Christophe Colomb

I'm so sick of the PC and multicultural framework of all art today that it's good to see a rendition of the Columbus history told unashamedly from the viewpoint of Western hegemonists (my perspective)regardless of its obvious weaknesses as a film. March is a typical American actor who projects his own personna no matter what the part (Anthony Adverse or Phillip of Macedonia). It limited him but I happen to like the personna as did many other moviegoers. If I'm not mistaken his age is about right for Columbus at this time. It could have been more exciting but what is exciting is the whole enterprise that results in the discovery of the New World because of the persistence and vision of one man. Many earthshaking developments take years or months of plodding to come to fruition whether the Columbus landfall, the landing on the moon or the curing of polio.

It's worth watching just to hear the great score.

This film depicting the last throw of the dice for Columbus was also Gainsborough's final attempt to crack Hollywood. But despite Technicolor, a Hollywood star (March probably wasn't anything like the original, but as usual is excellent all the same) and a score by Arthur Bliss the generally talky studio-bound result (apart from Cyril Knowles' second unit work) promptly bankrupted the studio.

So while Columbus's gamble to conquer America paid off handsomely, Gainsborough's certainly didn't. And the rest is history.

I'd always pictured CHRISTOPHER COLUMBUS as an adventurous young man, but here he's played by the very stoic FREDRIC MARCH in the prime of middle-age. Why is it March always seemed too old for all of his major roles, beginning with ANTHONY ADVERSE.

This is a very respectable version of the Columbus story, but a bit plodding and dull when it should come to life with more vigor. There's an almost textbook quality about the script that takes forty-five minutes to set Columbus on his voyage after much confrontational verbal exercises at the Spanish court with Queen Isabella (FLORENCE ELDRIDGE) and FRANCIS L. SULLIVAN as a nobleman who opposes the voyage. Strangely enough, this portion of the film is the most interesting.

Production values are splendid but there's a muted quality to the color of the TCM print I viewed. FREDRIC MARCH is competent in the title role, but never quite assumes the mantle of the courageous and determined leader of men with his daring new ideas. It's easy to see why his crewmen become skeptical and suspicious midway during the voyage. Their growing doubts are understandable after so many days at sea.

Summing up: Interesting enough but would have been a more successful film with a more vital performer in the title role rather than the uninspired portrayal of its tired looking leading man whose work here is rather pallid.

For all the attempts to bring it to life, it remains a "flat" version rather than a fully rounded one.

It is very odd that this prestigious 1949 Technicolor production should emanate from Britain – dealing as it does with the Italian explorer who discovered America, a nation which had to fight the very British monarchy to attain its independence! Perhaps it was bankrolled as a token of appreciation towards the U.S. for having joined the Allied Forces in WWII; if so, I cannot say that it was particularly appreciated at the time as it was a resounding box-office flop. In fact the film is often dismissed as a tedious costumer but, while no classic for sure, I found it to be a well-crafted and engrossing picture buoyed by a good cast and fine production values.

Since Columbus was 41 when he set sail for The New World, the casting of 52-year old Fredric March to portray him here may seem to have been a strange choice; indeed he is fitted with a most unbecoming white-haired wig for the film's entire duration but one cannot deny the fact that he gives the role his utmost in stature and dignity – after all, Columbus was firstly an inspired cartographer then a swaggering adventurer. Indeed, March's real-life wife Florence Eldridge is also present here as Queen Isabella of Spain who, after the initial but long-winded skepticism, lends a sympathetic ear to Columbus' pleas for funding his exploratory marine enterprise (though what ultimately propels this is pure movie fabrication!). The rest of the cast list is peppered with familiar faces from post-WWII British cinema: Francis L. Sullivan and Linden Travers (as Columbus' major opponent in the Spanish court and his attractive scandalous cousin who tries to ensnare the former); Derek Bond and Niall McGinnis (as Columbus' companion and navigator – his major allies during his tumultuous sea voyage); Felix Aylmer and Abraham Sofaer (as the Queen's former confessor and Chancellor – Columbus' first champions who were instrumental in obtaining him royal favour); James Robertson Justice and Edward Rigby (as the ambitious and ultimately treacherous Captain Pinzon and a perennially grumpy mutineering sailor).

Needless to say, the producers' aim here was less to instruct than to entertain and, as such it may seem surprising today to find that half of the film's relatively trim 104-minute length is spent in court intrigues that dissipate Columbus' energy but not his spirit. The initial sea voyage that almost ended in mutiny and failure takes up the next quarter of the film while the arrival on land, the meeting with and subsequent colonization of the natives, Columbus' first triumphant return to Spain and his disgraceful second one in chains (at the behest of incoming governor Sullivan) and eventual disillusionment and abandonment by the Spanish crown are crammed into the last quarter of an hour! Although the TCM-sourced print (which cut off rather too abruptly during the end credits!) I watched was hardly pristine, with the colour looking especially insipid, I still managed to enjoy Stephen Dade's cinematography and Arthur Bliss' rousing score.

For the record, this is the fifth movie about the Italian explorer I have gotten under my belt, following the star-studded eponymous 1985 partly-shot-in-Malta Italian TV mini-series and the 3 disparate but simultaneous cinematic renditions made in time for the 500th anniversary of the historical event: George Pan Cosmatos' CHRISTOPER COLUMBUS: THE DISCOVERY (also partly shot on our shores), Ridley Scott's 1492: THE CONQUEST OF PARADISE and the spoof CARRY ON COLUMBUS (a one-off revival of the popular comedy franchise). Apparently, Anthony Dexter also played him in Irwin Allen's infamous historical charade THE STORY OF MANKIND (1957) and I also have a four-part Italian TV mini-series from 1968 directed by Vittorio Cottafavi and starring Spanish actor Francisco Rabal in my unwatched pile.

This dreadfully dull film was one of three great financial failures in the 1940s. London Town and Caesar and Cleopatra being the others. So by 1950 he had a massive overdraft which led to the closing of studios and companies, Gainsborough included. Rank just never had any true feelings for film in the way that say Korda had.

There are so many questions you can ask about this film. Why choose March for the lead role,he was already over the hill as a star attraction. Why use the peculiar sepia colour to photograph this film. Finally why bother to watch this turgid mess.