A swashbuckler film is characterised by swordfighting and adventurous heroic characters, known as swashbucklers. While morality is typically clear-cut, heroes and villains alike often, but not always, follow a code of honor. Some swashbuckler films have romantic elements, most frequently a damsel in distress. Both real and fictional historical events often feature prominently in the plot.
History
Right from the advent of cinema, the silent era was packed with swashbucklers.[citation needed] The most famous of those were the films of Douglas Fairbanks, such as The Mark of Zorro (1920), which defined the genre. The stories came from romantic costume novels, particularly those of Alexandre Dumas and Rafael Sabatini. Stirring music was also an important part of the formula.[1] The three great cycles of swashbuckler films were the Douglas Fairbanks period from 1920 to 1929; the Errol Flynn period from 1935 to 1941; and a period in the 1950s heralded by films such as Ivanhoe (1952) and The Master of Ballantrae (1953), and the popularity of the British television series The Adventures of Robin Hood (1955–1959).[2] Richard Lester's Dumas adaptations revived the genre in the 1970s.[3]
The term "swashbuckler" originates from boisterous fighters who carried a sword and buckler (a small shield).[4] "Swashbuckler" was a putdown, used to indicate a poor swordsman who covered his lack of skill with noise, bragging, and clamour.[citation needed] Novels, and then Hollywood, altered the word's connotation to make the swashbuckler the hero of the plotline.[1]
Jeffrey Richards[who?] describes the genre as very stylized. The hero is one who "maintains a decent standard of behavior, fights for King and Country, believes in truth and justice, defends the honour of lady".[5] Though these can be regarded as the values of a knight, the setting may fall anywhere between the 11th and 19th centuries.
Fencing is an essential element of the genre, and a dramatic duel is invariably a pivotal part of the storyline. Famous fencing instructors came from the ranks of successful competitors, and included Henry Uyttenhove, Fred Cavens, Jean Heremans, Ralph Faulkner, and Bob Anderson.[6]
Musical scores
Erich Wolfgang Korngold won the 1938 Academy Award for his score to The Adventures of Robin Hood. The 1935 Captain Blood was nominated for Music (Scoring); in 1940 The Sea Hawk was nominated for best Original Score. Korngold was known for his late Romantic compositional style and assigning each character his or her ownleitmotif.
Alfred Newman wrote the scores for: The Prisoner of Zenda (1937), the 1940 version of The Mark of Zorro, and the 1942 The Black Swan (nominated for Best Original Score). The 1940 film of The Mark of Zorro was nominated for an Academy Award for the Best Original Score.
Dimitri Tiomkin scored Cyrano de Bergerac (1950). According to film historian David Wallace, "His trademarks, huge, noisy cues, propulsive adventure themes that seemingly employed every brass instrument ever invented, and melting, emotionally wrought melodies accompanying romantic scenes also became the stock-in trade of just about every film composer since."[7]
Hans Zimmer scored the Pirates of the Caribbean series, reinventing the swashbuckler musical style.
American television produced two series of Zorro (1957 and 1990). Following the film The Mask of Zorro (1998), a television series about a female swashbuckler, Queen of Swords, aired in 2000.[8]
The Spanish television series Águila Roja (Red Eagle), aired from 2009 to 2016, is an example of the swashbuckler genre.[9]
Italian and German televisions produced several series of Sandokan.
