Intrigued as to the selection of the title for this mostly superior pirate adventure story. Perhaps it is meant to convey that several(4 to be exact) pirate captains, as well as the captain of a slaver, will play a significant role in this tale. John Sutton plays Evans, captain of the slaver, He is the chief villain, in blaming a recent attack on the Columbian city of Cartagena on Doctor Blood(Louis Hayward), former slave and scourge of the Caribbean, recently reformed into exercising his skill as a medical doctor. Evans' primary motive for getting rid of Blood seems to be to eliminate his chief rival for the hand of Dona Isabella, arrived from Spain. Sutton was an imposing, handsome, fellow with an aristocratic bearing and lingo. Although occasionally playing the romantic lead(as in "Hudson's Bay"), he was mostly type cast as an oily villain or 'the other man'. Evens' partner in his scheme was French pirate Coulevain, who reportedly claimed he was Blood, in his one recent raid, on Cartagena, where it was eventually deduced that he stole an especially valuable jewelry collection, featuring large high quality emeralds.(Columbia has most of the world's premier emerald deposits). Coulevain would eventually pay for his impersonation and theft...... On the way to Tortuga, Blood encountered the friendly pirate captain Tomas Velasquez , who had just come from Tortugo, where he acquired his latest mistress: Celeste(Genevieve Aumont), who makes a play for Blood while they are alone in the captain's cabin. Blood notices that she is wearing emerald earrings that fit the description of those stolen. Asked where she got them from, she refuses to give a straight answer. However, later, Tomas answers that she stole them from Pirate captain Easterling, while he was drunk and asleep. Easterling then becomes the prime suspect in the impersonation of Blood. According to Tomas, he is probably in Martinique, to which Blood sets sail. Incidentally, George Givot, who played Tomas , was easily the most charismatic character in the film, with his booming friendly voice and manner. Easterling enters the tavern where Blood is talking to Easterling's favorite mistress, Amanda((Malu Gatica). He's not pleased, but keeps quite. The next morning, Blood goes to her address to accompany her to his ship. However, he finds her murdered, and her expensive stolen emerald necklace missing. Blood soon has an altercation with Easterling and his aid, the Egyptian. Eventually, Easterling reveals that he obtained the necklace from the pirate captain Coulevain, whom he claims has a ship large enough to attack Cartagena alone, whereas he himself doesn't have such a ship. Easterling directs Blood to Santo Domingo as the likeliest place to find Coulevain. Upon arrival, Blood goes to Madame Duval's tavern, where he finds information about Coulevain. By trickery, Blood gets into Coulevain's room and sea chest, where he finds an emerald-studded tiara, similar to the one described as stolen. Blood and Coulevain independently head for the Panamanian port of Puerto Bello(Porto belo). Blood gets there first and, posing as the new military advisor to the new Viceroy there, has the cannons from his ship placed in front of the fort, aimed in a particular direction. Serendipitously, he meets Isabella, who is a prisoner there, for her involvement in a Blood takeover of Evan's ship, a while back.....When Coulevain attacks the fort at Porto belo, his ship gets stuck right where Blood planned, in the line of fire of his shore cannons, and his ship is pulverized. He claims he is Blood, thus confirming his guilt as the impersonator of Blood. Blood is pardoned of wrongdoing, as is Isabella......I found the story and characterizations superior to the previous related film, "The Fortunes of Captain Blood"(1950), which also starred Hayward and Medina, but was shot in B&W as opposed to the Technicolor of the present film. However, I did miss Dona Drake, as the extra-flirtaceous tavern wench Pepita. In the present film, Celeste, more or less her equivalent, wasn't nearly as enticing to me.

Having been largely unimpressed by the same director's just-viewed THE LADY AND THE BANDIT (1951), with which it shares stars Louis Hayward and Patricia Medina, I was not exactly enthused by the prospect of watching this – even if its predecessor, FORTUNES OF CAPTAIN BLOOD (1950), had emerged a pleasant surprise; as it turned out, I found myself in agreement with George R. Reis of "DVD Drive-in" who opined that it was actually superior to the 'original' (with which it was paired as an unlikely "Midnite Movie" release!).Ironically, while the first film (not counting, of course, the unavailable 1924 and the popular 1935 versions) was based on novelist Rafael Sabatini's third adventure featuring the protagonist, this cinematic follow-up is ostensibly an adaptation of the literary tale that preceded it! Anyway, Blood has not only married Isabella (the odd diminutive has been sensibly dropped here) but he has given up piracy and returned to medical practice; still, when we first see him, he is aiding escaped black slaves and, before long, he is dragged back (when a buccaneer takes to impersonating him!) to the sea and the raiding of merchant ships. At one point, Medina tries to intercede on his behalf at court by recounting Blood's earlier enslavement and escape to a life of piracy – illustrated on screen via black-and-white footage from FORTUNES… which, as I said before, had shown Hayward already an established buccaneer!The busy plot has the hero locking horns with several equally dangerous and untrustworthy figures: a nobleman (John Sutton) with the unfortunate name of Hilary, a trio(!) of other pirate leaders (including Ted de Corsia), and even a heavy-set female innkeeper! Other characters to be featured here are Viceroy Ian Wolfe and, as Medina's gullible uncle, Maltese character actor Sandro Giglio. As for Blood's band of 'merrie men', they seem largely a different bunch than the ones seen in the previous effort(!) – apart from the bearers of the distinctive nationalities I singled out in that film's review. Thankfully, unlike in his previous effort, Blood is only very briefly (and unsuccessfully) tempted by another exotic girl but has to contend instead with Sutton's unrequited attentions to Medina herself!While, as also mentioned earlier, the colour adds much to the appeal of the movie, it is definitively given an extra edge by full-blooded (pardon the pun) action scenes, especially the ingenious climax as Blood (Hayward having, by now, grown nicely into the part) feigns a defective defense strategy by allowing a number of cannons to be destroyed (while concealing a set of reserves under bushes) and even has his own ship scuttled, so that an approaching enemy vessel ends up wrecked upon its submerged remains! While I will be complementing these two Louis Hayward vehicles with the "Euro-Cult" venture THE SON OF CAPTAIN BLOOD (1962) – starring Errol's real-life offspring, Sean Flynn, no less – I should also point out that I have three more Sabatini-related titles in my unwatched pile, namely the 1924 version of THE SEA HAWK, 1926's BARDELYS THE MAGNIFICENT and the British-made THE PRISONER OF CORBAL, dating from 1936...

Notice the billing of Louis Hayward swashbucklers after 1948. While always getting top billing he began getting top solo billing. He was one of the first to get a percentage of the profits of his pictures. They did well and Hayward retired comfortably. Often playing dual roles in his films, the dandy by day and swashbuckler by night, he mutes the dual characterizations in "Captain Pirate" and it is sorely missed. The lifted eyebrow, that haughty Louis Hayward laugh, which made him so unique in "Man in the Iron Mask" and "Pirates of Capri" he tempered in later films. However, with his dash and élan, that velvet voice, his decoration for World War II valor giving him extra gravitas, Captain Louis Hayward is always a joy to watch and "Captain Pirate" is wonderful, innocent fun.

Bland filming of Sabatini's "Return of Captain Blood" has some good players, but lackluster direction, weak script and poor miniatures bring it down. The cyclorama behind many of the ship scenes is wrinkled and the models are not convincing. Certainly not up to the classic Flynn and Power swashbucklers and lacking the wit and sense of fun found in "The Crimson Pirate" released the same year. Louis Hayward is capable in the lead role, but lacks Errol Flynn's charisma. Patricia Medina is lovely but doesn't have much to do. Only George Givot and Ted de Corsia play their characters broad enough to make them classic pirates and Jay Novello stands out as the treacherous Egyptian. Still, it's a competent swashbuckler and is a pleasant way to kill some time.