This film is a splendid specimen of the genre. An all-time favorite I can't see enough of, and, well, let's do give a thought to those Aztecs. Captain from Castile is a fine rendering of that class of fiction from the first half of the 20th Century described best as book club novels. Written to a literate and culturally attuned market, they combined dramatic history with compelling characters enmeshed in swashbuckling dilemmas. The novelists never wrote down to their readers and always kept a literary trick up their sleeve for the tight spots. Kenneth Roberts, F. Van Wyck Mason and Frank G. Slaughter were of that class, and Frank Shellabarger's Captain from Castile is a worthy exemplar of their craft. The storyline, to reiterate briefly, centers on the young Spanish nobleman, Don Pedro de Vargas (Tyrone Power), who offends an official of the Inquisition and is forced, as are his parents, to flee from its net. His parents escape to Italy, and he embarks to the new world for adventure as much as to recoup the family fortunes. Leading the way for him is a seasoned soldier of fortune played by Lee J. Cobb, and following de Vargas is the Spanish equivalent of a pretty barmaid played by Jean Peters. Landing in Spanish Cuba they sign on with Hernan Cortez's expedition to conquer and colonize Mexico. There is little need to expatiate on the plot details, which provide plenty of entertainment to embellish the historical account, and so far as both go the film is instructive and entertaining. (There was no need to draw on fantasy in cinema of that day.) What may trouble younger viewers is whether Captain from Castile treats native Aztecs, Olmecs, and like tribes with sufficient respect, given the certainty that their way of life was doomed by the Spanish invader. On whole, the film treats indigenous peoples with dignity and understanding, although some may quibble about that. Key to the film's overall ethnic take is the last rather triumphalist scene. As Cortez's steel clad legions march past the lightly armored native defenders, Jean Peters, now Don Pedro's wife, wraps a bright red native shawl around herself and her newborn to march behind the army, in appearance a nascent Mexicana, neither Spanish nor Indian - Mexican. In this sense, I found the film sympathetic and in its way inspiring, no matter how the more fastidious may differ about that. I have to add my approval for the scenery. With much of it set around the Aztec pyramids, it is dominated by a distant active volcano, which injects a unique quality and makes the film worth at least a second look just for that backdrop.

Producer: Lamar Trotti. The producers wish to acknowledge the advice and co-operation of the Mexican Government and the National Museum, Mexico. All scenes of the Cortez Expedition were photographed in Mexico, wherever possible on the actual locations.Copyright Twentieth Century-Fox Film Corp. 25 December 1947. U.S. release: 26 November 1947. New York release at the Rivoli: 25 December 1947. U.K. release: 26 September 1949. Australian release: 7 October 1948. U.S. release length: 12,707 feet. 141 minutes. Australian release length: 13,091 feet. 145½ minutes.SYNOPSIS: Effete young caballero escapes the Spanish Inquisition by joining up with Cortez and the conquest of Mexico.COMMENT: Dull. Bosley Crowther's review in "The New York Times" is pretty accurate. He doesn't go far enough in underrating Tyrone Power's pallid and insipid performance, yet falls short in valuing the magnificent color photography and impressive locations which alone make the film worth seeing.The rest of the players take their cue from Mr Power in listlessness, ineffectuality, amateurishness and apathy. Only George Zucco breaks the mold in his two brief scenes of resonant villainy. In fact, some of the players are even worse than Ty. Lee J. Cobb is absolutely ridiculous, and Alan Mowbray atrociously miscast. Jean Peters, in her film debut, gives absolutely no indications of either talent or personality, and is not even attractively photographed. Cesar Romero's genial Cortez is an odd characterization to say the least, while John Sutton's stiff, callow villain is no match for the likes of a Robert Douglas, a Claude Rains or a Basil Rathbone.But the film's greatest problem is actually its script: Wordy and garrulous in dialogue, superficially off-hand in background, casual in pace, one-dimensional and dull in characterization, repetitious and incredible in melodramatic plot.The worst sin of all is that the story lacks a climax. Not only is the villain disposed of quickly and undramatically by a minor player, but the battle we have been awaiting and anticipating for all of 140 minutes does not occur. The film ends as our heroes are marching off!Henry King's direction is equally tired and lifeless. But fortunately, Newman's score is rousing enough. And true, there is a bit of excitement and loads of production values in sets, costumes and extras milling around, but these full-blooded scenes are allowed to flash by too briefly in order to allow the film to linger on long, tedious scenes of boring verbosity or attenuated, unbelievable "romance".I have not read the book, but thought surely the novel was more exciting than this. I am glad to have Mr Crowther's verdict that it is. Rarely has such breathtaking Technicolor photography enhanced such an empty script!

The great adventure concerning the Conquest of Mexico, was written by Bernal Diaz De Castillo, Shield bearer for the young Hernan Cortes who was 19 when he landed on its shores in 1519. Using his wits, clever guile, guts, grit and deeply ingrained bravado plus some courageous and loyal officers in addition to five hundred men from the ships he later burned, Cortes set out to meet, befriend, betray and then later destroy the mighty Montezuma (Moctezuma) and his empire by 1521. This movie is one of the best visual adaptation of said Conquest by the Spanish Conquistadores. Despite it's flaws and inaccuracies, it is often used in many a school classroom. The conquest is put in the background with the surface story of a young aristocratic Castillian officer, one Pedro De Vargas (Tyrone Power) who in trying to defend his family against the evils of the Inqusition endangers his ambitions with an attempt on the life of Diego De Silva (John Sutton). Cesar Romero plays Hernando Cortez with a lively and jovial approach which is infectious to say the least. Lee J. Cobb, Antonio Moreno, Thomas Gomez, Alan Mowbray are the supporting cast as is Jay Silverheels. From a stand point of the times, the cast is good. However in hindsight they fall short of convincing a modern audience that any of them are Hispanic or of Spanish heritage. Yet, with the generous, beautiful scenic landscapes and ample scenery of the ocean, ships and majestic scenes, this is a wonderful attempt at capturing the era of the new world. It's tragic outcome is a couple years away, but in the meantime, enjoy the story as Hollywood presented it in 1947. ****

The Spanish inquisition and the invasion of Cortez into Mexico...Henry King style!A film firmly split in two halves, Captain From Castile may over stretch its aims on the page at times, but the sweepingly gorgeous texture is quite something to behold. Tyrone Power takes up the lead role of Pedro De Vargas and firmly cements his star status with a wonderful performance, handsome and brave, he carries the film easily on its joyous course from Spain to Mexico, whilst stoic male support comes from Cesar Romero (Cortez), Lee J. Cobb (Juan Garcia), and John Sutton (Diego De Silva). Head female duty falls to a vibrantly young Jean Peters (in her film debut) as Catana Perez, pretty and beguiling, her gorgeous green eyes shining bright in this Technicolor spectacle, she is the perfect foil to Power's dash and swagger.Production costs are thought to have been over $4 million, yet even though the film sadly lost money, the money spent is still evident at every turn and it proved to be very popular with critics and film lovers alike. Director Henry King wonderfully utilises the panoramic vistas of the Mexican locale and the costumes come right out of the top draw, but one of the most striking things in this magnificent production is the score from Alfred Newman. Stirring and emotionally hard, it has to rank as one of the best scores to have ever been composed. I strongly recommend the isolated score option on the excellent Region 1 DVD. It's a far from perfect film for sure (the no battle pay-off at the finale is a great disappointment), but the harking back to old historical days of yore can induce a tingle on the spine, and in that respect the piece delivers handsomely. Just like its leading man ironically enough. 8/10