Voyage en Birmanie

... part musical, part old fashioned nostalgic drama, and Flynn is barely in the first half of the production. You keep waiting for him to appear. But the film improves noticeably in its second half when Errol is in it. The story takes on aspects (never fully explored, unfortunately) of A Star Is Born, with Flynn as a faded stage star whose wife's show business career is on the rise. It allows Errol to show some vulnerability.

His finest moment of acting in the film is set on a Hollywood sound stage. Flynn's character by this time has had a comeback as a costume action film star (obviously based on the actor himself) and he is dressed up in uniform for what appears to be a Charge of the Light Brigade-type adventure.

By this time his character is divorced from Anna Neagle but it's apparent that he still carries a torch for her. He receives word on the sound stage just as they are about to shoot a scene that Neagle will be re-marrying. Flynn tries to act breezy and stoic as an aggressive reporter peppers him with questions about the upcoming wedding but you can see that he is bothered by the questions. He gives the reporter a boot in the rear (pure real life Flynn) and when the reporter tries to punch him in response an angry Flynn knocks him down.

Then he has to shoot the scene for the film he is making. It is here that Flynn has an unexpectedly touching moment as an actor. He's having a dialogue exchange with another actor and there is a closeup of Flynn's face. His mind starts to wander back to his wife and the good times they had once had as he says a few words related to her not in the script. In this closeup Flynn's eyes show the faintest signs of starting to water and his chin begins to slightly quiver.

The director yells "Cut!" and Flynn snaps back into reality once again. But in that brief four or five second closeup there genuinely appears to be pain in his eyes. It's a beautifully understated moment, and, brief as it is, reflects the often unrealized potential Errol had as an actor. I only wish Lilacs in the Spring had allowed him more opportunities this good but, at least, it does have this one touching moment.

"Lilacs in the Spring" is a very confusing and, in my opinion, ill-conceived film. There's plenty of stuff to like in the movie (such as seeing Errol Flynn dance for, I think, the second time in a movie)....but the sum total just didn't work for me.

The film begins during the later portion of the Blitz in London...1944. The story follows Carole Beaumont (Anna Naegel) through a story and multiple flashback scenes. After getting bumped around by a bomb explosion, Carole believes she's back in the time of Charles II of Britain. The man playing Charles in this flashback is her boyfriend, Charles. Later, she has another flashback during which she's Queen Victoria hanging out with her husband, Albert....who is played by another one of Carole's boyfriends. Later, there is a LONG flashback, though from whose viewpoint, I have no idea! You see Carole's parents dating (played by Flynn and Naegle) which is confusing, as Flynn plays both father AND lover to two different characters played by Naegle (the mother and then daughter)! It's a bit creepy...and confusing...and it doesn't fit in at all with the previous two flashbacks. In fact, this flashback really is like a whole separate movie!

The bottom line is that the script just seemed like a mess. The singing, dancing and story (at times) were nice but the whole package was just strange and confusing...like it needed a revision to the script. It also would have helped to have two different actresses play Carole and her mother. A misfire.

After production of Errol Flynn's financial debacle, WILLIAM TELL, was halted, the actor discovered that he not only had lost the money he'd invested in the project, but that his long-time business manager had been swindling him for years, as well. Fighting bankruptcy, the aging one-time 'King' of Hollywood swashbucklers found himself desperately in need of work, to stave off an army of creditors. Fortunately, legendary British producer/director Herbert Wilcox liked the high-living star, and, realizing that Flynn's name still had marquee value in England, cast him opposite his wife, popular British actress Anna Neagle, in the filming of her recent stage success, 'The Glorious Days', retitled LILACS IN THE SPRING.

A sentimental tale told largely in flashback, Neagle portrays an English stage star who is injured in a WWII air raid. Flying from Hollywood, her long-estranged father, film star John Beaumont (Flynn, with silver hair) must deal with an army of the press, and her would-be beau, British army officer Charles King (David Farrar). Meanwhile, Neagle, unconscious, hallucinates herself as being legendary star Nell Gywn, and Queen Victoria. Upon seeing her father, she relives her mother's early life, when she was 'discovered' by Beaumont in his days as a vaudevillian song-and-dance man (Flynn gets a chance to do a bit of soft shoe, singing 'Lily of Laguna', and making up for his limited musical ability with abundant charm). As her star ascends, his declines, and after leaving the stage to fight in WWI, he returns to find himself a forgotten man. Hollywood beckons, however, and he sees an opportunity to strike it rich as an actor in motion pictures. She refuses to leave England, and the couple separate. Achieving stardom in America, Beaumont is far too involved in his career to get to know his daughter...until her injury reminds him of how much he loved her mother, and needed to know her.

Maudlin, yes, but British audiences loved this kind of tearjerker, which offered several well-choreographed production numbers with Neagle...and, if you look carefully among the silhouetted male dancers during a tango, you'll find 24-year old Sean Connery, unbilled, and fresh from the chorus of a London stage revival of 'South Pacific'.

While the film bombed in the U.S. (under the title LET'S MAKE UP), it was popular enough in the U.K. to keep Errol Flynn working, and his creditors at bay for a little longer. Next on his agenda would be his very last swashbuckler, THE DARK AVENGER...

Most of the reviews imply that Errol Flynn carries "Lilacs In The Spring".Not so.The film belongs to the one and only Dame Anna Neagle.Her's is a tour de force performance and her age(around fifty at the time) in no way detracts from her convincing,multi-layered portrayal of the daughter-mother-daughter characters.This lady is pure class and with her peaches and cream complexion,gracious presence and incredible versatility,she is a delight in every scene.The somewhat confusing plot has been expertly explained by the other reviewers (thank you) and like them,I have only been able to acquire a murky,poor quality video print.I remember seeing it the cinema in 1956 and it was magic all the way. Looking at the film now,I'm astounded at Anna Neagle's dancing skills.Whether dancing the tango,waltz or,best of all,her 1920's 'Dance Little Lady' number,she's enchantment all the way.Arguably a better dancer than a singer,she nevertheless delivers two lovely renditions of 'We'll Gather Lilacs' and she's ravishing dancing to the orchestral version. Errol Flynn fans may only show interest in his contribution but by the time he appeared in this film he was clearly past his prime (the kindest thing I can say).Fortunately,he had the amazing Anna Neagle to prop him up in all their scenes together.Bravo,Dame Anna!

Late Flynn, when he took almost any work he could get to pay off alimony. He turns in a sincere, believable performance, occasionally lampooning himself, and does a creditable song and dance number. Other points of interest include Peter Graves as Prince Albert (if you didn't know, you'd never guess) and Sean Connery is supposedly in there somewhere as an extra, but I haven't found him.