Watch Lorna Doone For Free

Sick Product of a Sick System

One of my all time favorites.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

This fantasia on British peasant life during the time of King Charles II is fun for what it is, but it's more of the same, especially from the stable of swashbuckling historical epics coming out of the vault of producer Edward Small. The man who gave us various Counts of Monte Cristo and various men and women in iron masks now takes on the legend of the wealthy Doone family, a ruthless band of dukes who took a good majority of crops and livestock on the lands they leased as rent, and have ruthlessly pillaged the countryside. The narrative makes it clear that they were enemies of the monarchy, apparently trying to increase the amount of land they own in a presumed effort to take over the country. Young John Ridd witnesses his father being killed by the Doones, and climbs up a waterfall to a cave entering the Doone's private lands to plead for mercy. There he meets young Lorna and two other young male relatives whom it is obvious he will grow up to fight and try to bring down in adulthood. Years go by and the peasant life hasn't improved, only worsened. As the two younger members of the family become men, they strive to keep the peasants down even more, and Ridd (Greene) vows to bring them down, even as he falls more in love with the beautiful title character (Hale) who has a birth secret even she isn't aware of.While this was considered a B film, the colorful photography often tries to hide that fact, and what comes out of this is a pleasant historical action film that while not quite "Ivanhoe" or "Knights of the Round Table" is compact and possibly even more entertaining. Greene and his band of men strive to take down the Doones' army and eventually plead with King Charles II (Lester Matthews) for aide. Charles, one of the most noble of kings, hears him out, and this leads to a union between Greene and Hale which sends the remaining Doones on a course of revenge that ends up with the two old rivals battling Greene, leading back to the entrance to the waterfall cave and a final battle that is riveting and suspenseful. Not a great film by any means, it's a pleasant time filler, and a good opportunity to see the lovely Hale long before she became Della Street and the Amana spokeswoman. Greene gets to show off his fine physique, bronzed by the colorful cinematography. Carl Benton Reid gives a wise, sensitive performance as the older Doone, betrayed by his own family, and William Bishop and Onslow Stevens make delightfully hissable villains. There are other versions of this story out there that might give truer portrayals, but this one is interesting from the viewpoint that it takes.

One of a number of film adaptations of the long 1869 novel of the same name by Richard Blackmore. Technicolor released by Columbia in 1951,it stars Barbara Hale as Lorna Doone, and Richard Greene as the rebellious commoner John Ridd. It takes place during the latter part of the reign of Charles II, in the 1670s and '80s, in the wild country of Exmoors, in the southwest of England (not in Scotland, as stated in the summary at this site!) The Doones, as the traditional overlords in one part of the Exmoors, had been recently stripped of their feudal lands and rights ,due to political conflict with the crown. Nonetheless, they continued to live in their castle, on a hilltop, and continued to demand confiscation of the crops and animals of the now free farmers. Thus, they were technically a gang of thieves. The farmers also now had to pay a tax to the crown, since the crown technically owned the land. Thus, both the farmers and the crown are at odds with the Doones. But, the crown is not disposed to send a military force to enforce its edict, and the farmers have no swords or firearms with which to fend off the parasitic Doones. Their extreme alternative threat is to fail to plant crops or burn their crops, or kill all their animals. After seeing the film, it takes little imagination to see the many similarities with Warner's 1938 "The Adventures of Robin Hood". When in rebellion, the farmers usually take to the woods,as did Robin's men. The Doones can be seen as the equivalent of Prince John and his cronies. The local sheriff is working for the bad guys in each case. King Charles and his supporters, then, are the equivalent of King Richard. There is the obligatory rapier duel between the hero and the main bad guy at the end. There is a love story between the hero and a girl of the opposition in both cases, threatened by an obligation to marry one of the nobles. In this film, the contested girl is Lorna Doone, and the chief villains are Carver and Charlesworth Doone, who are essentially the same age as the hero, John. Sir Ensor Doone, the patriarch of the clan, is not quite as rapacious as his sons. Unfortunately, he dies, unleashing further terrorizing by his sons.It's not until Charles and his ally, the Duke of Lorne, arrive with troops to abet the schemes of the farmers that the Doones are finally crushed. Although the ending is provisionally happy, it's best said to be guardedly hopeful. See the film to find out what I mean. It's currently available on YouTube. The main adult actors were fine, except Barbara Hale wasn't the most charismatic "princess". The child actors were a bit stiff. Overall, it's not a bad film. However, "The Adventures of Robin Hood" is certainly more fun, with occasional humor to balance the tense moments, and the personality of Errol Flynn.Other, more recent film versions made for TV, were released in 1990 and 2000. The latter has a significantly higher rating, but is more than twice as long as the present film,at 3 hours. I haven't seen either.

This Hollywood rendition of the British literary classic by R.D. Blackmore was dubbed "grotesque" by the late, eminent but notoriously conservative film critic Leslie Halliwell where, he opined, the narrative was treated "as if it were a Western"! Such a damning assessment did not augur well, to be sure – but, then, Leonard Maltin rated it higher than the director's best-regarded costumer i.e. the just-watched THE BRIGAND (1952). The truth, as often happens, lies somewhere in between: while the plot does feel like a typical 'terrorized homestead' scenario, it is nevertheless engaging (indeed, more so than the better-received 1934 version that had preceded this viewing!) and, to its credit, looks veritably gorgeous in the Technicolor print shown on Australian HD-TV I acquired (despite the "Back Soon" and "Now" announcements signalling frequent commercial breaks!). Still, it does not quite have the impetus to rise above the clichés – lacking the wit and verve that would characterize THE BRIGAND and substituting glumness, ill-matched stars (Barbara Hale and Richard Greene) and a decidedly anodyne villain (William Bishop)!While the essence of the tale, at least as shown in the earlier adaptation, is there, a number of crucial differences are also on hand – which, again, can either work in its favour or against: first of all, the Doones (headed by siblings Carl Benton Reid and Onslow Stevens) reside in a castle and, rather than mere bandits, are overlords enslaving the people a' la Prince John in the Robin Hood legends; the male protagonist here is a soldier in King Charles II (not James!)'s army, so that the opposition he offers involves military tactics (a planned sneak attack by way of the waterfall which had introduced the hero to Lorna as kids) instead of just an impulsive personal vendetta; the character of Tom Faggus (played this time around by Ron Randell) is much more important here but, then, his romance with Greene's barely- registering sister feels contrived; a number of violent scenes (floggings, hangings) are incorporated, culminating in full-blown swashbuckling action at the climax; there is not one but two interrupted wedding ceremonies (in both of which Lorna is the prospective bride!), with the last semi-tragic one preceding the inevitable showdown between her two contenders – which, however, ends with the predictable fall from a great height and not a marshland drowning; Lorna's background (a spiteful kidnapping stunting her regal birthright), on the other hand, is more than adequately dealt with…since the King himself comes into play on a couple of occasions! With this, I am now left with the Silent 1922 filmization by Maurice Tourneur to check out – while marking the start of a three-movie mini-marathon dedicated to Greene as part of my current Epic Easter viewings.

Looks good in lush, 1950s Hollywood deep colour and the backdrops, (e.g. the castle perched on the edge of the cliff and the thundering water fall which is the only other access to the castle beyond the one road and the drawbridge), look good as well. There is the usual collection of Hollywood support actors on hand to look aggrieved. angry or resentful on cue as well so you "feel at home" when they are on screen, knowing this is from the estbalsihed stable of 1940s/50s Hollywood swash-bucklers. Apart from that, though, this does not have much going for it. Seeing the lead players in action makes you realise clearly why they never made it to the Errol Flynn, (what would HE have done with the lead role???), or even Virginia Mayo league. Even their wooden appearances could have been compensated for, however, if the whole thing, (even just the fight scenes), had had some PACE and ZEST. As it is, the whole thing comes across as a "wheel 'em on", "let's get this scene over" affair, leaving you as glad at the end as the players apparently felt that the thing is finally over. Worth watching ONCE to remind you what Hollywood was ALSO capable of as well as Flynn as Robin Hood, Colman as the Prisoner of Zenda or even Gene Kelly as D'Artagnan!