The Moonraker (1958) User Reviews

Splendid Swashbuckler flick based on the confrontation between Roudheads and Royalists , while successor Charles Stuart attempting to escape

[ma-cortes · 6/10 · 2 June 2020]

The tale takes place in October 1651 , after the battles of Moor , Preston , Naseby (1845) and Worcester at the end of the Civil War , the main purport of Oliver Cromwell's (John Le Mesurier) Commonwealth is to catch Charles Stuart (Gary Raymond's film debut) . The future king's escape depends on the intrepid Earl of Dawlish (George Baker) , who as the Moonraker has already spirited away many Royalists . Dawlish journeys to the Windwhistle Inn on the south coast to prepare the getaway to France , where he meets Anne Wyndham (Silvia Syms) , girlfriend of a top Roundhead officer called Beaumont (Marius Goring) who along with other underlings as Edmund Tyler (Peter Arne) and Captain Wilcox (Patrick Troughton) pursue mercilessly to the hidden Royalist rebel . £500 REWARD! The Moonraker must be captured... DEAD OR ALIVE!

A breathtaking and overblown adventure with historical elements , including great swordplay , colorful cinematography and evocative score. Spectacular historical swashbuckling with fine acting , wonderful locations , glamorous gowns and attention to period detail . In the movie there are historic events , adventure , drama , and a love story between George Baker as The Moonraker and Sylvia Syms as Anne Wyndham who , unfortunately , results to be the fiancée of a villian Roundhead . All Actors , both , main and support cast give nice performances . Great acting by secondary players , such as : Marius Goring , Peter Arne , Gary Raymond , Clive Morton , Richard Leech , John Le Mesurier , Patrick Troughton and a young Michael Anderson Jr. The film is appropriately atmospheric with brilliant cinematography by Mutz Greenbaum and well based on real deeds . First-class production design and sets by Robert Jones are outstanding .The film includes a lively and thrilling musical score by Laurie Johnson and was competently directed by David MacDonald.

Based on historical events which created the only England Republic . The movie deals with take over from Republican government in England . Facing off between Olivier Cromwell and King determined to rid England of a tyrannical rule and an absolutist King : Charles I , it resulted in beheading of the King . There was created two factions : the Roundheads (Cromwell congressmen) and Cavaliers or Royalists (King's nobility) , both sides had generals of considerable skill and undaunted courage as Thomas Farfaix . Cromwell defeated King's army in battles of Moor , Preston and Naseby (1645). Later on , in 1653 , he was named Lord protector of the Republic "Commomwealth" . He imposed a dictatorship ruled by Puritans and vanquished the Irish and Scottish army . Cromwell was a Puritan leader who , according to several historians carried out near genocide in Ireland . He also battled Holland and Spain . Cromwell developed a law of navigation for the British navy . He early died by fever's illness . Richard Cromwell succeeded his father as President but he was rapidly dismissed . Duration Republic was 1648 to 1660 . Charles II went back to British kingdom and the regicides (those who had condemned Charles I to death) were arrested and hanged , drawn and quartered at Charing Cross . The Cromwell's body was disinterred, and his remains were hung from a scaffold.

Inside this mediocre film is a good play trying to get out

[Igenlode Wordsmith · 6/10 · 22 April 2005]

'The Moonraker' is a somewhat lacklustre swashbuckler with certain touches of originality. The beginning, based loosely around the final stages of Charles II's famous oak-tree escape after the Battle of Worcester, is frankly tedious, despite all the galloping horses and hack-and-slashery. Neither the King nor those who aid him -- including the "Moonraker" himself -- seem to come to life, and the action, as elsewhere in the film, gives the impression of being done by numbers. The swashbuckling elements of this film are really not its strong point: no matter what it tries, it manages somehow to come across as working down a list of clichés to be ticked.

Hero swings across the room? Tick. Precarious rope bridge spanning a chasm? Tick. Doublet slashed open to reveal wadding -- branch of candles cut in half -- rolling dive through window frame: tick, tick, tick. And I've never seen so many swords clapped obviously under the victims' armpits before!

All this is the stuff of tradition, and there's nothing inherently wrong with that. But it's the business of the film to make it feel joyous -- fresh and new -- and instead it contrives to make it dull.

Events pick up as soon as the character work begins, with a public coach of assorted travellers... and what with the amount of recapitulation around this point, one gets the impression that the film could just as well have been started here, and probably have benefited by it. With hindsight the script's stage-play origins can be perceived, given the narrowly-confined setting from this moment on: almost all the scenes take place within the four walls of the inn. And since it is in the dialogue and the interplay of the characters that almost all of the enjoyment lies, I have a melancholy suspicion that this film's good qualities are due to its original, while its faults lie largely in the added material.

For it is not until his arrival among the others at the inn that I found the Moonraker himself at all interesting. George Baker, handicapped by a dodgy contemporary haircut, really doesn't have the charisma to persuade in the dashing hero role, but conveys a real sense of mischief in his assumed Puritan disguise, where he is far more fun to watch. The innkeeper and his wife, who ultimately play only a small part in the plot, come to life from their initial appearance, and are the first characters whose troubles actually arouse our concern. And Parfitt, whose ultimate fate goes undeservedly all but unnoticed, is a fine comic foil who serves to push the plot along.

But perhaps the best-developed character is that of Anne Wyndham, whose principles drive her first to betray the Moonraker and then her lover, the worthy but dull Cromwellian Colonel. Swashbuckler conventions require that she first scorn the hero and then fall passionately in love and be rescued by him; but here convention is subverted. She faces a very real divided tug of loyalties, between the man she has known, liked and admired since she was a child and the politics they both believe in, and the Cavalier who makes her laugh and dares against the odds, but espouses the cause that killed her father and brothers. And her gallant lie is all too swiftly found out.

It would be easy to have her fall at the Moonraker's feet. But she doesn't, and is all the more interesting for that. The play does not demonise its Puritan characters, with the exception of Major Gregg, who is disavowed by his fellow officers at the beginning and made to demonstrate sufficient obligatory sadism to label him as the villain we are intended to hate. Colonel Beaumont, Anne's intended husband, is portrayed as a competent commander and not unsympathetic man, and we cannot help but feel for their situation when he discovers her shielding the Royalists.

So far, so good -- and the human drama lasts almost to the end. But as soon as it breaks into action again the film reverts to being second-rate. I don't understand why. But the power of the piece doesn't lie in Gregg and his quarry scrambling improbably across the cliff-face stabbing at each other, or in troopers tumbling into the abyss; it lies in Colonel Beaumont's final quiet interview with Anne as his prisoner. I'd be very interested to see the script of the original play, for this film feels as if it is trying to force a character study into a glossy adventure format it was never intended to support.

I'm not sure if the problems are with the budget and its inadequate (and occasionally risible!) special effects, the casting of the title role, or the failed attempts to expand out from what is essentially a restricted stage set. As a swashbuckler, this lacks charisma... as a chamber piece it could have been quite interesting.

We Gotta Get Out Of This Place

[Spondonman · 7/10 · 28 September 2014]

In this English Civil War action drama the one thing more incongruous during the opening sequence than Ronnie Hilton crooning a 1950's style ballad is the sight of George Baker in costume galloping about on horseback. Get over that and it's plane sailing and you can believe anything. Well I enjoyed it anyway, it shows an aspect of the Interregnum which has been relatively neglected, much like the film itself.

It's the tale of Lord Protector Cromwell briefly played by John Le Mesurier and his army searching high and low for (prospective King) Charles Stuart, who is being protected by the Moonraker, a Loyalist Royalist played by the indefatigable Baker who is trying to get him safely to France. Was a time when brother was against brother over politics and religion, and rabidly too - in fact not like nowadays at all! Careless talk cost lives and no one was to be trusted, a rule not well adhered to in here though. Posh-speaking Baker falls gallantly in love with puritan Sylvia Sims; with the young and healthy as usual the rule is love conquers all. The production values and colour are excellent, the acting OK, the fight scenes bearable when not risible, the soundtrack music occasionally wobbles on the copy I've got but not too distracting and overall 'tis a very pleasant little tale well told, albeit on a low budget. Additionally there's a seemingly endless procession of British "faces" padding out the cast – Peter Arne, George Woodbridge, Marius Goring to name but a few.

If possible though because much stamina is required of the viewer what I would really recommend is to first watch the much applauded 2013 British film A Field In England which also has the English Civil War as its backdrop and then compare it to this. The more artistic and worthy film should hopefully be obvious and put this earlier British effort firmly into context. This is (literally) escapist entertainment which admirably helps keep the real world at bay for ninety minutes.

Underwatched and underated English Swashbuckler

[Screwtape-The-Daemon · 14 July 2003]

It is a real shame this film has received so little attention from fans and critics over the years. It is by far one of the most watchable, entertaining, and interesting swashbucklers made.

The period and setting of the English Civil War is a much-underused one, the Moonraker serves up every aspect of this tortured period of England's history. The fantastic consumes, magnificent mansions, and dashing heroes, offset by the darker aspects of The Civil War: hatred, mistrust, and exile. The storyline of chase and escape though not complex, is rich enough to offer the viewer with everything a swashbuckler requires; revenge, hatred, honour, courage romance and of course swordplay!! Not enough buckles are swashed as accurately or as interestingly as they are in the Moonraker. Unlike in many swashbucklers where the actors brandish weapons from a mix of different periods(usualy totally wrong), the Moonraker pays huge attention to historic accuracy in all the weapons and armour used. The same attention to detail went into the elaborate costumes and hugely impressive use of the sets, including the actual Bodiam Castle!

The actual action itself is very well done, larger group battles contrasted with intense one-on-one action between our hero Lord Dawlish, (George Baker), and his nemesis the insidious Major Greg, (the late Peter Arne). Their duel in the darkened inn is probably one of the most atmospheric and well choreographed duels in any British film. This compared to perhaps the best duel on film ever that between Cary Elwes and Mandy Patinkin in the Princess Bride. The larger battles once again demonstrate Bakers terrific athleticism, backed by the dogged Clive Morton as Lord Harcourt.

The rest of the straightforward story is carried though by the excellent supporting cast, Notably Marius Goering as Colonel Beaumont, and the ever brilliant John Le Mesurier as a sullen, though surprisingly good looking version of the very ugly Oliver Cromwell. However,the Star-supporting actor has to be the little known, and equally underrated Paul Whitsun-Jones as Mr Parfitt. Parfitt adds much of the films light relief with his pompous tirades which accurately reflected the manner and feelings of much of the gentry of the period. Whitsun-Jones shows his fantastic versatility at the end of the film, throwing off his blustery comic role, and donning that of a hero; doing his part for King and Country. Parfitt supplies probably the most poignant moment in the film as he sacrifices his own life so the King, and his hero The Moonraker, can escape.

Sylvia Syms is faultless though not outstanding as the love interest Anne Whyndham,and the future Dr Who Patrick Troughton is also well placed as the harassed and hard-nosed Captain Wilcox.

The only letdowns acting-wise are the King (Gary Raymond), and to a lesser degree the Innkeeper Henry Strangeways (Richard Leech). Leech is far too subdued as the salt-of-the-earth Landlord, plus his Irish accent is poorly hidden by his woeful attempt at west-country drawl.

Raymond is far to effete as Charles Stuart, lacking the flare or energy of either Baker or Morton as he glides about, or poses like a ballet dancer. His best moment is in the duel in the cloisters where he picks up his act, only for it to tail off again almost at once.

However the casting of Michael Anderson Jr as young Martin Strangeways has to be the most ghastly oversight of the whole film. This very British film is let down by the very American sounding 'brat actor', who's strong American accent grates irritatingly alongside Bakers refined English. Mercifully his appearances are both short and few.

Overall the film is a triumph of 'all British' swashbuckling. While predictable it is not corny as so many swashbucklers are. The key cast is kept small (and almost all are fantastic), the romantic twist not long and drawn out so as to be tiresome, and the fighting fast paced and frequent. As well as this it's a family film with few of the crudities or disembowellings of modern swashbucklers whilst retaining a realistic level of violence.

A must for fans of buckle swashing or historical themed films, and highly

recommended for everyone else. 7.5/10.

THE MOONRAKER (David MacDonald, 1958) ***

[Bunuel1976 · 7/10 · 18 March 2014]

This is one of those films whose poster I had admired (in an old scrapbook of my father's filled with such vintage ads) long before I ever had the opportunity to watch it; as it happened, I first acquired a mediocre pan-and-scan VHS-sourced edition, which I eventually upgraded to a much superior (but still imperfect) HDTV rip – for the record, the movie was released on R2 DVD not too long ago. Incidentally, it was also known on its home ground back in the day as BLOOD ON THE SWORD and, obviously enough, has nothing whatsoever to do with the much later James Bond extravaganza.

It is a typically handsomely-mounted British historical epic, offering a familiar plot line (set at the time of Oliver Cromwell and Charles Stuart), standard thrills (including plenty of intrigue, disguises, chases, swashbuckling action and, of course, a hesitant romance between people emanating from warring factions), attractive scenery and costumes, etc. Another plus is the sturdy cast: led by George Baker (as the titular avenging figure, at times he bore an uncanny resemblance to Roxy Music's Bryan Ferry!), with Sylvia Syms, Marius Goring (the latter two are engaged to be married and side with the oppressor but, when she learns to respect the enemy and aids in his ultimate escape, her humourless intended – his pride hurt – opts to free the woman from any obligation rather than consign her to the authorities!), Peter Arne (dressed-up for much of the proceedings as a minister, but inevitably emerging a villainous character whose climactic showdown with the hero – starting in the dining-hall of an inn, descending to its cellar and culminating on a rocky shore – leaves both a bloody mess!), Gary Raymond (curiously unbilled during the opening credits – which made me think his was going to be a bit part rather than a pivotal one! – as the hunted royal), John Le Mesurier (surprisingly turning up briefly early on as Cromwell), Patrick Troughton, George Woodbridge and child actor Michael Anderson Jr., among others. A portly and annoyingly cranky traveler also eventually proves heroic and a martyr to the Royalist cause he shamelessly sympathizes with in the face of the enemy. For what it is worth, the fact that the second half takes place almost exclusively within the confines of an inn betrays the script's origins as a stage play.

As I said, the film – which evidently uses "The Scarlet Pimpernel" as a template, down to "The Moonraker" having his own popular ballad reprised throughout the film! – deals with a turbulent period in history that was much in vogue throughout the heyday of British cinema, numbering such disparate films as BONNIE PRINCE CHARLIE (1948; though it deals with a different Charles Stuart!), THE SCARLET BLADE (1963; the one it comes closest to in narrative, style and even quality), WITCHFINDER GENERAL (1968; in which Cromwell is, again, no more than a marginal presence) and CROMWELL (1970; a large-scale biopic of the controversial Roundhead leader and Parliamentarian). For what it is worth, as had been the case with the recently-viewed CHRISTOPHER COLUMBUS (1949), I also have a Vittorio Cottafavi-directed Italian TV mini-series dating from 1969 dealing with the exploits of Oliver Cromwell in my unwatched pile...

The Purple Pimpernel

[richardchatten · 7/10 · 26 March 2024]

This swashbuckler following in the footsteps of the TV version of 'Robin Hood' and not to be confused with the James Bond adventure (although Fleming's novel had already been published), 'The Moonraker' is embellished by the addition of Technicolor, which enables George Baker (first seen galloping through Stonehenge) to cut a dash in purple.

Sylvia Syms gives off her usual glow as the film's damsel in distress, Marius Goring, Peter Arne and Patrick Troughton are as creepy-looking a bunch of heavies as you'll ever see and you're treated to the memorable if fleeting sight of John Le Mesurier as Oliver Cromwell.

Not-bad swashbuckler

[Leofwine_draca · 5/10 · 13 July 2013]

THE MOONRAKER (not to be confused with the Roger Moore James Bond film) is a late '50s swashbuckler set during the time of the English Civil War. Charles I is dead, and Charles II is on the run from Cromwell's troops after being defeated at the Battle of Worcester. Into this simmering mix comes George Baker's Moonraker, a dashing hero who fights for all that's right and proper.

The genre is ripe for parody (anyone who's seen THE FLASHING BLADE ought to agree) and, indeed, THE MOONRAKER is a dated film, twee sometimes in its pleasantries. Nonetheless, it proves to be an amusing enough little film, punctuated with enough intrigue and rapier fights to keep it moving merrily along. The scriptwriters have an ear for historical dialogue so that the cast members have a lot of fun slinging it back and forth.

Baker never really made it as a leading man but he's not bad here, and at least looks the part with his broad chest and dominant height - there's nothing worse than a feminine 'girly man' in this type of role. Sylvia Sims is as alluring as ever as his love interest, and Paul Whitsun-Jones bags a particularly fine comic relief role as the overbearing Parfitt. Eagle-eyed viewers may spot Brit favourites Patrick Troughton and John Le Mesurier (as Cromwell, no less!) in brief roles.

How did they find a bitumen road there in 1957

[dsewizzrd-10906 · 6/10 · 11 August 2019]

American style period film set in the time of the English Republic, although somewhat more violent and without the hearty laughing.

George Baker is Moonraker, a soldier of fortune taking the son of Charles I across to France. John LeMesurier briefly plays the role of Cromwell, and Marius Goring a roundhead general.

The fight scenes are well choreographed, but the film is otherwise carelessly made with many shots of vehicular tracks and even an asphalt road (I mean come on, they were far from ubiquitous at the time). There is an American boy to enable a release in USA.

A Moonraker is ....

[CineTigers · 5/10 · 26 November 2005]

"A Moonraker is a smuggler. One who dumps his contraband in the bottom of a lake then rakes it out by moonlight." (Definitely not to be confused with the James Bond escapade).

I believe this film is now in the public domain as I saw it as an "afternoon matinée" on my local school cable channel, where I usually see titles from the $1 bin.

While the movie was historically interesting, the action less enjoyable than Errol Flynn's Robin Hood and the staging and dialog delivery seemed slow and mechanical to me. If you are a fan of Elizabethan costume dramas, this will be a pleasant diversion for you.

Baker is no Flynn

[malcolmgsw · 5/10 · 9 January 2019]

Difficult to understand why George Baker was chosen for the lead as he is no Erroll Flyno. Obviously Associated British try to build him up,even trying to emulate,unsuccessfully,the Rathbone-Flying fight from Captain Blood.Maurius Goring is the chief villain was probably not up to swordplay so Peter Arne was given the task.Sylvia Simms simmers away in the background whilst Paul Whitson Jones is an adequate comic relief

English Civil War meets the Scarlet Pimpernel

[noelcox · 9/10 · 24 May 2003]

"The Moonraker" is an account of the escapades of a dedicated Cavalier gentleman, Anthony Earl of Dawlish, aka Mr Rice, pursued by Roundhead soldiers seeking King Charles II after the Battle of Worcester in 1651. George Baker, as Dawlish, brings to life a Scarlet Pimpernel type character, who skillfully manages to assume the identity of a puritan scholar whilst rescuing supporters of the late King's son from the army of Cromwell.

This is a neglected film, which deserves more attention than it has received. Although in the second half it tends to restrict action to the environs of an inn, there is much to enjoy in the detail. The personal motivations of protagonists are also laid bare, and more than one is called to question their convictions.

Full of action and great fun,but you should have seen it in 1958.

[ianlouisiana · 8/10 · 24 February 2009]

George Baker is so handsome and beautifully spoken that it hardly matters if his acting isn't up to much - unlike Laurence Harvey,his contemporary, who was also handsome and beautifully spoken but whose lack of thespic talent I found extremely grating.Possibly because Mr Harvey had pretensions and Mr Baker was cheerfully light hearted and frivolous.As "The Moonraker" he is having fun,pure and simple.He is not in the least convincing as a 17th century peer and it doesn't matter,it's only a movie.And you should have seen it in 1958 when the screen was dazzled by Miss Sylvia Sims' blue eyes and Mr Paul Whitsun-Jones' bluff and cheery heroics.The bright colours,the echoing hoofbeats,the swordplay,the clifftops.what a feast for a 17 year old in those innocent days. The story-about the rescue of the young King Charles from Cromwell's troops-is not the point of this movie.It was a genuine English attempt to do a "Prince Valiant",if you like,a home made Hollywood epic on a far more modest scale,and,as such,it was a great success.With more familiar British actors than you could shake a stick at,it makes great TV for the 21st century - but you should have seen it in 1958.

Jolly Cavalier v Roundhead swashbuckler

[rogerblake-281-718819 · 8/10 · 26 March 2013]

There are comparatively few films about the English Civil War,the best being Ken Hughs' Cromwell which features Richard Harris as Oliver Cromwell.This gives both sides a fair hearing,although personally I do not believe in the divine right of kings and like Cromwell believe that kings should rule through Parliament.Oliver Cromwell was very much a warts and all character and though still reviled in Ireland turned the Parliamentary Army into one of the finest armies the world has ever known.They were known as the Ironsiders,and were far removed from the incompetent swordsmen that they are usually shown as,e.g.The Scarlet Blade and the film under review here.

By far the most realistic film of the Civil War was The Witchfinder General,an extremely unpleasant violent though realistic film which didn't pull its punches.

The Moonraker is a much gentler film which gained a "U"Certificate and on its own level quite exciting.George Baker plays, as another reviewer puts it. a scarlet pimpernel type character helping Royalists escape to France.Although Baker is no Cornel Wilde he is rather good in the role.There are many other pleasures to be found not least John Le Mesurier's take on Cromwell.The plot concerns the Moonraker's attempts to help the future King Charles 2nd (rather well played by Gary Raymond) to escape to France.They are ensconced in an inn,all in disguise of course,while the Moonraker tries to arrange passage on a ship.Among the other guests is the lovely Sylvia Sims who is waiting for her Roundhead fiancé to turn up,he is scouring the countryside looking for the future King.When Baker puts on the old charm she soon melts.Also present is one Edmund Tyler,a Roundhead secret agent,a thoroughly nasty piece of work and a superb classic villain.Peter Arne,a poor mans Robert Douglas,specialised in such roles,always very hissable.

The chap who saves the day is a cavalier gentleman by the name of Mr Parfitt whose one purpose in life is riotous living,a very loud larger than life man who without giving away too much gives his life so the King can escape.

The wonderful character actor Paul Whitson Jones steals all the scenes he is in.

The climatic sword fight between Tyler and the Moonraker is brilliantly staged and there are no prizes for guessing who wins.

Sylvia Sims fiancé turns up,Colonel Beaumont played by Marius Goring,who unusually for a Roundhead is portrayed as a decent honourable man and when he realises the King has escaped he allows his fiancé to join the Moonraker.He is certain that the Innkeeper,his wife and son were implicated in the plot and in an act of mercy he does not press charges against them.

All in all a perfect film for a wet afternoon to watch while armed with a cup of tea and the biscuit tin.Why don't they make films like this now?

Oh come with me my turtle dove.

[hitchcockthelegend · 8/10 · 10 January 2013]

The Moonraker is directed by David MacDonald and adapted to screenplay by Robert Hall, Wilfred Eades and Alistair Bell from the Arthur Watkin play. It stars George Baker, Sylvia Syms, Marius Goring, Peter Arne, Clive Morton, Richard Leech, Iris Russell and Paul Whitsun-Jones. Music is by Laurie Johnson and cinematography by Mutz Greenbaum.

With the English Civil War just finished, Oliver Cromwell (John Le Mesurier) aims to capture Charles Stuart (Gary Raymond) to stop him replacing his executed father on the throne. However, a Royalist hero known as The Moonraker (Baker) plots to smuggle Stuart to France before Cromwell and his Roundhead followers enact their plans.

A British swashbuckler full of derring-do heroics, sword fights, boo- hiss villains and gorgeous Technicolor photography. Why then is The Moonraker little known or under seen? Perhaps it comes down to availability on home formats over the years? Or TV rights preventing it from being shown elsewhere other than good old Blighty? Either way it's a shame and fans of swashbucklers should definitely consider seeking this one out.

The name Moonraker in this parlance is put to a smuggler who would hide his goods in the village pond and then go back at midnight to rake said goods out. Here the " Moonraking" involves smuggling important human beings out of harms way. The Moonraker in question is Earl Anthony of Dawlish, a Royalist Cavalier Scarlet Pimpernel type, a bally hero of devilish good looks and courage unbound; I mean why jump through a gap when you can dive through it instead? Cue under cover disguise, bluffings between hero and villains, simmering romance and a base station inn where many shenanigans unfold. It's not based on historical facts, it's a work of fiction, but much thought has gone into the period design, collectively impressive in architecture, weapons and clothing. How nice to actually see an English Civil War based buckling of the swash!

Location work is spread about the place, where even though much of the second half of film is based inside the crafty Royalist supporting inn, there's still some lovely exteriors to enjoy. The makers missed a trick by not homaging the lead character by doing some work at beautiful Dawlish in Devon, but Wiltshire, Dorset and Kent prove to be appealing places for scenes. Ronnie Hilton's theme song over the opening credits is a bit off the pace of the movie, in that it doesn't quite fit as a starting point, but the song itself proves to play well as part of the narrative.

Cast are mixed but nobody stinks the film out, Baker is no Flynn, Power or Granger, but he makes for a very likable handsome hero and he is very comfortable performing the excellently choreographed fight sequences. Syms looks radiant and gorgeous, even if the character doesn't call for her to thesp greatly. While elsewhere the most fun performance comes from Whitsun-Jones as Parfitt, a big rotund Royalist full of bluster and bravado, when asked his occupation he bellows "gentleman", you hear him and believe him and he will later on in the film get "one" of those great cinematic moments.

The Moonraker, hooray! If you be a swashbuckling fan then you owe it to yourself to put this on your list of must sees! 7.5/10

Reasonably enjoyable swashbuckler

[bob the moo · 27 July 2003]

Earl Anthony (aka The Moonraker) is a gentleman swordsman who is the thorn in the side of Oliver Cromwell and his battle to rid Britain of the royalists. The Moonraker is feared among Cromwell's men and has been responsible for the escape of over 30 royalists to France. When Anthony tries to lead Prince Charles Stuart to safety after a defeat at the hands of Cromwell, they are recognised and forced to evade capture – but can they get passage to France in time?

Contrary to my wife's beliefs, I didn't watch this film in the mistaken belief that Roger Moore was going to burst onto the screen at any moment, but at times I wished he had. The film is a old fashioned swashbuckler done without too much in the way of individual flair. The plot is easy to predict and it is much more wordy that I had expected, with much of the second half being confined to an Inn. That said it still is enjoyable and is worth watching for what it is.

The fights are a little dull and there is nothing to suggest that Anthony is worthy of his fearsome reputation but the sense of period is good. The film drifts between romance and action with an uneasy lilt to it, but the romance works well as it has the darker edge of being forbidden.

The characters are all a little flat with the odd exception. Baker doesn't manage to bring anything to the role of Moonraker except the normal leading man strong jaw and big chest. The support cast are all colleagues or `evil' bad guys, the love interest is OK but is won over a little too easily. A horrid bit of miscasting is Le Mesurier as Cromwell. We all know what type of roles he is famous for playing and the end result here is that Cromwell comes off as one of them and not a real threat.

Overall I enjoyed this film even though it didn't really distinguish itself in any specific way. As part of the genre it is par for the course and will please those who like this type of thing.

Exciting Eglish Civil War Adventure

[chrisludlam · 9/10 · 24 May 2020]

Of the surprisingly few films produced dealing with the English Civil War,this is probably the most entertaining:One I've viewed many times over the years! George Baker is ideal as the Cavalier Aristocrat Anthony,Earl of Dawlish,aka "The Moonraker".,who has helped many Royalist fugitives evade Cromwell's forces and escape to France. Now,he has his most important task to fulfil,to aid the heir apparent to the English throne, Charles Stuart, in a similar course of action. Dawlish too must try to leave England as the Roundhead net tightens. A journey not without danger ends at the clifftop Windwhistle Inn,used by the Moonraker in previous escapades,from whence he must find a Captain and vessel willing to risk the Channel crossing to France..Those at the Inn include both Friend and Foe(Especially Tyler,a dangerous spy). One of these folk is pretty Puritan Anne Wyndham(Nicely played by Sylvia Syms),who has bitter feelings towards Royalists,and happens to be the Fiancee of Colonel Beaumont,the local Cromwellian charged with hunting down both the Royal Prince and the Moonraker. After wounds sustained in a swordfight with Tyler,Dawlish is attended by Anne:Her heart is melted by the dashing,romantic Cavalier. Beaumont arrives at the Inn with a troop of his men:A pompous,rotund but ultimately heroic Royalist named Parfitt attempts to facilitate the escape to the waiting ketch in the cove below. A lengthy duel ensues between Dawlish and Tyler. Will our hero escape? Will Anne,now released from her Engagement to the staid Beaumont,follow Dawlish?? This is a colourful movie,with good location photography in Southern England,accurate costumes(Sash colours permitting!)Swordplay and even Romance,and good supporting performances generally. Paul Whitsun-Jones(Parfitt),Marius Goring(Beaumont),Clive Morton(Lord Harcourt),Gary Raymond(Charles Stuart),Peter Arne(Tyler) amongst the latter And the Title song(Sung by Ronnie Hilton in good voice) helps proceedings along! Recommended.9/10.

We can't guarantee the truth about historical films, but we can enjoy them nonetheless.

[mark.waltz · 8/10 · 15 February 2023]

Yes. This film has a lot in common with "The Scarlet Pimpernel" which was set a century later in France, and just like this, during a troubled time for the monarchy. For the future King Charles II. It was the usurping of the government by the Cromwells which sent him into hiding, and according to this, he is protected by a mysterious figure called the Moonraker, no relation to the later James Bond movie. It's a rare treat to see George Baker, best known to American audiences as Emperor Tiberius of Rome in the "I Claudius" miniseries, looking for different than he did as the stepson of Emperor Augustus who aged from young man to disfigured ruler, quite handsome here and with that voice still familiar from those familiar with that award-winning British miniseries made 17 years after this.

The fantastic featured cast includes the gorgeous Sylvia Syms, Marius Goring, Gary Raymond as the deposed prince, Peter Arne, John Le Mesurier as the powerful Oliver Cromwell and Patrick Troughton. Beautifully filmed in color and exciting for its action and adventure, it's easy to overlook any implausibilities or unfactual details that the history books have recorded, but for me, even as a fictionalized account of the mid 17th century, it is a film worth seeing simply because it is so sumptuous and exciting throughout. There are sword fights of course (like any swashbuckler), and a lot of romance with subtle humor making the film consistently fun to watch. Baker is up there with every swashbuckling hero I've ever seen for his ruggedness and romantic ability to swoop in and charm the women, and the villains of course are dastardly and hissable. There are conversations about what the Cromwell government wants to do with Charles Stuart and the title character, aka Anthony, Earl of Dawlish, and they are pretty graphic. It was outsidiously still a brutal time, and even governments against the monarchy proved they wanted solid power with no one else threatening their regime. For fans of HBO's historical miniseries, this is an absolute must.