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Against All Flags
1952 film poster by Reynold Brown
Directed byGeorge Sherman
Douglas Sirk
Written byJoseph Hoffman
Aeneas MacKenzie
Produced byHoward Christie
StarringErrol Flynn
Maureen O'Hara
CinematographyRussell Metty
Edited byFrank Gross
Music byHans J. Salter
Production
company
Distributed byUniversal Pictures
Release date
  • December 24, 1952 (1952-12-24) (New York City)
Running time
84 minutes
CountryUnited States
LanguageEnglish
Box office$1.6 million (US)[2]
1,993,068 admissions (France)[3]

Against All Flags is a 1952 American pirate film directed by George Sherman, with uncredited assist from Douglas Sirk. It features Errol Flynn as Lt. Brian Hawke, Maureen O'Hara as Prudence "Spitfire" Stevens, and Anthony Quinn as Roc Brasiliano. The film is set in 1700, on the coast of Madagascar.

Plot

[edit]
L-R: John Alderson, Errol Flynn and Phil Tully

British naval officer Brian Hawke volunteers with two other seamen to infiltrate a pirate base on Madagascar. When they arrive, however, they arouse suspicion. One pirate captain, Roc Brasiliano, orders Hawke before a tribunal to decide his fate. Meanwhile, Hawke has caught the eye of Spitfire Stevens, the only woman among the Coast Captains, which arouses Brasiliano's jealousy. To prove himself at the tribunal, Hawke wins a duel with another pirate and his case is dismissed. He then joins Brasiliano's crew.

While cruising the shipping lanes, they capture a Moghul vessel crammed with vast wealth. Patma, the daughter of the Moghul Emperor, disguised by her chaperone as just another woman, is left aboard the burning vessel. When Hawke rescues her, Patma falls in love, revealing he is only the third man she has ever seen. Back on Madagascar, Patma is put up for auction. Spitfire outbids Hawke, who only wanted to protect her from the other pirates. Later, Spitfire tells Hawke she's leaving her criminal life behind, and wants Hawke to accompany her to Britain via Brazil. Brasiliano's hatred for Hawke grows, but Hawke is more concerned with completing his mission. He steals a map of the pirates' defenses. It is planned that a Royal Navy warship will sail into the harbour, with Hawke disabling the coastal cannons. Hawke signals the British ship with a flare and makes sure Patma is ready to be rescued.

Unfortunately, Hawke's plans are uncovered by Brasiliano. Hawke and his two accomplices are tied to a stake on the beach to be bitten by crabs and drowned, but Spitfire saves them. At that moment, a British warship enters the bay. The pirates expect to easily sink it, but to their surprise their cannons explode, having been double-shotted. Faced with imminent defeat and execution, Brasiliano uses the princess as a human shield to sail away. However, Hawke and his men slip aboard, rescue the hostage and fight off the crew with Spitfire's help. Hawke eventually duels and kills Brasiliano. After the battle, he requests and is granted Spitfire's freedom, and the two kiss.

Cast

[edit]

Production

[edit]

Development

[edit]

The film was originally written by Aeneas MacKenzie and director Richard Wallace as a vehicle for Douglas Fairbanks Jr., who had just made Sinbad the Sailor with Wallace. In January 1950 it was announced Fairbanks would make the film for his own company in April or May in Hollywood once he finished making State Secret in England.[4]

However, the film was not produced and Aeneas MacKenzie sold his original script to Universal in July 1950. Alexis Smith and Yvonne De Carlo were mentioned as possible female leads and Jack Gross was assigned to be the producer.[5][6] The script featured a number of tropes familiar to pirate movies of the time, including a female pirate; it was based on genuine historical characters and situations but very loosely.[7]

William Goetz, head of production, put the project on the shelf until he could find the right star. In August 1951 Errol Flynn signed a one-picture deal with the studio to make the film.[8]

Under his contract with Warner Bros., Flynn was allowed to make one film a year for an outside studio. His contract with Universal meant Flynn was entitled to a percentage of the profits.[9] Filming was delayed so Flynn could make Mara Maru at Warners. During this time the script was rewritten by Joseph Hoffman and Anthony Quinn signed early on as the villain.[10] By November, Howard Christie was set as producer, George Sherman as director and Maureen O'Hara the co-star.[11]

Sherman later wrote that Flynn was unsure about the scene where he fenced against a woman. He said "I'm supposed to be the bravest guy on screen? How could I fight a woman?" Sherman had worked with O'Hara before and assured him she was capable of holding her own "with a sword, a gun or her fists if need be" and warned Flynn he needed to be in shape.[12]

Shooting

[edit]

Filming began in January 1952 on a soundstage at Universal Studios in Los Angeles. Location footage was shot at Palos Verdes, California. It was Flynn's last Hollywood swashbuckler, as his next three (The Master of Ballantrae, The Dark Avenger, and the never-finished The Story of William Tell) were made in Europe.[13]

Flynn exercised an increased degree of authority on set as a result of changes to his contract. One change stipulated that he could stop working at 4.00 pm, by which time he would become inebriated.[14][15]

Maureen O'Hara was wary of working with Flynn after he made an amorous advance on her years before. However, she recalled that by the end of filming, "he had won me over. I respected him professionally and was quite fond of him personally. Father Time was slowly calming his wicked, wicked ways, and deep within that devilish rogue, I found a kind and fragile soul."[16]

O'Hara said that Flynn "was a pro [who] came to work prepared. He rehearsed hard and practised his fencing sequences very meticulously."[16] O'Hara did admit Flynn drank on set, often smuggling in alcohol by injecting it into oranges. She stated, "Everything good that we got on film was shot early in the day." However, Flynn would start drinking by morning and by 4 pm, he was of no use. O'Hara had to perform many of her close ups for love scenes opposite a black flag with an "x" on it while a script girl read his lines. "It was hard to watch him, very frustrating, but you forgave him because what he had given you earlier in the day had been so terrific."[17]

On 1 February Flynn broke his ankle during filming, with ten more days of filming still to be completed, most of it featuring Flynn. This meant completion of the movie had to be delayed.[15][18] The ship which had been used in the film had been transformed for the film Yankee Buccaneer and had to be converted back.[19][20]

On April 18 Flynn returned to shoot the remaining sequences over two days. Because director George Sherman was working on Willie and Joe Back at the Front by then, the scenes were shot by Douglas Sirk.[21]

Anthony Quinn said that he and O'Hara began an affair while making Sinbad the Sailor (1947), and every time they worked together again (on Against All Flags, The Magnificent Matador), they would resume their affair temporarily.[22]

The pirate characters include "Capt. Black Death", a Black pirate captain played by Emmett Smith. This casting has been described as a comparatively "progressive statement on racial equality for its time."[23]

Reception

[edit]

Critical

[edit]

The New York Times said Flynn "is a singular man among men and Maureen O'Hara... who is beautiful putty in his hands."[24]

The Chicago Tribune called it "routine and ridiculous".[25]

Filmink magazine called it "a marvellous return to form" for Flynn, being "colourful, escapist entertainment, with a strong script and top-notch cast. Sure, Errol looks dissolute and seedy but he's still dashing with a twinkle in his eye, and this is easily one of his best movies from the 1950s."[26]

Box Office

[edit]

O'Hara said the film made "a pot of money".[17] According to Variety it earned $1.6 million in gross rentals in North America in 1953.[2] Despite this Flynn did not work again for Universal for a number of years, leaving the US to live in Europe; he was reunited with the studio on Istanbul.[7]

Remakes

[edit]

The film was remade in 1967 as The King's Pirate.

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Against All Flags

View on Grokipedia
from Grokipedia
Against All Flags is a American swashbuckling directed by George Sherman, with uncredited assistance from on swordplay scenes, and produced by Universal-International Pictures. Set in 1700, the story follows British naval officer Brian Hawke, who poses as a deserter to infiltrate the pirate stronghold of Libertatia on the island of and dismantle its operations threatening trade routes to . The film stars in the lead role as Hawke, as the tough pirate captain Prudence "Spitfire" Stevens, and as the ruthless pirate leader Roc Brasiliano. Supporting roles include as Molvina MacGregor, protector of the imprisoned Princess Patma (Alice Kelley), and as Hawke's commanding officer, Captain Kidd. Filmed with a runtime of 83 minutes, production faced delays when Flynn broke his ankle during a swordfight scene, postponing filming by five months. Despite this, Flynn performed many of his own stunts, including a daring sequence where his character rides down a . Released on December 25, 1952, following a New York premiere the previous day, Against All Flags exemplifies the era's pirate genre with its blend of action, romance, and humor, taking a approach to its plotting. The film was later remade as The King's Pirate in 1967, updating the story with a similar infiltration plot.

Synopsis

Plot summary

In 1700, pirates based in the Republic of Libertatia on the coast of threaten British shipping routes to . To dismantle this stronghold, Lieutenant Brian Hawke of the Royal Navy volunteers for an undercover mission, allowing himself to be court-martialed and publicly flogged with 20 lashes as punishment for , thereby posing as a disgraced deserter cast adrift with two loyal crewmates, Harris and Jones. Their small boat washes ashore at Libertatia, where they are captured by pirates and brought before the Captains of the Coast, a council of pirate leaders including the ruthless Captain Roc Brasiliano, to prove their worthiness to join the crew. Hawke's group gains acceptance after participating in a fierce brawl against skeptical , demonstrating their fighting prowess. Once inside the fortress, Hawke encounters "Spitfire" Stevens, a bold and independent female pirate who has inherited command of her late father's ship and sails as one of the few women in the pirate ranks. Drawn to her fiery spirit, Hawke begins a romantic pursuit, charming her despite her initial distrust, while Brasiliano, who also desires Stevens and covets her ship, grows increasingly jealous and assigns spies to monitor Hawke's activities. Meanwhile, Hawke secretly searches for a detailing the island's hidden defenses, including its formidable cannon placements that make Libertatia nearly impregnable. Complicating matters, Brasiliano leads a raid on an vessel, capturing a young , Patma, whom he intends to hold for ransom. Hawke intervenes during the chaos, rescuing Patma from harm and hiding her aboard Stevens' ship, where she develops an unrequited affection for him. Tensions escalate in shipboard confrontations when Brasiliano accuses Hawke of treachery after discovering inconsistencies in his story, leading to a and further suspicion among the pirates. Stevens, torn between her loyalty to the pirate life and her growing feelings for Hawke, begins to question Brasiliano's brutal leadership. In a key , one of Brasiliano's men uncovers evidence of Hawke's true identity, prompting a hunt for the spies. As the British man-o'-war lurks offshore awaiting Hawke's signal, Harris and Jones the fortress's cannons under cover of night, neutralizing the primary defense. Hawke confronts Brasiliano in a climactic swordfight atop the battlements during the final assault, where British forces storm the beaches and breach the walls amid cannon fire and . Stevens sides with Hawke, redeeming her pirate past by aiding the British and rejecting Brasiliano, who is killed in the fray. With the stronghold destroyed and the pirates routed, Hawke reveals his naval commission, secures Stevens' hand in marriage, and escorts the freed Patma back to her people, concluding the mission successfully.

Themes and style

Against All Flags explores themes of anti-piracy through its portrayal of a British naval officer infiltrating a pirate stronghold on to dismantle their fortifications, symbolizing the imposition of colonial order on chaotic lawlessness. This narrative underscores the moral imperative of imperial intervention against , with the hero's mission representing British naval authority's triumph over disorder. The film intertwines romance amid adventure, as the protagonist's undercover role sparks a passionate relationship with a female pirate captain, blending high-stakes action with emotional tension to heighten the swashbuckling escapades. Gender roles are central, particularly in the depiction of Spitfire Stevens, a formidable female pirate who defies conventions by leading men and engaging in combat, highlighting in a male-dominated world. Stylistically, the film employs vibrant cinematography by to capture the exotic allure of pirate locales and intensify the spectacle of sea battles, creating a visually immersive experience that enhances the adventurous tone. Errol Flynn's signature swordplay features in dynamic sequences, showcasing agile and acrobatic stunts that define his heroic , while Maureen O'Hara's proficient sword-fighting adds authenticity to the action. Uncredited contributions from director infuse dramatic tension into key confrontations, elevating the emotional stakes beyond mere adventure. As a , Against All Flags adheres to genre tropes of exaggerated heroism, with the embodying chivalric valor against villainous foes in exotic settings like the pirate haven of Libertatia. Moral binaries are stark, pitting British imperial order—exemplified by disciplined —against the anarchic chaos of , as seen in climactic sieges and personal duels that resolve in favor of righteousness. These elements, including banter-filled romances and larger-than-life antagonists, fulfill audience expectations for escapist thrills while upholding clear ethical dichotomies.

Cast and characters

Principal cast

Errol Flynn stars as Lieutenant Brian Hawke, a daring British naval officer who infiltrates a notorious pirate stronghold on the coast of Madagascar in 1700. At age 43, Flynn drew on his established swashbuckling persona from earlier successes like Captain Blood (1935) and The Adventures of Robin Hood (1938) to portray Hawke's resourceful heroism, though his career was waning amid ongoing personal struggles with alcoholism and a tarnished reputation from prior legal troubles. Maureen O'Hara portrays Prudence "Spitfire" Stevens, the bold and independent pirate queen who commands respect among her lawless crew and becomes a key romantic interest for Hawke. Then 32 years old, O'Hara brought her signature fiery intensity to the role, building on her experience in adventure films such as The Black Swan (1942), where she also played a strong-willed pirate figure; this marked her only on-screen collaboration with , showcasing their chemistry in a tale of intrigue and redemption. Anthony Quinn plays Captain Roc Brasiliano, the ruthless and charismatic pirate leader whose tyrannical rule drives much of the film's conflict and tests Hawke's undercover mission. At 37, Quinn infused the antagonist with brooding menace, leveraging his recent Academy Award for Best Supporting Actor for Viva Zapata! (1952), which had elevated his status as a versatile performer of intense, earthy characters.

Supporting roles

Mildred Natwick delivers a memorable performance as Molvina MacGregor, the steadfast chaperone to the kidnapped Princess Patma (Alice Kelley), infusing the narrative with wry humor and maternal protectiveness that contrasts the swashbuckling action. embodies the notorious pirate , whose authoritative presence among underscores the historical peril of the pirate republic. plays the menacing pirate Gow, a brutish enforcer whose rough demeanor heightens the tension in key confrontations. Additional supporting players, including John Alderson as the loyal officer , Phil Tully as the crewman Jones, and Lester Matthews as the scheming pirate Sir Cloudsley, collectively populate the film's vivid depiction of lawless , enhancing the sense of a sprawling, multi-faceted pirate enclave. Numerous uncredited performers filled out the ensemble as pirates, British officers, and sailors, such as Abdullah Abbas and Emile Avery as pirates, as an officer, and as a lookout, contributing essential background bustle to scenes of shipboard life and brawls. work bolstered the film's dynamic action, with performers handling perilous sequences involving duels, fire, and ship explosions; while lead actor executed many of his own stunts for authenticity, a double substituted for the high-risk rapier-slide through a . The production relied on seasoned character from Universal-International's roster to craft its , ensuring efficient world-building through familiar faces in ethnic and rugged pirate roles, though no major changes or omissions were reported during filming. These supporting elements, including comic interludes from figures like Molvina MacGregor, provide levity and contextual depth to the central romantic and heroic arcs.

Production

Development and pre-production

Universal-International Pictures initiated development on Against All Flags as a swashbuckling adventure film centered on 18th-century operating from the coast of , acquiring the original story in screenplay form from writer MacKenzie in July 1950. The studio shelved the project for two years while searching for an appropriate lead actor to capitalize on the genre's established appeal. MacKenzie's narrative drew loose inspiration from historical accounts of pirate strongholds in the region, particularly the legendary utopian colony of Libertatia, a purported 1690s settlement founded by figures like Captain James Misson and , as chronicled in early 18th-century texts like Captain Charles Johnson's A General History of the Pyrates. In August 1951, production head announced the film's greenlight, securing on a one-picture loanout from to star as Lieutenant Brian Hawke, a role tailored to Flynn's iconic persona established in films like Captain Blood (1935). Howard Christie was assigned as producer. This casting decision aimed to revive interest in pirate-themed adventures amid the post-World War II resurgence of spectacles at major studios. Screenwriter Joseph Hoffman was then assigned to adapt MacKenzie's story into the final , refining the plot of a British naval officer infiltrating a pirate enclave. Pre-production advanced rapidly following the announcement, with studio executives scheduling production to begin within weeks to leverage the completed script and Flynn's availability. Director George Sherman, known for his work in Westerns and action genres, was selected to helm the project, bringing his experience with fast-paced adventure films to the planning phase.

Filming locations and techniques

Principal photography for Against All Flags took place primarily on soundstages at Universal Studios in , where ship sets were constructed for interior and deck scenes depicting pirate vessels and naval ships. Filming, originally planned for late 1951, was delayed until early January 1952 to accommodate Flynn's commitment to Mara Maru (1952) at Exterior shots representing the coastline were filmed on location at Palos Verdes, California, utilizing the area's rugged cliffs and coastal terrain to stand in for the remote of Libertatia. The production employed for vibrant visuals of sea battles and tropical settings, with cinematography by capturing the swashbuckling action in a 1.37:1 . Practical effects were used extensively for fire, achieved through controlled on the built ship sets, and for dynamic sword fights choreographed with meticulous rehearsals. insisted on performing his own stunts, including a daring single-take descent down a in homage to ' The Black Pirate (1926), despite his advancing age and health concerns. Filming was scheduled to wrap by mid-February but faced significant challenges when broke his ankle during a routine swordfight scene on February 1, 1952, after slipping on a wet surface. This injury halted production for approximately six weeks, requiring to return in a special cast that allowed filming of upper-body shots and limited mobility with a cane. The injury extended the shoot by about two to three months, with additional swordplay scenes directed by on April 18–19, 1952. also participated in demanding action sequences, including , performing her own stunts convincingly, drawing on her athletic background from youth .

Release and distribution

Theatrical release

Against All Flags had its world premiere at the Theatre in on December 24, 1952. Distributed by Universal-International, the film was released across the on December 25, 1952. Running 83 minutes and shot , it capitalized on the era's enthusiasm for swashbuckling adventures. Marketing efforts highlighted Errol Flynn's established persona as a dashing hero, with promotional posters featuring dynamic imagery of fights, pirate ships, and Flynn alongside to evoke the excitement of the pirate genre's resurgence in cinema. These materials, including one-sheets and lobby cards, were distributed through Universal-International's network to theaters nationwide, positioning the film as a holiday-season spectacle blending action and romance. The international rollout included a release in 1953. In , dubbed versions in languages such as French and German were prepared to broaden accessibility, aligning with standard Hollywood export practices for non-English markets. Some territories implemented minor adjustments to tone down violent sequences, including duels and battle scenes, to comply with local ratings boards. The film's promotion abroad similarly emphasized its visuals and star power, contributing to modest success that supported further Universal-International pirate-themed productions.

Home media and restorations

The film was first made available on home video in 1987 through a VHS release by MCA/Universal Home Video. A LaserDisc edition followed in 1988, also distributed by MCA/Universal as part of their Encore Edition series. In 2007, Universal Studios issued Against All Flags on DVD as part of the Pirates of the Golden Age collection, which included bonus features such as original theatrical trailers for the included films. A high-definition Blu-ray release arrived in 2020 from Studio Classics, featuring a new restoration that revitalized the film's original cinematography and addressed issues like color fading from age. The edition provided improved video quality with enhanced detail and audio, marking a significant upgrade over prior home media versions. As of 2025, the film is accessible for digital rental or purchase on platforms including . It also remains available through retailers for both DVD and Blu-ray formats.

Reception

Contemporary reviews

Upon its release in late 1952, Against All Flags received generally favorable reviews from critics who appreciated its lively action, vibrant production values, and the charismatic leads, viewing it as solid escapist fare in the tradition. Variety praised the film's "tongue-in-cheek attitude toward the derring-do of pirates and the British Navy," emphasizing Errol Flynn's vigorous performance and the effective blend of romance, intrigue, and swordplay that kept the adventure engaging despite familiar plotting. The New York Times highlighted Maureen O'Hara's commanding presence as the fiery pirate Spitfire Stevens, describing her as a "jealous and discerning spitfire" whose tough exterior melts under Flynn's influence, making her "beautiful putty in his hands," while noting Flynn's adept handling of the action and romantic elements in this standard Hollywood marine adventure. Some reviewers pointed to the film's derivative elements, echoing tropes from Flynn's earlier pirate roles, though its energetic pacing and O'Hara's spirited portrayal mitigated criticisms of formulaic dynamics where the female lead ultimately yields to the . Overall, contemporary assessments positioned Against All Flags as enjoyable entertainment, with no aggregated score available from modern platforms like for the , but trade publications echoed the sentiment of it being a colorful, action-packed pirate yarn suitable for broad audiences.

Modern assessments

In the 21st century, Against All Flags has been reevaluated through contemporary lenses, with critics and audiences appreciating its vibrant cinematography and swashbuckling energy while questioning its dated portrayals of and . On platforms like , where it holds an average rating of 3.2 out of 5 from over 1,200 user reviews, recent assessments from the 2020s highlight the 's visual spectacle, such as its lush greens and dynamic action sequences, as a highlight of adventure cinema. However, some reviewers its handling of non-white characters and dynamics, noting the problematic stereotypes inherent in its pirate narrative set against a colonial backdrop of British imperialism in . As of November 2025, has no Tomatometer score, based on 4 critic reviews. Scholarly analyses position Against All Flags as a capstone to Flynn's swashbuckler era, marking his final major role in the genre amid his declining career due to personal struggles. In Thomas McNulty's 2004 biography Errol Flynn: The Life and Career, the film is discussed as a routine but entertaining Universal production that showcased Flynn's enduring charisma opposite O'Hara, though it reflected the studio's cost-cutting measures and Flynn's physical wear. Feminist readings of O'Hara's character, Prudence "Spitfire" Stevens—a fierce pirate queen who ultimately submits to feminization—have gained traction in the #MeToo era, interpreting her arc as emblematic of mid-century constraints on female agency in Hollywood adventure films. For instance, a 2014 academic essay in Jump Cut examines how such portrayals reinforce patriarchal and colonial norms by transforming independent women into domesticated figures within imperial narratives. Regarding preservation, Against All Flags has not been inducted into the , which prioritizes culturally significant works, but it is documented in the American Film Institute's catalog as a key example of the subgenre within adventure films. As of November 2025, discussions around its streaming availability underscore its niche relevance, with the film available for rent or purchase on platforms like Prime Video, where it appeals to classic film enthusiasts seeking escapism amid modern pirate revivals.

Legacy

Remakes and adaptations

The 1952 film Against All Flags was remade in 1967 as The King's Pirate, a production directed by . Starring in the role of the undercover British naval officer originally played by , the remake features as the strong-willed female pirate and as the ruthless pirate captain, echoing Anthony Quinn's antagonist. The plot closely parallels the original, centering on Lieutenant Brian Fleming's mission to infiltrate a pirate stronghold on the coast of , where he navigates treachery, romance, and swashbuckling action to dismantle the criminal operation. Unlike the original's straightforward tone, The King's Pirate incorporates comedic elements and a lighter, more humorous style reflective of family-oriented filmmaking, with genres listed as both and . Casting choices drew inspiration from the film's stars, positioning McClure as a charismatic successor to Flynn's roguish . No official sequels to Against All Flags have been produced, and as of 2025, no further remakes or direct adaptations exist beyond The King's Pirate.

Cultural influence

Against All Flags played a key role in solidifying the genre's formula during the , a decade that marked the peak of pirate film popularity with over two dozen productions. The movie incorporated enduring tropes such as impregnable pirate fortresses and romantic tensions between naval officers and female pirates, which helped shape the adventure-romance hybrid seen in subsequent Hollywood offerings. These elements, including visual stunts like sail-sliding sequences borrowed from earlier swashbucklers, were later echoed in Disney's franchise starting in 2003, where fortress assaults and cross-gender romantic dynamics form core narrative components. The film also highlighted Errol Flynn's evolving legacy as a swashbuckling , representing one of his final forays into the genre amid a career shift toward more mature, character-driven roles in the post-war era. Biographies note that Against All Flags showcased Flynn's enduring charisma despite his age and personal challenges, influencing retrospectives on his transition from youthful heroics in films like Captain Blood (1935) to nuanced performances in later adventures such as The Master of Ballantrae (1953). In film history contexts, Against All Flags is studied for its exemplary use of , which amplified the vivid spectacle of pirate adventures and contributed to educational discussions on mid-century in swashbucklers. The production's cinematography by , praised by historians for its lush depiction of exotic locales, underscores its place in courses examining Hollywood's color revolution during the . The script loosely drew from the historical pirate republic of Libertatia on Madagascar's coast around 1700, a real haven for disrupting trade routes. By 2025, renewed streaming availability on platforms like Prime Video has aligned with broader cultural revivals of pirate themes, paralleling interactive experiences in games such as that emphasize exploratory seafaring and fortress sieges.

References

  1. https://www.tcm.com/tcmdb/title/66894/against-all-flags
  2. https://www.imdb.com/title/tt0044333/
  3. https://www.imdb.com/title/tt0044333/plotsummary/
  4. https://dennisschwartzreviews.com/against-all-flags/
  5. https://www.rottentomatoes.com/m/against_all_flags
  6. https://robertmatzen.com/2014/06/
  7. https://benersonlittle.com/2021/05/20/the-romance-of-swordplay-some-favorite-images/
  8. https://www.britannica.com/biography/Errol-Flynn
  9. https://www.tcm.com/tcmdb/person/156555%7C14396/Anthony-Quinn
  10. https://www.imdb.com/title/tt0044333/characters/nm0622450
  11. https://www.imdb.com/title/tt0044333/fullcredits/
  12. https://www.imdb.com/title/tt0044333/trivia/
  13. https://www.nytimes.com/1951/08/20/archives/universal-in-deal-with-errol-flynn-studio-gets-warner-star-for.html
  14. https://universalmonsters.fandom.com/wiki/Against_All_Flags
  15. https://catalog.afi.com/Catalog/MovieDetails/50388
  16. https://www.theerrolflynnblog.com/2024/04/07/errol-flynn-and-the-backslap-case-bahamas-march-1952/
  17. https://www.irishstar.com/culture/entertainment/maureen-ohara-own-stunts-movies-32055257
  18. https://www.youtube.com/watch?v=QORkdAaYifU
  19. https://www.lddb.com/search/IMDb/0044333
  20. https://www.amazon.com/Pirates-Collection-Buccaneers-Buccaneer-Crossbones/dp/B000N3T0GO
  21. https://kinolorber.com/product/against-all-flags
  22. https://www.cinemaretro.com/index.php?/archives/11084-REVIEW-AGAINST-ALL-FLAGS-1952-STARRING-ERROL-FLYNN-AND-MAUREEN-OHARA%3B-BLU-RAY-SPECIAL-EDITION.html
  23. https://www.blu-ray.com/movies/Against-All-Flags-Blu-ray/268581/
  24. https://www.amazon.com/Against-All-Flags-George-Sherman/dp/B0FGD6YPTW
  25. https://www.justwatch.com/us/movie/against-all-flags
  26. https://www.nytimes.com/1952/12/25/archives/at-the-capitol.html
  27. https://letterboxd.com/film/against-all-flags/
  28. https://letterboxd.com/daheon/film/against-all-flags/
  29. https://www.ejumpcut.org/archive/jc56.2014-2015/HighPirates/text.html
  30. https://www.primevideo.com/detail/Against-All-Flags/0T3TD18TCGETZERHIRZKOFOYPF
  31. https://www.tcm.com/tcmdb/title/80393/the-kings-pirate
  32. https://www.imdb.com/title/tt0061867/
  33. https://brill.com/view/book/9789004416093/BP000011.xml
  34. https://www.louiskraftwriter.com/2015/10/25/errol-flynn-louis-kraft-the-connection-and-a-view/
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