175. CAPTAIN BLOOD, 1935
- Jay Jacobson
- May 20
- 16 min read
The classic adventure that launched a thousand swashbucklers
Few films embody the spirit of classic Hollywood like “Captain Blood”. Dazzling, daring, and full of heart, it’s a glorious example of the escapist magic upon which the Studio Era was built. A Best Picture Oscar nominee that delivers thrilling action, sizzling romance, and bountiful playfulness, it also launched two of Hollywood’s biggest stars, birthed one of the silver screen’s most iconic duos, and forever changed the swashbuckler genre. Loaded with emotion, surprise, and spectacle, movie magic doesn’t get better than this.
It’s the year 1685, when England is rife with rebellion against its tyrannical King, James II, and the film follows the story of “Dr. Peter Blood”, an honorable man who has laid down his sword in favor of physician’s tools, declaring himself “a healer, not a slayer”. Though “Peter” is not part of the rebellion, he finds himself unjustly arrested for high treason and sentenced to slavery in the Caribbean.
In an attempt to save his life, “Arabella Bishop”, the spirited niece of the ruthless “Colonel Bishop”, buys “Peter”, and the two begin a flirtatious tug-of-war which becomes more complicated as their feelings deepen. Seizing a chance at freedom, “Peter” steals and captains a ship with a crew of fellow prisoner outcasts, and left with no choice, takes to a life of piracy where he navigates epic battles and moral choices in a high seas adventure in which the brave and honorable fight the ruthless forces of tyranny.
While themes of freedom, loyalty, and revenge can certainly be drawn from “Captain Blood”, the film’s true aim is clearly to entertain. Every element from its sweeping direction and dynamic performances to its rousing score, striking visuals, and thrilling action work in perfect harmony to deliver an exhilarating, heartwarming adventure. It’s pure, unadulterated fun and the ultimate feel-good escape.
“Captain Blood” began as a 1922 novel by Rafael Sabatini, and was first put on screen as a Vitagraph Studios 1924 silent film. Swashbucklers (escapist adventures and historic romances featuring sword fights, daring stunts, heroes, villains, and often damsels in distress) were hugely popular during the silent era, especially those starring Douglas Fairbanks. Fairbanks’ electrifying athleticism and heroism defined the swashbuckler genre beginning with 1920’s “The Mark of Zorro", and made him one of the biggest superstars of the entire silent era.
With the arrival of sound to movies in 1927, swashbucklers quickly lost favor (the new sound technology made them harder to film, and audiences began preferring realism to fantasy), and the genre virtually died. But in 1934, there were two hit swashbuckler-type movies, “The Count of Monte Cristo” and “Treasure Island”, which prompted studios to begin making more lavish, high-budgeted period films.
Hearing Metro-Goldwyn-Mayer (MGM) was about to make the epic period adventure “Mutiny on the Bounty”, Warner Brothers chief Jack Warner remembered that Warners had the rights for “Captain Blood” (obtained when they acquired Vitagraph in 1925). So a plan was made to remake it as an elaborate, big budgeted film directed by the studio’s top director, Michael Curtiz, and starring movie star Robert Donat. When Donat pulled out and no other leading man of choice could be secured, it was decided to test the studio’s contracted actors. In the end, Jack chose an unknown contract player by the name of Errol Flynn. It was a gamble that paid off well beyond anyone’s imagination.
With a devilish drive to live life to its fullest, Tasmanian-born Errol Flynn worked many jobs, such as a shipping clerk, tobacco farmer, gold miner, chartering voyages along the Great Barrier Reef, and (though he was not an actor) starring in the 1933 Australian film "In the Wake of the Bounty". That film led him to pursue acting in England as part of a theater troupe. After a meeting with Irving Asher (managing director of Warner Brothers First National Studios), Flynn briefly appeared in two British films before being cast as the lead in the 1934 B-movie "Murder at Monte Carlo". Through Asher’s doing, Jack Warner summoned Flynn to Hollywood with a six-month contract.
After several months waiting for work from the studio, Flynn finally landed a role as a corpse (briefly also appearing in a flashback scene) in 1935's "The Case of the Curious Bride" directed by Curtiz, followed by another small part in the B-movie "Don't Bet on Blondes”. That’s when Jack Warner was scouting for an actor to play “Captain Blood”. Upon seeing Flynn’s screen-test, he knew he’d found his actor. At a time when Hollywood movies and box-office were driven by movie stars, it was very daring to cast an unknown as the star of a major, high-budget, A-list film. It turned out to be a star-making decision. As Flynn said in his autobiography, “My Wicked, Wicked Ways”: “Only Jack Warner’s faith in me set off my career — of whatever it has meant to me and to the world, for good or ill — and start me on that road which has so often made the public acquainted with my wicked ways”.
As soon Flynn appears as “Dr. Peter Blood” answering his door in the dark of night, his undeniable charisma lights up the screen as he exquisitely balances noble conviction with lighthearted wit when speaking with "Jeremy Pitt” or playfully calling his old housekeeper “my pretty one” or “my vinegary virgin”. Right off the bat, one can sense Flynn is a total movie star — irresistibly good-looking, likably personable, fearlessly confident, and (even in period clothes and a wig) entirely believable.
Some have argued that Flynn excelled at action but lacked depth as an actor — but if you study him, you’ll find that’s not true. Watch how he listens to his fellow actors, digests what they say, and lets their words shape his reactions and you’ll see a performer so natural, acting looks nonexistent. Take the scene when “Peter" is in court before the judges. As he defends his own convictions, Flynn matter-of-factly stands his ground, even being rude and argumentative when necessary. And when he’s attacked for being a doctor, Flynn lets a soft vulnerability wash over him as he says "I only knew my sacred duty as a physician”. His natural underplaying is movingly genuine.
Flynn’s effortless delivery makes us believe in (and root for) “Peter Blood” from start to finish, whether he’s charming two doctors to buy him a boat, or rallying his motley crew into battle. His talent is often underestimated because it’s so seamlessly fused with that rare, magnetic quality known as star power — which Flynn had in spades. If you’re unsure what that means, just watch “Captain Blood” and you’ll find out.
As a newcomer, Flynn was reportedly so nervous when filming began on “Captain Blood” that he was stiff and visibly shaking at times. But he proved to be a remarkably fast study, quickly adapting to the demands of acting for the camera. His improvement was so dramatic that by the end of production the studio decided to reshoot several of his early scenes with his newfound ease and confidence.
“Captain Blood” catapulted the 26-year-old Flynn to instant stardom. The character he crafted — charming, rebellious, confident, brimming with humor and animal magnetism — became the foundation of his screen persona and the template for every swashbuckling hero that followed. He was the top romantic action star of his time (arguably all-time), for his unique mix of athleticism, sex appeal, mischief, and sheer joy remain unmatched to this day. Flynn appeared in over fifty films until his untimely death, and became just as famous for his offscreen devil-may-care lifestyle as his onscreen heroes (I guess you could say he was the original "Tasmanian Devil"). Flynn himself summed up his life and career in a 1957 episode of the TV show “To Tell a Lie”: "I have been in motion pictures since 1935. My first movie, ‘Captain Blood’ made me a star overnight. I was under contract to Warner Brothers for many years, and was voted one of the top ten money-makers in the industry. I have led an adventurous and dangerous life — I’ve been divorced three times. I’ve sailed the seven seas on my yacht and have written two books and many magazine articles. At one time I was a light heavyweight boxing champion and made the semi-finals of the Olympics. I am best known as a swashbuckling hero and I am famous throughout the whole world as a ladies’ man”. You can read more about the life and career of Errol Flynn in my post on “The Adventures of Robin Hood”. Just click on the film title to open the post.
A second essential aspect that makes “Captain Blood” spectacular entertainment is the work of its director, Michael Curtiz. The way Flynn could turn a dubious line like “Up that rigging you monkeys, aloft!” into sheer excitement, Curtiz could show a man riding a horse and make it riveting by adding details like explosions in the background, and having the horse rear as it arrives. Curtiz had a firm grasp on how to direct entertaining movies, and “Captain Blood” is a supreme case in point.
Curtiz fills “Captain Blood” with cinematic sparkle, such as gorgeous framing (like “Pitt” dwarfed by the “Dr. Pete Blood” sign when at his front door), unusual camera angles (such as looking directly down from the ship’s mast at the men onboard), provocative camera moves (as with the opening shots in the courtroom), and an innovative use of shadows (as when the king’s men march into a room with a large shadow of “Peter” attending a patient on a wall). All action could be shown an infinite number of ways, but Curtiz’s choices give the film life, vitality, beauty, and a spellbinding touch.
At Oscar time, Curtiz earned an unofficial Best Director nomination. It was the last year Academy members were allowed to write-in votes, and according to the book “80 Years of the Oscar”, Curtiz came in second as Best Director for “Captain Blood” even though he was not an official nominee (John Ford won for “The Informer”). That alone says a lot about Curtiz’s exceptional work on this film.
“Captain Blood” was the second film Curtiz directed with Flynn (the first being “The Case of the Curious Bride”), and they’d work together in ten more movies. Curtiz was notoriously tough (called sadistic by some), and in his autobiography Flynn had this to say: “The direction of ‘Captain Blood’ was assigned to Michael Curtiz. I was to spend five miserable years with him, making ‘Robin Hood’, ‘Charge of the Light Brigade’, and many other films. In each he tried to make all scenes so realistic that my skin didn’t seem to matter to him. Nothing delighted him more than real bloodshed”. The two would argue, fight, and once, after being cut on the face by a sword missing its protective guard (which Flynn found out Curtiz had removed), Flynn nearly strangled Curtiz to death. That experience ended their relationship, as Flynn explained, “I decided it wiser not to work with this highly artistic gentleman who aroused my worst instincts”. As much as they didn’t get along, together they made many of the best films in of each of their careers. Despite his ill temperament, Curtiz directed well over a dozen classics, four others are already on this blog and where you can read more about the life and career of Michael Curtiz: "Casablanca"; "The Adventures of Robin Hood"; and especially "Mildred Pierce”.
Along with Flynn and Curtiz, there is a third critical element that makes “Captain Blood” a masterpiece, and that’s Olivia de Havilland as “Arabella Bishop”, the vivacious, headstrong niece of the evil “Colonel Bishop”. Though beautiful and refined, “Arabella” quickly proves she’s more than a dainty woman with a lace umbrella. She speaks her mind without hesitation, boldly criticizes “Dixon” at the slave auction and shows disgust when her uncle buys men “as if he were buying horses”. De Havilland shows “Arabella’s” quiet strength through warmth, kindness, and sharp wit, especially when violating propriety and buying “Peter” to save him. Her defiantly joyous bidding blends comedy and drama, showcasing de Havilland’s natural, convincing acting talent. Though “Arabella” isn’t onscreen the entire film, her presence is felt throughout, adding depth and making “Captain Blood” a standout romance as well as an action film. She brings emotional weight to the story without disrupting its playful tone — a delicate balance she strikes beautifully. Like Flynn, “Captain Blood’ soared her to stardom.
De Havilland’s chemistry with Flynn is electric, and the way they complement one another is one of the high points of this film. Our first glimpse is when "Peter" and "Arabella" first meet after he's been sold to her. Both fearless, and neither good at mincing words, he is impertinent about being bought, and having saved his life, she tells him “You could learn a lesson in gratitude”, to which he retorts, “I could thank you for not interfering”. Underneath their taunting is visible attraction, respect, and lots of intrigue, as they start their cat and mouse romance. Later, when alone riding horses, the effects they have on one another become clear, as he softens when finally telling her she’s an “angel”, and she's flustered by it — but only momentarily, before they put their guards back up and throw more barbs. De Havilland’s inner strength can go toe-to-toe with Flynn’s roguish charm, and together they electrify the screen. They are so tantalizing, one can’t wait to see them end up together. Audiences at the time felt the same, and the two became one of the screen’s greatest romantic pairs.
De Havilland and Flynn first met at their screen-test for "Captain Blood", and there was instant attraction. As Flynn recalled, "I tested with a young woman of extraordinary charm, Olivia de Havilland. She was only nineteen then, with warm brown eyes, a soft manner". De Havilland spoke of it the 2006 documentary, "The Adventures of Errol Flynn": "I reported to the set and saw this tall young man in costume , ready to make his test. We were very formal with each other, but I thought, 'Oh, oh. He's the handsomest, most charming, most magnetic, most virile young man in the entire world". That mutual respect and attraction registered onscreen. Also adding to their blistering chemistry was the fact that, though they may have wanted to (and Flynn reportedly tried), they never consummated their friendship. Their give and take banter in this film set the tone for their onscreen romances, and they appeared in eight films together (nine including separate cameo roles in 1943’s “Thank Your Lucky Stars”), seven of which were directed by Curtiz.
After performing in school productions like "Pride and Prejudice" and "The Merchant of Venice", Olivia de Havilland landed the role of “Puck” in a 1934 stage production of "A Midsummer Night’s Dream" directed by renowned Austrian director Max Reinhardt. When Reinhardt was asked to direct the film version for Warner Brothers, he asked her to reprise her role, but it required signing a studio contract. Aspiring to become a “serious” actress, she hesitated, but because the film was Shakespearean, she agreed. Her next roles were far from Shakespeare — playing charming ingénues in the 1935 Joe E. Brown comedy "Alibi Ike" and "The Irish in Us". At this point Warners was scrambling to cast "Captain Blood", and de Havilland had the good fortune to screen-test opposite Flynn, and they were both instantly cast. Like Flynn, “Captain Blood” made her a star. And while her roles opposite Flynn would have been enough to grant her immortality, she tired of being typecast as a love interest or sweet heroine and fought for meatier roles. It took her until 1939 to start getting them, and by the end of the 1940s, she was one of Hollywood’s premiere actresses and a two-time Best Actress Oscar winner. You can read more about Olivia de Havilland in my previous posts on “The Heiress”, "Hold Back the Dawn", "Gone with the Wind", "The Adventures of Robin Hood", as well as a tribute to her on the day she died (which you can read HERE).
Yet another factor that makes “Captain Blood” so special is the film’s majestic score by Erich Wolfgang Korngold. His music contains rousing, heroic, and melodic motifs that elevate the sword fights, sea battles, drama, comedy, and romance so triumphantly, it set the mold for Hollywood adventure scores. Like Curtiz, Korngold earned an unofficial Best Music Score Oscar nomination from write-in ballots, coming in third place. Korngold was brought to Hollywood to adapt music for the 1935 film version of "A Midsummer Night's Dream", and was then asked to write an original score for "Captain Blood", which he declined until he saw footage of Flynn and de Havilland. He wrote it in three weeks, and it became Korngold's first fully symphonic score. He went on to write many classic scores for many classic films, and you can read about the life and career of Erich Wolfgang Korngold in my post on "The Adventures of Robin Hood".
Let us not forget "Captain Blood's" phenomenal supporting players, which certainly includes Basil Rathbone as renowned French pirate “Captain Levasseur”, a lover of fighting, gambling and women. Rathbone has his own suave presence and dangerous edge, and when he flashes a smile, one can feel something devious behind it, making him the perfect villain. Even “Peter” knows it’s a mistake to do business with him, and their epic sword fight is a highlight of the film. Their fight may be brief, but the excitement from their swordplay made it the foundation for all subsequent movie sword fights.
After a successful career on the British stage, South African-born Basil Rathbone made his way to Hollywood and began working in movies in 1923. By the time of “Captain Blood”, he was already recognizable to audiences, having been typecast as debonair villains in period films such as “David Copperfield” and “A Tale of Two Cities”. A former two-time fencing champion, he became labeled Hollywood’s greatest swordsman (he taught Flynn how to fence). Rathbone soon became a star in his own right, known for his gallant demeanor, authoritative voice, and immense talent. He worked again with Curtiz, Flynn, and de Havilland in 1938’s “The Adventures of Robin Hood”, which contains another iconic sword fight between Rathbone and Flynn (longer and in Technicolor), and worked one last time opposite Flynn in 1938’s “The Dawn Patrol”, this time without a sword. You can read more about the life and career of Basil Rathbone in my post on “The Adventures of Robin Hood”.
Ross Alexander plays “Jeremy Pitt”, “Peter’s" friend and ship navigator. One of the more substantial supporting characters, “Pitt” inadvertently gets “Peter” into trouble, becomes a fellow slave, a shipmate, and ship navigator. He goes through his own emotional ride, during which Alexander does a fine job showing us this man’s vulnerability.
Brooklyn-born Ross Alexander began acting in high school, started in regional theater, and made it to Broadway in 1920’s “Enter Madame”. After his film debut in Paramount Pictures 1932’s “The Wiser Sex”, he returned to the stage before signing with Warner Brothers, where he gradually rose to the verge of stardom through supporting roles in musicals, comedies, and dramas. Despite his budding screen career, his personal life was troubled with mounting debts, personal turmoil, and having to hide his homosexuality. According to David Bret's book "Errol Flynn: Satan's Angel", Flynn and Alexander had a fling while making "Captain Blood" — which could certainly be true given Flynn's known promiscuity with men and women, but who knows. In any case, they certainly have a wonderfully tender onscreen chemistry. Alexander made just 17 films in his short life, including “A Midsummer Night’s Dream”, “China Clipper”, "We're in the Money", and his final, 1937’s “Ready, Willing and Able”. Thought to be a matter of convenience, he married three times. His second wife committed suicide less than two years after they wed, which he never got over. Less than a year later, he married actress Anne Nagel, and for reasons that can only be speculated, less than four months later, took a gun to his head and killed himself. Ross Alexander died in 1937 at the age of 29. Warner Brothers reportedly collected all of his letters, writings, and personal documents to avoid controversy.
Many Warner Brothers studio contract players (actors under contract who appeared in film after film after film) fill out supporting roles in “Captain Blood”, and are faces classic movie watchers are bound to recognize. One of those is Guy Kibbee who plays “Henry Hagthorpe”, the master gunner on the ship (though he might not be immediately recognizable given his blonde wig). Kibbee began working in movies in 1931, and by “Captain Blood”, had already appeared in just over fifty films. He worked at different studios and signed with Warners in 1935. You can read more about Guy Kibbee’s life and career in my previous posts on "42nd Street” and "Mr. Smith Goes to Washington”.
Another familiar face in “Captain Blood” (that might be hard to place due to a long brunette wig) is Donald Meek who plays “Dr. Whacker”, one of the two doctors treating the “Colonel” for gout. Meek specialized in playing meek, nervous characters, and does so with his usual comedic flair in “Captain Blood”. It’s a brief role, but his presence is certainly felt. In life Donald Meek was reportedly anything but meek, having fought in two wars, was an avid boxer, worked as an acrobat (turning to acting after an injury), and a hobby in criminology. He appeared in over 120 films between 1929 and 1947, including two already on this blog, "You Can't Take It with You" and "Stagecoach", and you can read a bit more about Donald Meek in my post on the latter.
The last actor I’ll mention is Mary Forbes who plays “Mrs. Steed”, the “Governor’s” wife. “Mrs. Steed” hardly appears, but is a great example of the value actors in bit roles add to a movie. Her presence helps us believe the “Governor” has a life outside of what we see, and she also serves as a reminder of the upper English class, of which “Arabella” is a part. Though she's barely seen or heard, the film would be lacking without her presence. Forbes was a prolific English actor who graced about 140 films between 1919 and 1958, sometimes in supporting roles, and many times in roles like this, where she has little screen time and no closeups. Mary Forbes has been in many classics, including four already on this blog, "You Can't Take It with You”, "Stage Door", "The Picture of Dorian Gray”, and “Bombshell”, and you can read a bit more about her in each of those, particularly the latter.
“Captain Blood” was an enormous commercial and financial success which prompted a cycle of swashbuckler films into the early 1950s, with Flynn as the genre’s iconic figure. In addition to its Best Picture Academy Award nomination and write-in nominations for Best Director and Best Musical Score, “Captain Blood” also earned an official Oscar nomination for Best Sound Recording (Nathan Levinson), and an unofficial write-in nomination for Best Screenplay (Casey Robinson - who came in 3rd). The Best Picture Oscar that year went to "Mutiny on the Bounty”.
Forget heavy themes, dark drama, and artsy film techniques — this week’s classic is pure popcorn perfection. Enjoy “Captain Blood”!
This blog is a (currently triweekly) series exploring classic films from the silent era through the 1970s. Each post recommends a film to watch, aiming to entertain, inform, and deepen your appreciation of cinema — its stars, directors, writers, the studio system, and more. Be sure to visit the HOME page to learn more, subscribe for email updates, and check out THE MOVIES page for a full list of films. Please comment, share with others, and subscribe so you never miss a post. Thanks for reading!
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What a marvelous entertaining movie! I enjoyed very much, as you very well said it "thrilling action, sizzling romance, and bountiful playfulness!" The characters and performances are relatable and charming! Olivia and Errol are magnetic to watch! And I got shocked about the sword anecdote between the director and the actor! Thank you Jay for this amusing Film!
Wonderful article on this movie. Would love to see it again. Thank you for including it here.
Great movie and great actors. They sure don't make em like that anymore. Always loved Flynn in his early movies. Near the end he was not quite the best. Thanks for posting Jay.
Stuart
I know length has to be a consideration as you write about any movie, but no mention of Lionel Atwill and Henry Stephenson, two superb character actors who brought their all to "Captain Blood"? I really enjoy your articles!