jacobs-greenwood Directed by Vincent Sherman, with a screenplay by George Oppenheimer and Harry Kurnitz that was based on the Herbert Dalmas story, this average adventure drama not only marks the last swashbuckler role for Errol Flynn (at 39 years old), appropriately playing the title character, but also the actor's last of more than a dozen pairings with sidekick Alan Hale. The film won an Academy Award for its Color Costume Design; its Color Art Direction-Set Decoration was also Oscar nominated.The film begins by showing the legendary womanizer in a couple of different dicey situations in which Flynn's character, with the help of his sword and his trusty aide Leporello (Hale) must extricate himself. Una O'Connor appears briefly (as Helen Westcott's handmaiden) in one of them. The first incident leads to a second one in London, during which both men are captured and Don Juan must face his native Spain's ambassador, the Count de Polan (Robert Warwick), to whom he's been released. The Count is well aware of Don Juan's reputation, earned over many years across Europe, and chastises him for hurting his own efforts in negotiating peace with England.With the Count's advice and a letter sealed with a ring he'd been given by Queen, Don Juan returns to Spain seeking to serve her. Queen Margaret (Viveca Lindfors) and King Phillip III (Romney Brent) receive Don Juan and, after more chastisement, she puts him to work training their country's young fencers. The ambitious Duke de Lorca (Robert Douglas), the King's trusty right hand man, has secret plans of his own for seizing power, but cutting off the Queen's supply of funds for peace to Ambassador de Polan to use them to fund a new Spanish fleet for their Navy.A reformed Don Juan does an excellent job training his country's young swordsmen, with Don Serafino's (Fortunio Bonanova) help, while befriending dwarf Don Sebastian (Jerry Austin), a friend of the royal couple. Unfortunately, he's then almost entrapped into another dalliance by Donna Elena (Ann Rutherford), she'd tried to seduce him just before her wedding. The scandal causes him to face the Queen, who had trusted him. Earlier under her orders, Don Juan revealed that his true love was the Queen herself. She was shocked at his impudence, that he would say such a thing even under her command, and had discharged him (but later had to admit to herself that she was flattered and not altogether unhappy with what he'd told her).Distraught and consoling himself in a pub with Leporello, Don Juan discovers the Count's ring in the possession of the man (Douglas Kennedy?) who runs the Duke's secret torture chamber. But when he goes to warn the King and Queen of the Duke's treachery and treason, he's too late to stop the coup and ends up in said chamber himself. Leporello and Serafino rescue Don Juan, then the three free the Count before rendezvousing with the young fencers.With Sebastian's help, they infiltrate the castle to rescue the Queen and a grateful King. A climactic sword fight between Don Juan and the Duke's trusty Captain Alvarez (Raymond Burr) is short-lived, but followed by a much longer duel (on the elaborate staircase steps) with the Duke himself. Naturally Don Juan wins; he then has one last platonic meeting with the Queen before he leaves, declaring to Leporello that his romancing days are over until he sees a lady in a carriage (Flynn's wife Nora Eddington, uncredited).

Filipe Neto This film portrays Don Juan de Maraña, the legendary lover and adventurer who conquered hearts for all the European courts. However, in this film, he is confronted with his own bad reputation and ultimately finds the true love where he least expects to find it.The film is directed by Vincent Sherman and is perhaps his most famous film today, a fact that owes much to the immortal Errol Flynn, who plays the main character. Interestingly, Flynn had a lot of Don Juan in his personal life since, as the character, he has collected romances and love affairs with many Hollywood actresses of that era. As usual, Flynn comes out very well in his role, similar to what he had in other swashbuckler's films as "Captain Blood" or "The Sea Hawk": he is the hero, the adventurer heartthrob who saves the day and wins the heart of the lady. I especially highlight the fight and fencing scenes, with lots of action and theatricality, as was usual at the time. Also the scenarios, designed to detail, and the refined costumes deserve special note.This film is from another era in the history of cinema. It was designed to entertain and go before the main film, at a time when a trip to a movie theater still lasted a full day, as theaters go two films, separated by an interval and preceded by the reporting of news. Nevertheless, it's not a second-rate film. It's a great class film, with an excellent actor who earned his place in history of the Seventh Art.

malvernp Errol Flynn is best remembered today for the four classic swashbuckler roles that he played in the 1930s and 1940s.The first three were made when he was young, robust and in the fullness of his prime----"Captain Blood" (1935), "Adventures of Robin Hood" (1938) and "The Sea Hawk" (1940). They constitute the cumulative record of a dashingly handsome man whose charm, grace and sheer zest for life leap from the screen.The last----and least known of the four----is "Adventures of Don Juan" (1948). In many ways, it is the most interesting. While he is no longer young----and clearly shows the effects of a life probably too well lived---it represents everything that he ever learned about portraying this kind of hero. "Don Juan" is also the last time we will ever see Flynn in all his glory (in a beautifully restored Technicolor rendition) as our adventurous rogue (albeit an aging one) pursuing his final great quest. It's a pity that most of us will never see this film on a large screen.The TCM DVD for "Don Juan" contains a wonderful commentary track featuring the late director of the film, Vincent Sherman, and the eminent film historian, Rudy Behlmer. It is indispensable in giving the viewer a true appreciation of the film and the many elements that went into its creation.A prior reviewer pointed out that Don Juan's final scene with the Queen reminded him of the Ronald Colman version of "Prisoner of Zenda" (1937). Colman's last scene with Princess Flavia (played by Madeleine Carroll) seems to be the source of the similar one in "Don Juan." In "Zenda," Princess Flavia laments that duty and honor must come before true love. In "Don Juan," it is our hero who instructs the Queen on the very same subjects. Personally, I prefer "Don Juan" for its more touching and natural sentiment.This film should be viewed by anybody interested in the Golden Age of Hollywood who wants to see just how classic films were made---and one of cinema's true stars in his last hurrah!

Jem Odewahn Errol Flynn is back in swashbuckling costume eight years after the excellent "The Sea Hawk", and it feels like he never went away. I was expecting this film to be not that good, and I imagined Flynn as looking tired and puffy as a result of his wild lifestyle. However, I was pleasantly surprised. It's a wonderful piece of entertainment. Of course, the plot is really no different from any other swashbuckler, but it's still a heck of a lot of fun. Flynn is perfectly cast as Don Juan- really, who else can you picture but the Tasmanian Devil in the role? This film is about Don Juan in love, with his Queen (a suitably regal Viveca Lindfors), and putting his life on the line for Spain. Aside from the natural ageing process, and looking a little puffy around the face, Flynn is as attractive, charming and witty as ever. Alan Hale, his sidekick in many of his previous films, joins in again. He's Don Juan's loyal friend who keeps the horses under the boudoir window so Flynn can make a quick get-away if a jilted husband bearing a sword arrives. We even have Una O'Connor there, which makes us all sigh and remember Robin Hood. The Warners team do a great job in creating a fresh new swashbuckler for more cynical Post-War audiences (Flynn character is more knowing and sarcastic, but in a good way), whilst being an affectionate tribute AND send-up to the earlier great classics. I guess Warners capitalised on news of Flynn's rape trial and reports of his hedonistic lifestyle in creating this film. But Flynn seems to take it in good humour. The costumes, sets and colour are first rate, as is Max Steiner's stately score. And the last line is a classic!