After taking several years off, the 1950s saw the return of the pirate movie, thanks largely to the efforts of Walt Disney. In 1950, Disney produced a colorful, fast-paced, and smartly written adaptation of Robert Louis Stevenson’s classic adventure tale, Treasure Island. Two non-Disney sequels — the directly related yet immensely boring Long John Silver and the dubiously connected Return to Treasure Island — followed in 1954, and a TV series came out in 1955. Plus, it seemed like every other episode of “The Wonderful World of Disney” featured either pirates or kids in coonskin caps solving a mystery in a spot called Pirate’s Cove. Along similar lines, Disney released a classic version of Jules Verne’s 20,000 Leagues Under the Sea, and in 1958, the first of the Sinbad films featuring special effects by Ray Harryhausen showed up. While these last two weren’t pirate movies per se, they still had the air of old fashioned high seas adventure and swashbuckling about them.
Although England’s Hammer Studio made a variety of films, the trio of Horror of Dracula, Curse of Frankenstein, and The Mummy solidified the direction of the studio and its identity with the public for the remainder of its life. And not without good reason. In their heyday, and even long after the studio had fallen into disrepair, Hammer showed a panache for producing lavish looking Gothic horror that was simply unmatchable. America’s AIP came close with Roger Corman’s Edgar Allen Poe inspired cycle of films starring Vincent Price, but no one could approach Hammer’s consistency and longevity in producing world-class horror. Starting in 1958 and continuing throughout the 60s, and into the studio’s final days in the first half of the 1970s, Hammer produced an unbelievable string of incredible horror films — almost every one of them a hit — buoyed by the one-two punch of venerated horror film icon Christopher Lee’s Dracula films and Peter Cushing’s Frankenstein series.
Teleport City is, by and large, a cult film site. It would seem, upon first impression, that a film like Captain Blood, or many of the old films that I regularly watch, would be ill at home here. After all, they are classics. Does anyone need one more person telling you Captain Blood is great? Or that any of these old films are great? I mean, everyone already knows that, right? It’s common knowledge, and everyone has seen these films a thousand times. Well, while that may have been true at some point, it hardly holds up well today. In fact, even many of the best-known films of the 50s and earlier have, in today’s pop cinema landscape, been so completely forgotten that they have achieved a level of obscurity that rivals that of any of the other cult films we might be prone to discussing. This they accomplish despite being widely available, widely discussed in the past, and cherished by the handful of people who still bother with old black and white films.