Nouvelles aventures du capitaine Blood

The previous poster is mistaken if she remembers seeing Hayward in glorious color--this is a black and white movie---and a less glorious B&W than that supplied Warner Brothers' Captain Blood by Ernest Haller and Hal Mohr. In fact, Fortunes often looks like a TV production--and not just because of the poor model work. What isn't typical of a TV movie is the surprising amount of violence--Blood's crew is bludgeoned mercilessly when they are captured, whipped by the Marquis and his overseers, and forced to listen to Alfonso Bedoya's idiosyncratic line readings.

I remember seeing Louis Hayward in The Black Arrow when I was about 10, and thinking that movie a great swashbuckler. Yet when I read the posts about it on IMDb, I wonder if my memory is playing tricks on me as well. Watching a bit of Fortunes on TCM, I rather suspect it is--this movie is pretty tepid, with the chief excellence being Hayward's performance, even though he gets no help from the script or director.

I'm writing this in response to the plea for a review; if anyone has seen it more recently, please chime in. I saw this a decade or two ago on TV, and remember rather liking it, but being disappointed that it didn't follow Sabatini's book more closely. It wasn't quite as weak as I'd expected from a sequel, and Louis Hayward wasn't as weak as I'd expect from a replacement for Errol Flynn. All in all, a reasonably good standard-issue pirate movie; sorry I can't be more definite than that. There was also a sequel to the sequel, based on Sabatini's _Captain Blood Returns_, entitled for some reason _Captain Pirate_, which I remember as being, surprisingly, somewhat better than this one.

As everyone remembers in the classic Errol Flynn version of Captain Blood, he whipped his fellow pirate Basil Rathbone in a dual on the dunes, he took Lionel Atwill's place as royal governor of Jamaica after the House of Orange threw out the House of Stuart in The Glorious Revolution and married Atwill's niece Olivia DeHavilland to live happily ever after. I think it was understood there'd be no more pirating under William and Mary.

Yet here we have Captain Blood, this time played by Louis Hayward, back at his old trade again. I guess politics must have bored him, but what happened to Olivia because Hayward's got a couple of girls panting after him in this story.

The women are the Spanish viceroy's niece Patricia Medina and an innkeeper's niece, Dona Drake. It seems as though several of Blood's crew were betrayed on a shopping trip for supplies and sold into slavery. Doing the selling was George MacReady who's been charged by the King of Spain to bring in Captain Blood dead or alive. He's also got a lustful gleam in his eye for Patrica Medina and who could blame the old reprobate.

Hayward's mission is to free his captive crew members and he has to involve himself with a whole lot of intrigue, political and romantic. In a way he really acts like a heel towards Drake and it does kind of lessen audience sympathy for him.

Harry Cohn at Columbia did not want to spend as much money as Jack Warner did on his version and it shows. Hayward is capable enough as Peter Blood, but I kind of like MacReady in this film, he really does dominate it whenever he's on screen. Alfonso Bedoya is also good as the slave overseer.

When all's said and done Fortunes of Captain Blood just doesn't measure up to what made Errol Flynn a star.

FORTUNES OF CAPTAIN BLOOD never rises above being a pedestrian take on the Captain Blood legend originated by Rafael Sabatini in his immortal pirate tale, CAPTAIN BLOOD.

This is strictly secondary stuff, with LOUIS HAYWARD as the doctor turned pirate on the high seas. He's competent in the swashbuckling role rather than charismatic--and there lies the difference between him and Flynn. At times, he seems almost bored with his role.

DONA DRAKE does nicely enough as a peasant girl who flirts with Captain Blood (while he's assuming the name of Pedro), and PATRICIA MEDINA is equally at home in her role as a headstrong aristocratic lady. LOWELL GILMORE and GEORGE MACREADY are likewise competent as the rather villainous men interested only in pearls and wealth--but the story and its characters barely rise above the routine in a lifeless pirate tale.

ALFONSO BEDOYA at least furnishes a bit of sly humor as the prison overseer hoodwinked by Captain Blood (he was the man with the famous line about "We don't need no stinkin' badges" from TREASURE OF THE SIERRA MADRE).

But the saga only really comes to life during the last half-hour, and then it's standard pirate swordplay and cannon fire until the predictable happy ending finds Captain Blood and the aristocratic lady sharing a kiss before the fadeout.

Summing up: Standard pirate tale with only occasional flashes of lively swordplay. As for Hayward, he was much better as "The Man in the Iron Mask".

A Columbia swashbuckler starring Louis Hayward from the forties without George McReady as the villain is like a hamburger without the meat: I mean absolutely impossible to imagine. So this early fifties - late forties aadventures flick has nothing to envy from Warner Bros productions for which Gordon Douglas also worked in the same period, or maybe after this period. He then missed the awful Sam Katzman producer if he had stayed in Columbia Pictures. Lucky guy. This movvie is a very good entertaining yarn, full of action but bringing nothing exceptional either. Everything is predictable; after all it was the Hollywood system. Gordon Douglas's directing is, as usual, flawless, no matter the plot itself.