THE SON OF CAPTAIN BLOOD (Tullio Demicheli, 1962) **

This Spanish/Italian/US co-production  results to be a simple , predictable and good clean fun

Dénia Harbour, Alicante, Costa Blanca, Comunidad Valenciana, Spain

Olivia de Havilland and Errol Flynn in Captain Blood (1935)

Louis Hayward and Patricia Medina in Fortunes of Captain Blood (1950)

Louis Hayward, Patricia Medina, and John Sutton in Captain Pirate (1952)

Errol Flynn and Brenda Marshall in The Sea Hawk (1940)

Pierre Clémenti in Wheel of Ashes (1968)

Yves Lambrecht and Leonid Yarmolnik in Captain Blood: His Odyssey (1992)

Olivia de Havilland, Errol Flynn, Ronald Reagan, and Raymond Massey in Santa Fe Trail (1940)

Sean Flynn in The Son of Captain Blood (1962)

Sean Flynn and Alessandra Panaro in The Son of Captain Blood (1962)

Ann Todd and Sean Flynn in The Son of Captain Blood (1962)

Sean Flynn

Alessandra Panaro

Ann Todd

Casey Robinson

Rafael Sabatini

Mario Caiano

The son of a notorious pirate is placed on the path of righteousness by his love for a beautiful young woman.

Tulio Demicheli

El hijo del capitán Blood

Like father, not like son

It has a certain &quot;gimmick&quot; value -- casting the son of Errol Flynn in a sequel to one of Errol Flynn&apos;s greatest hits -- but the results are never more than mildly diverting. While the movie has been tolerably well mounted and the musical score has a few good moments, its story line is lax and unconvincing and its direction lacks the energy and style found in the better swashbucklers. An earthquake which erupts in the final reel fails to lift the movie above the level of &quot;routine.&quot;

The main reason to watch this, however, is the chance to see Errol Flynn&apos;s ill-fated son in what has come to be his best-remembered movie. He spends much of his part bare-chested and wearing tight pants and it would be easy to dismiss him as a shallow &quot;boy-toy&quot; whose acting abilities are better suited to amateur theatrics at a fraternity house. Yet one can&apos;t help but wonder how those pretty-boy, almost androgynous looks might have aged, acquiring needed lines and character, and one can&apos;t help but wonder if maturity would have given Sean Flynn a substance to go along with his casual likeability. Alas, we&apos;ll never know.

Comparisons between father and son will work to the father&apos;s favor. Note the whipping which Errol endures at the beginning of &quot;Against All Flags&quot; and then contrast it to the whipping given Sean about half-an-hour into &quot;The Son of Captain Blood.&quot; Errol really seems to be suffering pain when the cat-o-nine-tails strikes his bare back. Sean&apos;s expressions, on the other hand, evoke nothing more than: &quot;Ouch. That like, you know, stung.&quot;

(For another father-son team who&apos;ve felt the sting of a lash, check out John Wayne in &quot;The Conqueror&quot; and Ethan John Wayne in &quot;Man Hunt.&quot;)

It has a certain "gimmick" value -- casting the son of Errol Flynn in a sequel to one of Errol Flynn's greatest hits -- but the results are never more than mildly diverting. While the movie has been tolerably well mounted and the musical score has a few good moments, its story line is lax and unconvincing and its direction lacks the energy and style found in the better swashbucklers. An earthquake which erupts in the final reel fails to lift the movie above the level of "routine."

The main reason to watch this, however, is the chance to see Errol Flynn's ill-fated son in what has come to be his best-remembered movie. He spends much of his part bare-chested and wearing tight pants and it would be easy to dismiss him as a shallow "boy-toy" whose acting abilities are better suited to amateur theatrics at a fraternity house. Yet one can't help but wonder how those pretty-boy, almost androgynous looks might have aged, acquiring needed lines and character, and one can't help but wonder if maturity would have given Sean Flynn a substance to go along with his casual likeability. Alas, we'll never know.

Comparisons between father and son will work to the father's favor. Note the whipping which Errol endures at the beginning of "Against All Flags" and then contrast it to the whipping given Sean about half-an-hour into "The Son of Captain Blood." Errol really seems to be suffering pain when the cat-o-nine-tails strikes his bare back. Sean's expressions, on the other hand, evoke nothing more than: "Ouch. That like, you know, stung."

(For another father-son team who've felt the sting of a lash, check out John Wayne in "The Conqueror" and Ethan John Wayne in "Man Hunt.")

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