgment and make him see red {sic} with jealousy whenever she's around Caruso and, if that wasn't enough evidence of his true feelings for her, he gives up the gold ransom he had been paid for her freedom! Director Sidney Salkow – who was an old hand at this type of thing, including a Sterling Hayden/Rhonda Fleming swashbuckler called THE GOLDEN HAWK (1952) which, happily, also proudly forms part of the above-mentioned projectionist's collection – doubled as a co-writer/producer here but, at least from this one preliminary viewing, it's rather unfortunate that, for all its incidental pleasures and uncommon ingredients, RAIDERS OF THE SEVEN SEAS lacks the requisite number of memorable sequences or characters (perhaps even strong musical backing would have sufficed) which might have made it a much-better known film of its type – rather than being relegated to the hazy recollections of an age-old theatrical visit in their childhood days of an appreciative few.

The light-hearted nature of this pirate adventure is immediately evident as the film opens with Barbarosa (Payne) being discovered romancing some harem ladies whereupon he's furiously chased by soldiers. He manages to reach the seacoast and swims out to the nearest ship. This is the best part of the film as he surreptitiously climbs aboard and rather than becoming a galley slave, he persuades the crew to mutiny and then to piracy with him as their chief!

From then on it's pretty standard pirate movie fare. Henry Brandon and Gerald Mohr are surprisingly effective as wealthy but dishonest Spanish schemers, but their modern haircuts don't go very well with their elaborate 17th century court costumes. Donna Reed looks good, but is not convincing as the haughty daughter of a Spanish governor. The film comes alive only when John Payne is on screen, but nevertheless manages to entertain.

Low-budget independent (released through United Artists) pirate adventure starring John Payne has him as famed pirate Barbarossa fighting against a corrupt Spanish officer (Gerald Mohr), with an uncomfortable-looking Donna Reed miscast as the "fiery" daughter of a Spanish governor who is Payne's love interest. In every one of director Sidney Salkow's films I've seen he's had problems with pacing, and his track record is unbroken here. It moves like molasses, with awkward dialog scenes broken up by mostly lackadaisical, by-the-numbers action scenes (and some rather shoddy miniature work for the ship-to-ship battles). Payne is earnest, and actually a bit more animated than he normally tends to be, but Reed looks like she wished she was somewhere else. A decent supporting cast helps somewhat, but overall the picture is pretty standard fare.

Just watched this obscure pirate flick on Netflix Streaming. Since I've been devoting these summer months-in honor of the recent new "Dallas" series on TNT-to the original cast, regular and recurring, of the first series in order to review their work, on TV and film, in chronological order, this was next on the list with the second Miss Ellie-Donna Reed-in the heroine role opposite that of the hero-John Payne. Payne plays Barbarossa, a pirate who fights the villainous Spainards, one of whom was planned for an arraigned marriage with Ms. Reed. I'll stop there and just say that I found much of the action and dialogue much fast paced but also clear enough for me to understand what and why whatever happens is going on. Also, I liked Lon Chaney Jr.'s supporting performance as sidekick Peg Leg. So on that note, Raiders of the Seven Seas is worth a look if you're interested in these obscure old-time adventures.

First, the good news. This movie is only 4 minutes and 23 seconds old before John Payne takes off his shirt, revealing a V-shaped torso which, unlike many of his earlier unveilings, is gloriously unshaven and only a few years past its prime. Now the bad news. It's all downhill from here. Even fans of pirate B-movies will find this concoction an anemic affair which lacks energy and style and which, due to a tight budget, has a disappointingly studio-bound quality. Throwing in an "adorable" child actor only accentuates the vapidity of the proceedings.

John Payne manages to get by without serious damage to his reputation, aided, of course, by that bare-chest scene, but adding a reddish dye to his dark hair tends to make him look more silly than rakish. Donna Reed doesn't have the fire and flash needed for her part but, to be fair, no one could do much with lines such as: "I will enjoy (your company) even more when you are stretched to the four winds on a torture-rack!"

A better grade-B pirate movie from this era is "Prince of Pirates" with John Derek and Barbara Rush.