Frenchman's Creek (1944) User Reviews

Frenchman's Creek In Cornwall?

[bkoganbing · 7/10 · 17 May 2007]

The absolutely gorgeous color cinematography and the Academy Award winning sets are the main reason that you should Frenchman's Creek today. The players definitely take second place to those outstanding features.

The plot at least as it has been altered by the Code is handled with as much skill as the cast can muster covering up some glaring holes. Joan Fontaine is one unhappily married lady of the manor with two small children and a husband who seems more intent on advancing his career in Restoration Great Britain than in her. As was the fashion of that bawdy era husband Ralph Forbes even encourages his wife to pay attention to the courting of his rakish friend Basil Rathbone to Fontaine. When at court many men even pimped their wives for Charles II, this behavior in that era isn't surprising.

Well Fontaine can't stand Rathbone so she and the kids take off for the summer place on the Cornwall coast. There's a servant there with a French accent, Cecil Kellaway and later she learns it's been inhabited discreetly by French pirate Arturo De Cordova. He's quite the charmer, if the film were done at Warner Brothers Errol Flynn would have had the part.

Joan and Arturo as a couple look like they come right out of one of those romance novels. She even takes up the cutlass with him and she proves to be every bit the swordsman he is.

The title of the film comes from a hidden cove near Fontaine's manor where De Cordova's ship lays anchor.

Other more recent versions of the story by Daphne Du Maurier have been made that are closer to the original. I can't reveal it, but the ending makes absolutely no sense at all. And it is NOT as Du Maurier wrote it originally.

Maybe that was part of the reason that Mexican film idol Arturo De Cordova never got stardom north of the border. He appeared in this film, in a supporting role in For Whom the Bell Tolls and another Paramount feature and then went back to Mexico where he was a leading figure in Latino cinema for the next quarter of a century. De Cordova reminds me a lot of his fellow countryman, Gilbert Roland.

Rathbone is a nasty villain and there's also a nice performance by Nigel Bruce as a fatheaded earl who is a Cornwall neighbor. It's the only time that Basil and Nigel did a film together not as Holmes and Watson.

Mitchell Leisen directed this film and did a good job given the Code restrictions he operated under. Leisen early in his career worked on several Cecil B. DeMille films and his photography and sets definitely have a DeMille look to them.

If you like romantic tales, despite the problems, Frenchman's Creek is one for you.

FRENCHMAN’S CREEK (Mitchell Leisen, 1944) ***

[Bunuel1976 · 7/10 · 3 April 2008]

Director Leisen, who started out as Cecil B. De Mille’s art director, was one of Hollywood’s supreme stylists throughout the 1930s and 1940s; unfortunately, his reputation has dwindled in recent years and, consequently, much of his filmography has so far been neglected on DVD (only DEATH TAKES A HOLIDAY [1934], HANDS ACROSS THE TABLE [1935] and GOLDEN EARRINGS [1947] are available – with EASY LIVING [1937] and MIDNIGHT [1939] coming up)! While he’s best-known for sophisticated comedies in the vein of Lubitsch, Sturges, Wilder et al – all four, incidentally, worked most often at Paramount – he also dabbled in other genres (or mixed them with utmost confidence) and, this, in fact is a costumer/romance/swashbuckler all in one!

The film is based on a novel by Daphne DuMaurier – very popular around this time, including two Hitchcock adaptations (JAMAICA INN [1939] and REBECCA [1940]); the latter had made a star of Joan Fontaine, who also fills the leading role here – throughout the decade, she would appear in a number of costumers (JANE EYRE [1944], IVY [1947], LETTER FROM AN UNKNOWN WOMAN [1948] and, later on, IVANHOE [1952] and CASANOVA’S BIG NIGHT [1954]). Lavishly-mounted (copping an Oscar for Hans Dreier’s production design) and shot in rich Technicolor (as was the case with THE Spanish MAIN [1945] by George Barnes and an Academy Award winner, incidentally, for the afore-mentioned REBECCA), Leisen is ably served by the fine cast he managed to assemble in this case.

Even if he’s supposed to be French, Arturo de Cordova is a most interesting choice for the dashing and virile pirate; I acquired a soft spot the Spanish actor after viewing his impressively nuanced central performance in Luis Bunuel’s study of pathological jealousy EL (1952) – still one of the most fascinating character studies ever put on film! Basil Rathbone is a stalwart in this type of film, though he’s a lecherous aristocratic villain here rather than a rival swordsman for the hero; his startling death scene at the hands of Fontaine is an undeniable dramatic highlight. Cecil Kellaway is terrific as Fontaine’s amiable but mysterious butler, who’s eventually revealed to be a foremost member of de Cordova’s pirate entourage; the popular Australian character actor would soon after play the painter Gainsborough in another costumer by Leisen, KITTY (1945) – a variation on “Pygmalion” starring Ray Milland and Paulette Goddard which remains one of the director’s finest films. Smaller roles were given to Nigel Bruce, typically obtuse and pompous as an aristocratic pirate victim (interestingly, this is the only film he and Rathbone would make together outside of their classic, and long-running, “Sherlock Holmes” series) and Ralph Forbes in the role of Fontaine’s insufferably fey husband. Incidentally, being aware of Mitchell Leisen’s homosexual tendencies (together with those of executive producer David Lewis), one can hardly escape the film’s gay subtext: apart from the afore-mentioned character of Fontaine’s husband (who is clearly more interested in his best friend Rathbone), Fontaine herself dresses up as a cabin boy for a chunk of the movie, De Cordova is often seen bare-chested and surrounded by his handsome lieutenants, his crew gleefully dress up in the women’s clothing they’ve just pillaged, etc.

With a not inconsiderable length of 112 minutes, the film’s first half – more akin to the so-called “woman’s picture” – is somewhat leisurely-paced and rather dreary. However, it eventually bursts into satisfying excitement and suspense – with such sequences as the pirates’ theft of a merchant ship from the docks, de Cordova’s decision to confront the nobility gathered at Forbes’ estate to plan his apprehension, the ensuing scuffle between the two factions and, finally, after the hero has been cornered and jailed, his shrewdly-organized flight from captivity with the help of the loving Fontaine and the devoted Kellaway. The CASABLANCA-like finale, in which the dutiful mother Fontaine sacrifices her own happiness to return to a repentant husband and their children, is unusual for this type of film and only adds to its already apparent value as a superior example of the genre(s).

Lavish and colorful rendition of a Daphne du Maurier novel about a Brit Lady who falls for a pirate

[ma-cortes · 7/10 · 23 February 2021]

A highborn noblewomen named Lady Dona St Columb , Joan Fontaine , who has two children , falls badly in love for a pirate when she fleeing her spineless husband : Ralph Forbes , heads for her family's state on the Cornish coast . There she finds a Frenchman's ship anchored in a creek off her country state and discovers a dashing French privateer : Arturo de Córdoba is using a nearby cove to anchor his ship while he spies on the English . As the pirate is unfortunately a spy since the Frenchies and the Brits are battling as usual. The Lady and the pirate get very , very close and she decides to help him outwit the authorities and especially the lecherous Lord Rockingham : Basil Rathbone who discovers her secrets , while Lady Dona risks all to rescue him .

The attractive and colourful escapism ensured to make a big hit at boxoffice and profit enough . This fun and entertaining film displays emotion , thrills , swashbuckling , swordplay and romance. Stars Joan Fontaine who is frankly fabulous as the Lady searching for adventure and becomes dazzled by a valiant pirate, but soon she must choose between passion and duty concerning her children. Arturo de Córdoba is agreeable and sympathetic as the brave French pirate. Adding a classy secondary cast , including enjoyable performances from Ralph Bates, Basil Rathbone , Nigel Bruce playing in Watson style and Cecil Kallaway who steals the movie as a likable butler . Bolstered by a great production , it was said to have cost more the 3 million dollar , besides , a colorful and brilliant technicolor by George Barnes and emotive musical score by Victor Young .

Based on the novel by Daphne Du Maurier , whose books were also adapted by Alfred Hithcock as Jamaica Inn and Rebecca starred by Joan Fontaine . It was remade for British television in 1998 by Ferdinand Fairfaix with Tara Fitzgerald , Anthony Delon , James Fleet , Danny Webb , Tim Dutton . This old 1944 retelling was nicely directed by Mitchell Leisen , whose speciality in filmmaking was romantic comedy , it was perhaps not the ideal director , but here Leisen gets an amusing and charming pirate adventure .

The kind of thing for which Technicolor was invented!

[gregcouture · 12 May 2003]

I've never seen this fanciful costumer in a theater but a TV broadcast, quite a few years ago, fairly leapt from the screen - the three-strip Technicolor had transferred to video as if it were a pristine print. Paramount obviously spared no expense on this one and, despite some minor objections, I recall being thoroughly entertained by it, especially that absolutely savage battle-to-the-death between Basil Rathbone's quintessentially dastardly villain and a desperately determined Joan Fontaine.

Some years back I somewhere read that, while waiting in full makeup and costumes for the lighting technicians to work their magic, Miss Fontaine rather scathingly queried her costar, Arturo de Cordova, why he was pursuing a career as an actor, apparently with the implication that it was an occupation unworthy of a man. If that's the kind of treatment he had to undergo at the hands of a Hollywood leading lady, one can confidently guess that his much greater success in Latin American cinema left him with few regrets that his Hollywood sojourn never amounted to much.

Good Film, But Overexposed

[baritonevoiceguy · 7/10 · 18 February 2020]

While a decent swashbuckling film, featuring the lovely Joan Fontaine (not to mention Basil Rathbone & Cecil Kellaway), most of the print aired recently on TCM is so overexposed/"bleached out" as to be difficult to watch. Definitely in need of restoration.

**1/2

[edwagreen · 6/10 · 21 February 2016]

When the young lad cried at the top of the staircase, after killing off Basil Rathbone, Joan Fontaine realized that a life with a pirate was not for her. O brother, how corny could one get?

The really only good thing about this 1944 Daphne DuMaurier story is the clothes worn as well as those wigs the men wore. The set decorations are also quite good depicting an opulent period.

Unfortunately, the story here really isn't. Annoyed with her wealthy husband and his lack of concern when his friend, Basil Rathbone, who really didn't get the opportunity to be his usual sinister self, flirts openly with her, the Fontaine character flees to a remote island and finds love with the pirate raiding the coast.

All is lovely until her husband and Rathbone show up supposedly in search of the pirate.

Cecil Kellaway is excellent as the house servant, his devilish ways are clearly shown for his loyalty to the pirate.

period piece... Pirates!

[ksf-2 · 6/10 · 21 February 2020]

From the Daphne DuMaurier novel... a 27 year old Joan Fontaine is Dona St. Columb...and for the first 20 minutes, we're not quite sure what is going on. Lady Columb bumps into a pirate, and the flirtation begins. you might notice actors basil rathbone and nigel bruce, who just happened to have played sherlock holmes and doctor watson so many times. and of course, Cecil Kellaway was in so many large films: Postman Always Rings Twice, Guess Who's coming to Dinner, and of course, some Twilight Zones. here, he is William, Dona's butler, who anticipates Dona's needs and wants, and encourages her romance with Aubrey, the pirate. The sound is fine, but most of the film is quite washed out too bright. William is quite playful and impish, but they seem to dress him in clothes which are all WAY too big and too silly. with an even sillier wig. there's a sense of whimsy and comedy all throughout. no-one takes anything too seriously. Dona goes off on an adventure with Aubrey on his ship, but we know there will be recriminations down the line..... this one is just okay. goes on for two hours. silliness. didn't need to be almost two hours... could have done all that in 80 or 90 minutes. Directed by Mitchell Leisen, who seemed to also be quite talented in architecture and costume design. this thing won an oscar ?? really?

Du Maurier swashbuckling romance

[loloandpete · 7/10 · 15 April 2021]

Although it has thematic links with Jamaica Inn and a Cornish setting, Frenchman's Creek has never seemed a typical Du Maurier work to me. It has a more Mills & Boon/Barbara Cartland feel to it than the gothic masterpieces she is rightly remembered for. This 1944 film version has some plusses to it though I didn't enjoy it as much as the British TV adaptation of 1998. The plusses are the sumptuous colour, a dash of swashbuckling and first and foremost, the cast. Joan Fontaine who'd already impressed mightily in Du Maurier's Rebecca in 1940 is strong here as Dona St Columb, combining vulnerability with impish humour and spiritedness. Arturo De Cordova does a good job as the French pirate she falls for though he did not become a major star in Hollywood and Cecil Kellaway is warm and droll as a household servant. Ralph Forbes also does good work as Fontaine's idle, drunken layabout of a husband, though he handles himself well with a sword. Also prominent in the supporting cast are Basil Rathbone and Nigel Bruce, in their only appearance on screen together outside of their leading turns as Holmes and Watson in the Fox then Universal series of films. Rathbone is the villainous Lord Rockingham , who despite his prowess at fencing, doesn't get to use it here, though he has a spirited encounter with Fontaine in one of the film's highlights. Nigel Bruce brings his trademark sense of fun to the dunderheaded Lord Godolphin but is more of a comical rotter here than his usual endearing buffoon.

Cornish & corny

[jgcorrea · 2/10 · 28 November 2019]

Arturo de Córdova is the dashing pirate who sweeps Joan Fontaine off her feet in Frenchman's Creek (1944), a gloriously extravagant Technicolor indulgence! The plot reminds us of the 1945 film The Wicked Lady, but this was a sexually charged bodice ripper that caused controversy on both sides of the Atlantic while Frenchman's Creek is an American swashbuckler in the vein of Captain Blood (1935) or The Black Swan (1942). For the most part its reviews were positive, although with a few caveats. Over all, critics thought Frenchman's Creek a lavish, fun film that could not be taken too seriously. Utterly bonkers... It did not do particularly well at the box office. It was the 9th highest grossing film for the year and it made a respectable $3,500,000. The problem is that with a budget of $3.6 million, Paramount really did not make a profit from the movie. Quite simply, if it had cost a good deal less, it could rightfully be considered a hit. With a budget of $3,600,000, it was the most expensive film that Paramount had made up to that point! Over 46 sets were built, including the Cornish village of Fowey. Well over 2000 props were used. And as might be expected, so lavish a film had to be shot in vivid Technicolor. But as far as swashbucklers go, stick to The Scaramouche, The Duellists, The Prisoner of Zenda and Adventures of Robin Hood.

A REAL SWASHBUCKLER

[Kirasjeri · 8/10 · 25 August 1999]

My favorite pirate film was the "Black Swan" (and I didn't hate "Cutthroat Island", either!), but this is a close second even though there is less sea action and it's more ABOUT a pirate. The sets and acting are wonderful; the use of color is magnificent. This is a very enjoyable film with the gorgeous Joan Fonatine (Olivia deHavilland's estranged sister) acting up a storm and at her peak of pulchritude, and the magnificent Basil Rathbone demonstrating his soaring acting talent. The hilight of the film for me was one of the best fight scenes ever filmed - an all-out battle-to-the-death between Rathbone - and Fontaine!! A classic!

romantic drama at it best!

[bohemianbird · 10/10 · 27 February 2005]

If you want true life - then maybe you should watch this. However, if you want escapism and the belief that dreams can come true - enjoy watching this posse of actors at, what i believe to be, their best. Basil Rathbone excels as the alter-egotistical villain whilst Arturo De Cordova gives dash and swashbuckling joy to die for! He excels as the dashing Frenchman set lose on the Cornish coastline and Joan Fontaine is delicious as his (almost) tomboy sidekick who is all woman. no remake ever came close to this original costume dramatic effort. What's more, the storyline stays almost entirely true to the original writings of Daphne De Maurier and that can't be a bad thing! . Fantastic, romantic enjoyment at its best!

Worth the Money

[DaniO · 10/10 · 14 June 1999]

A wonderful movie with everything a pirate movie should have; beautiful lady, mysterious house, ethereal setting, elegant ship, captivatingly handsome captain. For a quick getaway this is a winner.

highly entertaining

[carolyn-18 · 9/10 · 9 August 1999]

A fun movie to watch. Joan Fontaine was never more beautiful. The sets and costumes are absolutely breathtaking and Basil Rathbone completely steals the show. This film has all the elements of a good adventure yarn.

Swashbuckling adventure with a wonderful romance thrown in.

[LTCRKeats · 9/10 · 24 May 2006]

In the era when pirates and their freebooter crews still held sway upon the ocean and near the coasts with their fast and well armed ships, a beautiful Frenchwoman is trapped in a marriage to a noble buffoon and tries to find relief from him and his obnoxious friends at court by taking her children to the family's summer estate on the coast. The house is beautiful and isolated but everything seems out of place. Clearly something is amiss with the house and servants and the noble lady realizes she needs to find out why. To her surprise it is used by a swashbuckling pirate and his crew as their private and very secret hideaway. The lady is indignant and decides to intervene. How could she know this would change her life, forever? Basil Rathbone is at his best and Joan Fontaine is a classic leading lady. Great sword fight with Holyywood's master swordsman, Basil battling to the death. If you love a swashbuckler with romance and fun, this is it.

Cecil Strikes Out!(But oh-so well!)

[schweinhundt1967 · 14 December 2002]

In examining this well-done film,I find myself in disagreement with one of the other critics,in terms of regarding the performances of some of the supporting players.Where do we start?

1)Nigel Bruce is doing his usual blundering,obtuse,blithering,pompous oaf,as we have seen in numerous other films.In this picture,however,his character is not as benign as we have witnessed elsewhere.

2.)Cecil Kellaway,as William,is doing a masterpiece.His character is sly,wise,verbally adroit,socially adept,sensitive,and intuitive.This is the sort of fellow we would wish to have as the major-domo,or butler.

3.)Forbes,as Harry,does well in what happens to be an extremely thankless role.Dona's husband is a clod and a buffoon.He is a self-centered,selfish,immature man,who married for all of the wrong reasons(although the right ones for that period.)He wanted to have a beautiful wife,who would provide him with sexual companionship,company,and would handle all of the business aspects while he could go out with his pals and have a good time.He's not only NOT interested in handling his end of the relationship,but he puts her in the way of Lord Rockingham,even though he knows that she finds his attentions repugnant.it's not easy to do this kind of part,but he does carry it off.

The most beautiful Technicolor film of the forties.

[JohnHowardReid · 10/10 · 15 June 2018]

Copyright 12 September 1944 by Paramount Pictures Inc. A Mitchell Leisen production. New York opening at the Rivoli: 20 Septem¬ber 1944. U.S. release: October 1944. U.K. release: 12 February 1945. Australian release: 5 July 1945. Sydney release at the Prince Edward: 29 June 1945 (ran six weeks). 12 reels. 10,127 feet. 112½ minutes.

SYNOPSIS: 17th century England: Married noblewoman falls in love with a French pirate.

NOTES: Dreier, Fegté and Comer won The Academy of Motion Picture Arts and Sciences' annual award for Best Art Direction (color).

COMMENT: Few novelists have been as fortunate in having their works transferred to the screen as Daphne du Maurier. Not only in quantity, but also in quality her film adaptations excel. No less than three Hitchcock picturizations (Jamaica Inn, Rebecca, The Birds) lead a list that includes the lavishly-produced Hungry Hill, the highly regarded My Cousin Rachel, and the partially unsuccessful though still fondly remembered The Scapegoat. Only The Years Between (1946) is completely forgotten today (and that some what undeservedly, in view of its marvelous cast: Michael Redgrave, Valerie Hobson, Flora Robson, Dulcie Gray).

What about Frenchman's Creek? Would you believe that although the film was often screened on television some years back, it was never shown in color! I hope no-one watched it. Frenchman's Creek is one of Technicolor's noblest achievements. Never before (or since) was money spent with such reckless regard for a studio's solvency in order to achieve the most artistically pleasing, the most aesthetically satisfying effects in sets and costumes. Incredibly, cinematographer George Barnes was nominated for an Academy of Motion Picture Arts and Sciences' Award - but not for this film - for the dazzlingly colored but considerably less impressive The Spanish Main.

However, the art directors did carry off the prize - and never was that award more deserved! If ever a movie was a scenic designer's dream come true that movie was Frenchman's Creek. Director Mitchell Leisen was himself an art director (it is significant that of the thirteen AMPAS nominations Paramount achieved for Art Direction from 1940 to 1949, no less than seven were for Leisen pictures). With his approval and encouragement, Drier, Fegté, Comer and Pene du Bois (a Broadway scenic and costume designer who also worked with Leisen on Lady in the Dark and Kitty) were given every opportunity to take advantage of the period settings.

The director of photography and the Technicolor consultants were likewise exhorted to aim for absolute perfection in artistry and lighting. As a consequence, shooting proceeded at a snail's pace with numerous delays caused by adjusting and re-adjusting the lighting arrangements while the cast sat around doing nothing. Frenchman's Creek ran months over schedule and almost trebled its original generous budget. Paramount shareholders held Buddy De Sylva (the famous songwriter-turned-producer) directly responsible for these excesses and he was fired as the studio's production chief.

Somehow Leisen managed to escape the ax but was henceforth regarded with suspicion by the Paramount management. He was often described to me by producers as a wantonly extravagant director to whom "money was of no importance". Although not entirely deserving this reputation, it pursued him for the rest of his career. He found it extremely difficult to obtain work after his Paramount contract expired early in 1951.

Frenchman's Creek also marked a turning point in the career of my favorite actor, Basil Rathbone (he and Bruce were seconded to the production in the middle of their Sherlock Holmes series). Aside from his delicious spoof in The Court Jester twelve years later, this was Basil's last role as a period swashbuckling menace (although, alas, he has no scenes to demonstrate his superlative swordsmanship). As usual, he is absolutely riveting, making a marvelous foil for Joan Fontaine's entrancingly love-troubled heroine. Both are costumed to the hilt. Few actors can wear period clothes with as much flair as Rathbone; and not many actresses can model stunning gowns with the same spirited charm and grace as Joan Fontaine.

The rest of the cast is no less engrossing. De Cordova is perhaps a little weak as the Frenchman, but Nigel Bruce, Ralph Forbes, Cecil Kellaway, Billy Daniels, Harald Ramond and Moyna Macgill are wonderfully effective.

Some critics have complained that the script is a trifle slow, but when such beauty, such artistry, such elegance so continually shines from the screen, who cares? I regard Frenchman's Creek is the most beautiful Technicolor film of the forties.

For the record...

[235SCOPE · 17 February 2016]

Arturo de Cordova was not Spanish, he was Mexican. His first language was Spanish, but that does not make him "Spanish." Mexican and Spanish are two different things.

The film aired today on TCM. It was a rare showing of this movie, which I have been hunting down since reading about it in Mitchell Leisen's biography 43 years ago. It was then that I read and never forgot about the sumptuous Oscar-winning Technicolor cinematography. I was heartbroken to see it in an extremely washed-out transfer but anything is better than nothing. Would it be possible for Universal to place this on a list of important restorations, given its place in Oscar history?

Why don't they make movies like this anymore?

[colin-265 · 8/10 · 8 March 2016]

Why don't they make movies like this anymore? I had never seen this movie before and considering the year it was made it was fairly "spicey". Some great acting,especially Bail Rathbone and with his Dr Watson sidekick in the cast, I expected him to put on his deer stalker hat!

I have to applaud the scenery and photography and of course the costumes. The scene where our heroine sees the Pirate Ship for the first time from the cliff top in all it's glory is breathtaking. Having lived in Devon and Cornwall I can't remember a beautiful day and calm seas at any time like that scene. Of course it wasn't shot in Cornwall at all.

Slow start but it got very exciting from the half way point. And the heroine killing the damnable male villain. That's in vogue now. Super heroine before her time.

If only Errol Flynn had played the Pirate lover I would have given it a 10

Filming location

[RickyofL · 19 January 2005]

This film was shot in Mendocino County and should be in the list of films shot in that area. The creek itself is the Albion River. The boat used in the film was left in the river and was resting on the bottom when I saw it and boarded it in 1944 or 5. My grandparents had an orchard and farm outside the community of Albion. A couple of the crew members stayed at their place when the film was being shot. There were some other locations on the coast that were used as well. The residence was removed and just the leveled field it was situated on and the plants the studio planted to surround the site remained for many years after. This location was outside of Albion near dark Gulch and was just west of highway 1 that runs along the coast in Mendocino and adjacent counties as far south as San Simeon. I have never seen the complete film, so would not to vote on it at this time.

Joan Fontaine as a softer Lady Dona, and her French pirate qualifying as a gentleman and artist

[clanciai · 9/10 · 1 July 2019]

This is more lavish and romantic than the 1998 remake, and the colours are more flamboyant here, while the later version was more basic, strict and concentrated, sticking to the point. There are no politics here, King James and King William aren't even mentioned once, there are no Dutch intruders, and the children play no significant part, whereas in the 1998 film politics is given a dominating bearing, and Lady Dona's daughter plays a very significant part. I think I would prefer the Tara Fitzgerald version, she is more realistic and straightforward as a character, always making her point, while Joan Fontaine is too girlish. Both versions are good though, they have different but complimentary qualities, this one is definitely more romantic and dressed up for Hollywood, while the Tara version is more convincing. I think though I would prefer Arturo de Cordova to Anthony Delon, although Delon is more French, while Cordova is hopelessly Mexican, this one was even shot entirely in California, while the English version of 1998 was shot on location. Here are also Basil Rathbone in a typical character of his, but Nigel Bruce as Lord Godolphin is much to be preferred to the modern one.

secret pleasure

[pjmille · 20 December 2009]

Yes, this movie is a secret pleasure of mine. I loved the book by DuMaurier--considering it one of my all time favorites--and have read it several times. To have the book brought to life on the screen is rewarding. Yes, the color and acting are great, but I imagine so much more in my fantasies. I wish Hedy Lamarr would have played Dona. She was so beautiful, and I believe, could have carried off the "tomboy" just as well, if not more believably, than Fontaine. (Such as her Samson and Delilah role.) As far as the pirate, I'm OK with Cordova, but his small stature sort of detracts from the fantasy. He's adequate enough, and foreign enough, to carry this film for me. I puzzle over who I would have preferred to play that part. I'm not sure I would have liked Errol Flynn in the part (as suggested). I not familiar with enough foreign actors at that time (1940's) to suggest who. I suppose if it were more recent, possibly Gerard Depardieu would have fit in nicely. All in all, I love this movie. The ending is bittersweet. Basil Rathbone provides a believable menace and Nigel Bruce is perfect in his role as the dithering husband. As I said, a "secret pleasure". I treasure this movie.

Women love outlaws they say

[dbdumonteil · 14 July 2010]

...or at least women love people who can take them away from a humdrum life ."The Frenchman's creek" could be only just dream.That it was written by Du Maurier is not surprising: "Rebecca"-which featured the same actress- had something dreamlike ,something like a fairy tale with a witch.

A socialite, a distinguished lady of Old England sees time passing her by,with a not-so-handsome husband who is anything but romantic.This lady wants something else ,something more than merely sexual ,or else she would have picked up a young lover in the aristocracy.A revealing scene shows her playing with her children ; ladies from long ago did not do so: their nannies used to do that job.When she sails away with her pirate,it's some kind of game with big children who themselves play -see they them put on the ladies' clothes- or spend most of the time singing obscure French folk songs with a curious Latin accent which is anything but the French accent .

The second part of the movie is a return to a harsh reality ,the well-meaning people ,the society with the laws ,the possessions .The heroine can no longer follow the rules .I was wondering if Milady would wake up from her slumber and discovered she dreamed her life away.

The costumes are lavish,the colors magnificent and Joan Fontaine was never more beautiful: I generally like her sister best but I can't imagine Olivia de Havilland play a tomboy,when the heroine joins the crew.

Olivia de Havilland ,who,in another great movie by Leisen ("Hold back the dawn"),was a simple schoolteacher falling for a mysterious alien ,the same way her sister did here.

Like this?Try these.....

"Moonfleet" (1955) by Fritz Lang "The Spanish Main " (1945) by Frank Borzage "Peter Pan" (1953) by Clyde Geronimi,Hamilton Luske,Wilfred Jackson.

Colorful pirate romance from Daphne du Maurier novel...

[Doylenf · 8 April 2001]

Joan Fontaine was never more beautifully costumed and made up as a lady longing for romance with a dashing pirate to escape her dull marriage--but she never quite convinces she has all the spirit and fire of the heroine. (Evidently, Maureen O'Hara was unavailable). She poses prettily in a number of extravagant costumes but the fantasy escapism of the story seems artificial and contrived. A nice asset is a background score featuring Debussy's 'Clair de Lune' and a properly wicked performance from Basil Rathbone (who gets his comeuppance from the fair lady by having a suit of armor tossed at him.) Cecil Kellaway and Nigel Bruce don't fare as well in rather thankless roles. Unfortunately, the pirate is played unimpressively by Arturo de Cordova, entirely lacking in the charisma required to make his part believable. Women will especially love the idea behind the story--escape with the man of your dreams if only for a day or night of pirate adventure. Nothing deep here, but it's beautiful to look at and justly won an Oscar for Best Color Art Direction and Interior Decoration. For fans of romantic fiction, this one fills the bill.

What a hoot of a bomb!!!

[alicecbr · 12 January 2002]

Unless you're in for real camp, where the men are prettier than the women, especially in their wigs......then pass on this one. I rolled on the floor with laughter at the histrionics....breasts heaving an all (Joan Fontaine's, not mine). Not that I know it was made in 1944, when we were in a horrible war, I can understand why there was so little emphasis on the screen play. Escapist lore at it's funniest: think of one of those little romance novels that high school housewives love to read....that's the level you're looking at.

But hey, it's pretty color. And unconsciously funny.