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I love this movie so much

I wanted to but couldn't!

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

This is a dark and sometimes deeply uncomfortable drama

BLACKIE THE PIRATE is a comic costume swashbuckler designed to cash in on the new-found success of star Terence Hill, but it's not quite on par with the comic westerns that made his name. Instead this is a swashbuckling pirate movie, one that's saddled with a complicated plot involving a number of rival pirates and the inevitable hunt for gold.Sadly this is rather a dull affair, with the humour limited and the action only so-so. I always found Hill rather a wooden lead, especially when the material isn't great, and such is the case here; he displays little of the charisma of even the peplum actors a decade previously. Even worse, his usual comedy partner Bud Spencer is given the limited role of an antagonist, the kind of part that anybody could have played, limiting the amount of shenanigans the pair can have together.Much of the fun comes from spotting the names in the cast, such as Alan Collins who plays yet another rival pirate. Edmund Purdom is given a little screen time to chew the scenery as always, while genre favourites like George Martin (who also wrote the lacklustre screenplay) and Sal Borghese are also cast as other naval fellows. Sadly the scripting in BLACKIE THE PIRATE is below par, the action fails to ignite the screen, and the humour just isn't there. This is a juvenile, undemanding type of film.

Wily and suave buccaneer Blackie (a smooth and charming portrayal by the always solid Terence Hill) clashes with several fellow pirate captains while trying to get exclusive dibs on both a fortune in gold and enticing fair damsel Isabel (the ravishing Silvia Monti). Director Lorenzo Gicca Palli and screenwriter George Martin (who also appears in the movie as Blackie's bumbling destitute partner Don Predro) concoct an amiably silly tongue-in-cheek swashbuckler that unfolds at a steady pace while offering a winning blend of colorful characters, a flavorsome period setting (the sets and costumes are both impressively lavish), and plenty of lively action which includes the expected rousing sword fights and no-holds-barred rough'n'tumble fisticuffs. This jolly affair further benefits from spirited acting from an engaging cast: Hill displays his usual affable charisma as Blackie, Monti is simply luscious as Isabel, Bud Spencer is suitably redoubtable as Blackie's gruff rival Skull, plus there are neat supporting contributions by Diana Lorys as feisty barmaid Manuela, Edmund Purdom as the irritable viceroy, Monica Randall as the fetching Carmen, Sal Borgese as the kindly Martin, Pasquale Basile as primitive brute Stiller, and Fernando Bilbao as hulking strongman Moko. Jaime Deu Casas' polished cinematography gives the picture a nice sense of scope. Gino Peguri's jaunty score likewise hits the cheery spot. An enjoyable flick.

Living on an island situated so close to the Italian peninsula, it is small wonder that celebrities emanating from those parts would be a household word in Malta as well and, during my childhood days, no Italian film stars were as popular as Mario Girotti and Carlo Pedersoli…er…Terence Hill and Bud Spencer. These two actors – who could roughly be described as the "Laurel & Hardy" of Italian genre movies – have made 17 pictures together between 1968 and 1994 and the film under review is one of their earliest and least-known. They had just hit the big time with the Spaghetti Western spoof THEY CALL ME TRINITY (1970) and it was natural that, after three successive Westerns, producers wanted to try out something else so, here, they decided to not only change genre (to the swashbuckler) but also to have them as rivals instead of partners. Ironically, the new recipe failed to nourish the hungry masses and a sequel to TRINITY was hastily cooked up… Apart from the incongruity of seeing the two stars swapping their by-now familiar cowboy garb for the pirate's feathered-hat and sword, the film itself comes off as a plodding and uninvolving adventure without even the benefit of their usual, protracted cazzotti (fistfights) sequences – save a few tired rehashes of people flying on top of cabinets with a single punch to the jaw! Terence Hill has the title role but is more morose than his usual self here and Bud Spencer is an opposing pirate leader who, true to the seaman's code, goes down with his ship in the end. Also in the cast are a trio of good-looking dames – Silvia Monti (as the vengeful wife of the Viceroy whom Hill abducts and even gets to bed), Monica Randall (as her companion who eventually joins the pirates' cause) and Jess Franco regular Diana Lorys (who is criminally wasted as a sympathetic innkeeper); the film's screenwriter George Martin(!) as Hill's aristocratic partner; Pasquale Basile as the annoying dumb brute typical of such fare; Luciano Pigozzi (hamming it up as another antagonistic pirate leader); and the customary Hollywood has-been generally roped in for such productions for their dubious marquee value: in this case, Edmund Purdom (as the Viceroy). Unfortunately, contrary to all convention, instead of relishing the role of an eye-rolling villain, Purdom underplays the part almost to the point of absentia! In spite of the film's title, it doesn't seem to have been inspired by the Emilio Salgari (creator of popular heroic figure Sandokan) novel "The Black Pirate" – which, apart from two earlier European film versions, would again be brought to the screen (far more effectively) a mere five years after this one (with TV's Sandokan himself, Kabir Bedi, in the lead).

One hesitates to pass judgment on a movie which, in the English-language videotape, has obviously gone through a lot of clumsy re-editing and re-dubbing. Still, it's all we have to judge it by and so the truth must be told: this movie makes virtually no sense at all. The plot has something to do with a shipment of gold which the Viceroy at Guayaquil wants to send back to Spain. A loose confederation of pirate captains has other ideas, as does the Viceroy's beautiful and ambitious wife. Any attempt to clarify the plot beyond these elements will be met with frustration.That said, the movie retains an amiable quality, is never out and out dull, and has an attractive cast. It's best viewed as an "In-Flight" feature -- one of those things you don't expect much of and which you halfway watch out of the corner of your eye while you're doing something else. The highlight, (such as it is), may come when Edmund Purdom walks into a room and finds a shirtless Terence Hill tied to a wall, several bloody whip marks on his back. One can't help recalling at this moment that Purdom himself felt the sting of a whip back in MGM's 1954 spectacle, "The Prodigal"