Errol On His Own

Flynn Steps On Skids with Crossed Swords (1954)

Crossed Swords Came To Chicago, But Did Not Conquer

Of movie idols who thrived in the Golden Age, Errol Flynn may have been a truest Man Of The World. He'd been everywhere, had traversed oceans and penetrated jungles. To make movies on the continent would seem more natural to him than doing so on Warner sound stages, thus Crossed Swords as welcome respite from Burbank captivity. Flynn had just split from WB when Italian backers offered Crossed Swords. He was not (yet) a star in decline, as recent The Master Of Ballantrae had done extremely well, and may have made Warners regret their separation from Flynn. The latter's Italian venture was initially called Teacher Of Don Juan, the title a bit close to Warner's previous Flynn vehicle for comfort, thus eventual change to Crossed Swords.

Errol's greater interest was launch of William Tell, his producing dream project for which Crossed Swords served as dry run. He was gad-flying among Yank picture-folk who were thick as flies overseas, and free with advice; both John Ford and Orson Welles were observed in hobnob with Flynn during the Italo sojourn. 1953 had begun with Errol laid up with flu, then jaundice, this as topping to a liver said to be in free-fall atrophy. These as cap for already dissipating features made Crossed Swords a less than flattering Flynn debut as independent filmmaker. Still, his kind of action was catnip to worldwide audiences, and Crossed Swords had plenty of that, even if staging lacked polish of Warner duels past. Locations were a plus, however; borrow of castle and grounds adding grandeur to a not otherwise lavish production. Color photography by seasoned Jack Cardiff gave Crossed Swords at least the impression of richness.

Flynn was spirited and cooperative; this after all was opportunity to establish himself as a free agent who'd henceforth customize his own star vehicles. Principal players spoke English, a must for US release prospects, while dubbing of support speech got by thanks to post-production assist from United Artists, that company having agreed to domestic-handle Crossed Swords and upcoming William Tell. Swords' co-star Gina Lollobrigida would provide merchandising advantage in the US, having appeared lately opposite Humphrey Bogart in Beat The Devil, and being sold as "Italy's Marilyn Monroe." Crossed Swords did tepid stateside business, only $332,000 in domestic rentals. More might have been expected based on patron response to costumers Ivanhoe and Scaramouche. Maybe a US market got word-of-mouth that Crossed Swords amounted to pasta less digestible over here.

United Artists sales wasn't to blame. They'd issue a lavish pressbook and arrange opens where bally might help most, but reviews were soft, Variety stamping Crossed Swords as "routine escapism for undiscriminating audiences." B.O. response varied according to territory, but common to all was distinct falling off in second frames, as experienced by Chicago's Monroe Theatre, which started OK, but "went sluggish" (Variety) for a follow-up week. Part of trouble, said observers, was so-called "2-D product lack," that is, a conventional framed movie being sold to a public drunk on "choicest available Cinemascope and widescreen pix." Result was Crossed Swords on lower end of duals, like in L.A. where it played saturation support to Shield For Murder, a "bad cop" actioner done for cheap and B/W, but more promising withal than Crossed Swords. Was Errol headed for shoals? Fate of Crossed Swords couldn't have made it easier for him to raise cash toward finishing William Tell. Coming years would render Swords a tough one to track down. There was TV exposure via 1958 packaging among 52 United Artists features that included The African Queen and Red River, probably the strongest syndicated group, from standpoint of post-48's, being offered that year. Ownership today of Crossed Swords is cloudy, and DVD's offered thus far have been iffy.