Sat 18 Oct 2014
THE SEA HAWK. First National Pictures, 1924. Milton Sills, Enid Bennett, Lloyd Hughes, Wallace MacDonald, Marc MacDermott, Wallace Beery, Frank Currier, Medea Radzina, William Collier, J. Lionel Belmore. Based on a novel by Rafael Sabatini. Director: Frank Lloyd. Shown at Cinefest 26, Syracuse NY, March 2006.
The Sea Hawk was a substitution for the originally scheduled L’Argent (1929; Marcel L’Herbier, director) L’Argent was certainly the film I was looking forward to with the most anticipation. However, although I’d seen The Sea Hawk more than once and have a Turner showing on tape, I didn’t miss the opportunity to watch it again.
Some of you will be familiar with the Errol Flynn remake (WB, 1940), although the silent version is more faithful to Sabatini’s novel than the later version, which eliminates the extensive Moorish section that’s one of the glories of this film.
When Sir Oliver Tressilian (Sills) is betrayed by his villainous younger brother and delivered into the greedy hands of rascally Jasper Leigh (Beery), his Christian upbringing is so damaged by his sense of outrage that when he falls into the hands of Moorish pirates, he quickly becomes Sakr-el-Bahr, the “Sea Hawk,” Muslim scourge of the high seas, and the favorite of Asad-el-Din, Sasha of Algiers, much to the chagrin of the Sasha’s favorite wife and heir apparent son.
Enid Bennett, the lovely star of Hairpins, and Sir Oliver’s intended bride until his betrayal, is imprisoned in unbecoming costumes that mask her beauty until she’s captured by Moorish pirates (guess who?) and put up for auction, her clothes in tatters that reveal something of her native charms, and sold to… guess who again?
Beery is a rascal, but lovable, and Sills is a splendid corsaire, with a focused rage that distinguishes his portrayal from that of the rakish, devil-may-care Flynn. I like both portrayals and both films.
Now, the downside: this was, for much of the screening, an inferior print that only occasionally incorporated a reel of superior quality, most notably during the Moorish episodes. Of course, I missed the great score that Korngold composed for the sound remake, but the accompanist was more than competent.