Os Piratas de Tortuga

This film essentially begins with an English navy vessel just pulling into port with cargo they wish to sell. It's then that the captain of the ship, "Ken Scott" (Bart Paxton) is immediately summoned for a meeting with his navy superiors and is told that, after selling his merchandise, he is to set sail once again-this time for the island of Tortuga where a pirate by the name of "Captain Henry Morgan" (Robert Stephens) has established as his home base and is strangling all commerce that ventures into that area. To that effect, his plan is to masquerade as a pirate himself in order to infiltrate Henry Morgan's operation. What he doesn't know, however, is that a young woman by the name of "Meg" (Leticia Roman) has secretly snuck aboard his ship and--upon being detected--becomes a big distraction during the entire voyage there. Now, rather than reveal any more, I will just say that I was a bit disappointed with this movie because it lacked the grandeur and excitement often found in films of this type. Likewise, although the acting wasn't bad necessarily, I think the film would have certainly benefited from a better cast as well. In any case, while viewers looking for a grade-B pirate movie could probably do worse, I wasn't really impressed with it and I have rated it accordingly. Slightly below average.

Ken Scott and a mass of little-known actors perform in a Sam Katzman sea-faring fest, with never an eyepatch, arrgh or yo-heave-ho among them. They've been ordered to head to the Caribbean Sea, to deal with Henry Morgan, who's exceeding his authority or something. Letícia Román has snuck onboard for reasons that are never clear.

It's actually a visually handsome movie, thanks to cinematographer Ellis Carter, and handsome sets and costumes. It definitely falls into the seen-one-seen-them-all category, and several screenwriters, including Jesse Lasky Jr. never produce anything interesting. However, Hortense Petra is credited down the cast list, and for a name like that, I'll pronounce this a decent time-waster: a triumph for Katzman.

Sea captain Bart Paxton has a thankless task from the King of England. Henry Morgan, erstwhile ally of the crown, has set up a kingdom on Tortuga, whose buccaneers are robbing English ships at will and strangling the island of Jamaica. The Royal Navy can't attack Tortuga without igniting a new war with Spain, so the King is sending Paxton as a secret privateer to put an end to Morgan's depredations. And Meg, the young hellion who has stowed away on Paxton's ship, isn't making his job any easier.

Unlike its predecessor The Black Swan or its contemporary Morgan the Pirate, Pirates of Tortuga casts Henry Morgan as a villain, the correct and natural role for that treacherous, rapacious, and brilliant man. The one difficulty is that the historical Captain Morgan died rich, contented, and even respectable, a most unsatisfying end for a movie villain. The movie deals with this problem straightforwardly, by constructing a sort of alternate history that shows what might have happened if Morgan had not chosen to answer King Charles's summons to England after his raid on Panama in 1671, with its very real attendant risk of imprisonment and execution, but instead had followed the course many of his fellow buccaneers did by raiding and looting indiscriminately. It would have been well within Morgan's power to set up the "buccaneer kingdom" on Tortuga that the movie shows.

The plot is bare-bones, but serviceable: Paxton finds Morgan, Paxton poses as partner of Morgan to spy out Morgan's fortress, Meg flirts with the governor of Jamaica, but ultimately decides her heart truly lies with Paxton, Paxton defeats Morgan. But the denouement is a major disappointment: unimaginative, perfunctory, and implausible at once, and moreover, it fails to tie up Morgan's end of the story.

Bart Paxton's part is well-written, a potentially dashing commander with real brains and imagination, but Ken Scott is unable to bring anything to the role but heroic blandness. Letitia Roman is certainly fetching as Meg, especially in her sailor's togs, and her bare-legged wriggling in Paxton's bed is a clear sign of the sexual revolution's tsunami roaring toward the beach of the Hayes Code. But looking beyond her physical charms, Meg's personality really has nothing to recommend her: she's not smart, brave, loyal, honest, or even charming.

Robert Stephens' Henry Morgan is interesting, but ultimately ineffective. Stephens plays Morgan as a full-blown alcoholic, complete with the shakes. His Morgan is greedy (his eyes almost bug out when Paxton presents him with a chest full of guineas) and cruel, but credulous and unintelligent. He is fun to hate, as a good villain should be, but he lacks the frisson of menace that emanated from Rathbone's Levasseur or Newton's and Heston's Long John Silver.

The supporting cast comes to the rescue, particularly Dave King as PeeWee and Stanley Adams as Montbars. King is appealing, dashing, and sometimes very funny, while Adams' Montbars is pure, unbridled appetite, fat and greedy and bullying, a perfect pirate.

Visually, the movie is outstanding. The shots of the sailing ships are sublime, the colors are sumptuous, and the islands and cliffs are magnificent. The movie is fun to watch, and while it won't stay with you long, it avoids the gratuitous absurdity of many pirate movies.

Rating: ** ½ out of ****.

Recommendation: Worth a rental after it leaves the new release shelves.

Oh my. 20th Century Fox must have burned with shame and embarrassment at this wretched turkey being released under their aegis. I enjoy almost all old movies, and up until viewing Pirates of Tortuga had never seen a film that was ALL bad, without any redeeming qualities or entertainment value at all ... but this is the one. Pirates is so very inept in every respect that it can't even be enjoyed as one of those "so bad it's good" pictures. The direction is almost non-existent, with scenes that drag on as is a first rehearsal had been filmed, and filmed before it had even been blocked. This plodding footage is interspersed with stock shots and, in cases, entire scenes lifted from earlier (and MUCH better) movies, and the inserts are glaringly obvious, particularly in the first battle at sea (thirty or so background extras listlessly waving swords at each other as if half asleep, never varying their position, suddenly interrupted by a genuinely action-packed insert from The Black Swan!). The cast is headed by lacklustre Ken Scott, who had lent his wooden presence to other Fox productions (his supporting role in Stopover Tokyo helping to sink that particular dud). John Richardson looks fabulous, but has no technique, looks somewhat lost, and after this film went back to virtual extra status until his breakthrough a few years later in She and One Million Years BC. Worst of all, in fact the worst performance I have ever seen by a leading lady in a studio production, comes from Leticia Roman, a pretty but spectacularly untalented Italian girl playing a cockney and spouting lines like "lord love a duck" and "you ain't ever treated me like a lay-dee" in a voice that's a cross between Monica Vitti and Dick Van Dyke in Mary Poppins. I am in danger here of making Pirates of Tortuga sound like something worth sitting through in order to have a giggle, but believe me it is NOT!

I saw this film quite a few times growing up on independent TV stations. I didn't think it was anything too spectacular then, but hey, it was a pirate flick, and you can't go too wrong... right? Well, before the days of corporate run focus groups and test market screenings for films, the studio moguls, banking on what they believed would sell, would ride movie trends like the corporates do today. Back then Westerns and Pirate flicks were all the rage, and in 1961, hoping to revitalize a waning market, 20th Century Fox invested in this thing.

They must've done it on the cheap. Recycleing old studio props and sets, it looks like they cast bit part players in supporting roles. That and the cinematography is pretty bland, though not too far from b-movie standards at the time.

It's a market driven film. No standards or rules are being bent or pushed. There's a few social messages snuck in here and there, but nothing too shocking by contemporary American social standards.

There's nothing really innovative or impressive about this film, but it does offer two hours of pirate escapism. Take it for what it is.