tuesda2 Having first read the book, Men of Iron by Howard Pyle, I was very pleasantly surprised that the film was more enjoyable. From the title, through the plot and concluding with the climax, it was and is superlative. Although it has been in excess of six decades since my first viewing, the thrill from this movie has not lessened an iota. My rating is a solid "10." If, though, you are one who relishes nit-picking, you will probably be disappointed, as Falworth is definitely not an Oscar quality presentation.

ianlouisiana Tony Curtis...how I wanted to be him back in 1956.The hair,the voice,the athleticism and grace....and married to Janet Leigh,it must have been just about the perfect life.I saw him on "The One Show" on BBC last month and he still looks better than me,still has the ladies swooning,and he's in a wheelchair for heaven's sake.Go figure. Unfairly denigrated and ignored for nearly half a century,"The black shield of Falworth"is just getting the recognition it deserves as a near perfect example of the Hollywood technicolor costume picture. It has no pretensions to historical accuracy,not a huge use is made of the iambic pentameter,the general filth and casual cruelty and violence of the Middle Ages is nowhere to be seen.This is Henry IVth's England as it never was,presented to ordinary 20th century audiences as a world of gentle knights with perfect teeth,dimpled maidens and big bad barons. It's entertainment,not a history lesson.And very successful entertainment too. Mr T.Curtis is outstanding as the young Falworth.Fizzing with suppressed energy,he tears into the part like a young puppy with a new toy.As a dispossessed heir,it is a role not unlike the one he would later play in the mighty "The Vikings".Mr T.Thatcher(no relation) gives his customary all as his mentor.Miss Leigh is charming and demure,Mr O' Herlihy a bluff Prince Hal. This picture is best viewed from behind a stick of candy floss,having just finished your "Kia Ora" and prior to daring to sneak your hand into your girl friend's.As your heart beats louder in your chest you can think that maybe you wouldn't want to swap places with Tony Curtis after all.

MARIO GAUCI As I am nearing the end of this eclectic but erratic month-long epic film viewing marathon, I have decided to dedicate this Saturday to revisiting my fondly remembered childhood memories of two vintage (but relatively minor) Technicolor swashbucklers which, thankfully, I purposely managed to acquire only recently: one is the latter-day Errol Flynn pirate yarn, AGAINST ALL FLAGS (1952; see below) and the other, naturally, the film under review.After all these years, THE BLACK SHIELD OF FALWORTH still emerges as the engaging romp I recalled it to be and is, in fact, a superior piece of Hollywood hokum – so much so that it’s quite a mystery to me how the film (which was even Universal’s very first Widescreen picture) is as yet unavailable anywhere on DVD and I have had to make do with a full-frame VHSrip which, in hindsight, is of surprisingly tolerable quality (with only the tell-tale excessive headroom being indicative of the fact that it was shot in a different aspect ratio). In any case, I think it is high time that, like Rock Hudson before him, Tony Curtis be given his own “Franchise Collection” DVD release from Universal which ought to contain (for starters) the equally exotic THE PRINCE WHO WAS A THIEF (1951; his first starring vehicle which was also directed by FALWORTH helmer, Rudolph Mate'), SON OF ALI BABA (1952) and THE PURPLE MASK (1955) – as well as any of the other Universal programmers Curtis starred in before emerging (if only briefly) with an altogether more adult image for Alexander Mackendrick’s superb SWEET SMELL OF SUCCESS (1957).Anyhow, back to FALWORTH: set in England during the reign of King Henry IV (Ian Keith), Curtis is (albeit unknowingly at first) the son of an unjustly accused and executed aristocrat who, along with his lovely sister (Barbara Rush), embarks on his way to knighthood by joining the men-at-arms school situated in the castle of an old ally of his father’s (Herbert Marshall) and tyrannically overseen by cantankerous but ultimately well-meaning one-eyed warrior (Torin Thatcher). The impressive cast is further bolstered by the appearance of Curtis’ then-wife Janet Leigh (as Marshall’s daughter who, naturally, falls for the uncouth graces of this “county bumpkin”), Dan O’ Herlihy (in a drunken, buffoonish caricature of Prince Hal – later King Henry V – which is merely a front to mislead the traitors within his father’s court), David Farrar (as the villainous Earl of Alban), Patrick O’Neal (as the latter’s brother and Curtis’ chief contender at training school and for the hand of Leigh herself) and Rhys Williams (playing the loyal servant who harbors Curtis and Rush at the beginning of the film).While some of the plot points got hazier with the passage of time, I still remembered the scenes of Curtis climbing the walls of the castle to go romance Janet Leigh during her afternoon croquet lessons, of Curtis stumbling around upon donning heavy armor for the first time and the exciting climactic jousting duel between Curtis and Farrar; needless to say, I now much preferred the various vivid sequences of training and combat to the bland romantic stuff but, still, I was disappointed that the immortal, much derided line supposedly uttered by Curtis in this film, “Yonda lies da castle of my fodda”, is never actually spoken, resulting in yet another Hollywood legend – a' la ALGIERS (1938; “Come wiz me to the Casbah”) and CASABLANCA (1942; “Play it again, Sam”) – which has, with time, grown to become accepted as fact!

mbuchwal Why do all the critics love to attack Tony Curtis for his accent in this movie? (Most frequently citing the line "Yonda lies da castle of my fodda.") Since Curtis's movie acting is invariably entertaining, doesn't he deserve the benefit of a doubt when it comes to the arcane question of what accent is appropriate to a fictional medieval character? The critics have always complained that his accent sounds too American or New York for a medieval knight. But how can the critics be so sure that they are right and the actor is wrong? I mean, what did a genuine English knight of the middle ages really sound like? Have they researched this question? There were many races of people in England of the middle ages: Saxons, Angles, Normans, Celts, Scandinavians, Picts, Scots, Frenchmen, Jews, even some Moors. Back then, of course, they didn't speak modern English as actors do in almost every American-made movie, so the only issue is whether Curtis's pronunciation of vowels and consonants sounds wrong or right for a medieval knight. In the Bronx in the twentieth century (Tony Curtis's time and place) there was a mixture of races similar to that of Europe in the middle ages. The pronunciation of the local dialect spoken most likely would have been similar to that of many European languages, including English of several historical periods. Most importantly, if Tony Curtis spoke Yiddish, then he spoke a dialect very similar to medieval languages like Old German or Old English. It's pretty obvious that the critics had it completely wrong. If there had ever been a real knight of Falworth and we somehow had the opportunity to ask him to pronounce the "offending" line (which was actually the invention of a carping critic and not even in the movie), how might it have sounded? Tony Curtis had it right!