Word: errol
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...sources). The alltime Mafia favorite, however, is the movie The Adventures of Robin Hood (1938). Basil Rathbone, who plays the villainous Sir Guy Gisbourne, is hissed at every appearance. He is the totally corrupt and power-hungry official that Mafiosi feel they know so well. Between Errol Flynn, as Robin, and the cheering Mafia audience there exists, as they might see it, a kind of spiritual bond. It does not seem to extend, however, to that business of robbing to give to the poor...
...only good news is Michael Caine, who is fast, wry and totally engaging as the rebel Breck. Despite a tendency to get a little out of breath in the strenuous scenes, Caine might even make a worthy successor to Errol Flynn...
...intelligence. And unbeatable, unbeatable cool. And a celluloid background that started unreeling 30 years ago. A graduate of the starlet's academy, Hollywood High, she won her first lead in the war film Dive Bomber, but failed to land either Co-Star Errol Flynn or Fred MacMurray; both loved flying more. Late Show buffs can catch her around, but not quite in, movie musicals. She was Mrs. Cole Porter in Night and Day and George Gershwin's gal in Rhapsody in Blue. Customarily, though, she was Warner Brothers' snow queen, a frosty beauty about as seducible as the Statue...
...Boggan, a Long Island University assistant professor; Jack Howard, 36, an IBM programmer, and George Buben of Detroit, who took along his wife. The male players, besides Howard, were Glenn Cowan, a longhaired student from Santa Monica, Calif.; John Tannehill, 19, a psychology major at Cincinnati University; Errol Resek, 29, an immigrant from the Dominican Republic and employee in the Wall Street office of the Chemical Bank, who was accompanied by his wife, and George Braithwaite, 36, a graduate of New York's City College, a United Nations employee and the only black in the group. The women players...
...Western was as popular during good times as during bad. The swashbuckler, which was regarded as epic only when stricken with elephantiasis, was always a totally escapist form: it transported the audience to a never-never land where evil baron Basil Rathbone could say to rebel Errol Flynn, "You speak treason!"; to which Flynn could add: "Fluently." What creative rapport could Hollywood establish with twelfth-century England or Italian buccaneers? All they could do was film the material as excitingly as they could, and spice it up with Campish or currently idiomatic dialogue...