I recently did an audio commentary for Kino’s release of “Against All Flags” which I loved doing, being a Flynn/pirate fan. People review commentaries – I got DVD Talk..
“I had nearly as wonderful a time listening to film historian Stephen Vagg as I did watching Against All Flags on its own. His extensive research into pirates – real, imagined, and the legends in-between – is consistently compelling. Vagg can not only tell you precisely when and where Against All Flags was filmed but recommend a book about nothing but men being whipped in movies, compare and contrast pirate traditions throughout the world, and note which of the film’s characters and scenarios are grounded at least in part in reality. He charts the history of pirates in cinema, notes that Douglas Sirk was sitting in the director’s chair for a time, lists some of the other actresses originally considered for the role of Spitfire, and touches on its remake the following decade as The King’s Pirate.
But my favorite comments tended to revolve around the actors and filmmakers themselves, especially their other collaborations together and at times tumultuous relationships – whether it’s Flynn being a useless drunk after 4 PM or O’Hara and Quinn rekindling their on-again-off-again affair on the set.”
Thanks DVD Talk – I love pirate movies and Flynn, O’Hara, etc so this was a blast.
Another review from Cinema Retro is here https://cinemaretro.com/index.php?/archives/11084-REVIEW-AGAINST-ALL-FLAGS-1952-STARRING-ERROL-FLYNN-AND-MAUREEN-OHARA;-BLU-RAY-SPECIAL-EDITION.html
It says “Vagg’s engaging commentary covers a wide range of topics, including the careers of the three stars, the history of pirate movies, and the real-life buccaneers represented in the picture, including a Black pirate captain portrayed by Emmett Smith. A Black character as a peer among white equals would be unremarkable casting now, but it was a progressive statement on racial equality for its time. Fans will be pleased that Vagg gives a shout-out to “Swordsmen of the Screen,” Jeffrey Richards’ rousing 1977 study of swashbuckling cinema.”