Blood and Sand

source: Blood and Sand

Tyrone Power plays a famous, now-deceased bullfighter's son who also goes on to become a famous bullfighter, along the way mistreating his wife and friends as he becomes arrogant. It's a basic story you've seen in movies such as "Citizen Kane"(1941) and "All the King's Men"(1949), but with its own expected variations. The film has a tendency to drag, and Power's love scenes with Rita Hayworth are so corny. Linda Darnell as Power's wife, John Carradine as Power's bullfighting friend, and Anthony Quinn as a bullfighting friend-turned rival all turn in fine performances. There is, some great music. Aside from these technical issues, the story/script of the film is good, but could have been better. Power's character should have been fleshed out much more, and the bright Academy Award-winning cinematography has a tendency to badly contrast the darker story elements, which themselves should have been focused on much more. What could have a been a great multi-character study and study on how Power's decisions affects others instead is presented as an entertaining, brightly-colored drama/romance--not bad, but not the 4 star film it had the ability to be. I'd still recommend it, though, because it does entertain and manage to show some of the character study-elements, albeit not as much as I wish it had.

Even as at a tender age, I found the dialog in this movie pedestrian, mundane and even idiotic. I'll never forget the line Tyrone Power mouthed as the successful toreador who clawed his way to the top: "Now I don't have to ask the price of anything I want to buy" (or something to that effect). Well I have seen millionaires haggle to the last penny and that's how they became millionaires. Sometime towards the end, the makers of the movie inexplicably and without provocation, delivers a punch against Catholicism and feminism. How? By putting lines into the mouth of Tyrone's mother that only befits a bible thumping hack and bigot. Urged by one of the minor characters to pray to the La Virgen de la Macarena for her son's deliverance, the bullfighter's mother said something like: "I don't pray to her anymore. She is but a woman. I now pray to Him!" These lines delivered in an acting style typical of an actress in a zarzuela on a provincial tour.

This is a remake of the old Valentino film. Instead of the silent heart-throb, Tyrone Power plays the studly bull fighter. Initially, Power's character is a really young prodigy--with amazing natural talents and a drive to improve even more. But, through the course of the film, he becomes lazy--instead focusing on the ladies and having a good time instead of honing his skills. As a result, he becomes a bit of a hack--just going through the motions. The crowd begins to react negatively and his career seems about over. The rest of the film you can see for yourself to see how it all comes to pass. The film is very pretty--shot in Technicolor. But, aside from a few really interesting scenes here and there, I just felt bored after a while. While a technically competent film, it's not very memorable. However, it is still much more watchable than the original--especially since the original was so heavy-handed and old fashioned (even in its day).

Not a bad movie,but a bit too melodramatic after my tastes.Tyrone Power in the lead role is good but not as exciting as in his best performances.Rita Hayworth plays the femme fatale in a way that for modern audiences would be laughable.Anthony Quinn in an early stage of his career delivers the best performance in the film. I feel that even at this early stage he would have suited the lead role in the film better than Power.Linda Darnell doesn't have much to do in this movie than play the part of a betrayed woman.Why anyone would betray such a beautiful woman is beyond me.Nazimova,the silent movie vamp of the 20's, is quite good as Power's mother. John Carradine,one of the most prominent character actors of this period,was excellent as Power's best friend.

20th Century Fox gave Tyrone Power one of his most famous roles as the bullfighter torn between the love of a noble woman, his wife (Linda Darnell), and the tempestuous "other woman" (Rita Hayworth). A technicolor remake of the 1922 classic with Valentino, the studio spared no expense in making this a lavish, well-paced version of the tale depicting the rise and fall of a great bullfighter. While establishing Power as a romantic hero of swashbuckling roles, it made a star of Rita Hayworth who, up until this time, was seen mostly in low-budget films. If anything, 'Blood and Sand' assured of the stardom she sought. Especially interesting in one of his more flamboyant character roles is Laird Cregar as the critic of the art of bullfighting, alternately praising and damning the hero and eventually getting his comeuppance from Power. Directed with great style by Rouben Mamoulian, it is still the best version of the story to date, photographed in the lush technicolor of the 1940s. You may be interested in looking at my article on Laird Cregar that appeared in the March 2001 issue of CLASSIC IMAGES.

Uneducated peasant Juan Gallardo rises to fame and fortune in the bullfight arena. From here he falls for the socially active Dona Sol; thus breaking the heart of his childhood sweetheart Carmen. Nevertheless she stands by her man as he continues to face danger in the bullring, but ego and love will give Juan his biggest fight of all. This remake of the 1922 silent Rudolph Valentino picture is certainly a lavish production, the colour cinematography by Ernest Palmer & Ray Rennahan rightly won the Academy Award, and it's directed with adroit skill by Roublen Mamoulian. The story is a great one as well, following the rise of Gallardo (a solid if too staid Tyrone Power) is always intriguing, and it's watching his constant battle with his emotions that is the film's drawing card. However, there can be a case made for the film resting too much on its dialogue driven laurels, for far too many times I personally found myself hankering for an up turn in pace to help emphasise the emotional nature of the characters. The cast do OK without really excelling, Rita Hayworth looks gorgeous and a fine career blossomed from here on in, while Linda Darnell as the other love interest glides nicely from scene to scene. Anthony Quinn takes the best supporting honours, where his Manolo is vigorous with a cheeky glint in the eye, whilst sadly John Carradine is underused and his Nacional is not fully fleshed out until its far too late. It's at times sexy (damn flamenco always a winner to me), it's got guts, and it looks absolutely gorgeous, but it's not quite the whole classy package it could have been. 7/10

One of Tyrone Powers best efforts as an actor. Linda Darnell is, as usual absoulutly beautiful. Rita, just doesn't make it in the looks department. One wonders why Juan ever left his gorgeous wife (Linda) for this little vixan, Rita. Anthony Quinn is superb as the heavy. The bull fighting scenes are the best ever filmed. I,personally, do not care for this sport (?). The scene where Power looks eye to eye with the bull, turns his back to the bull and slowly walks away while draging his cape along the sand is a mind blower. This is one of 20th Century Fox's finest moments in motion pictures. How the Academy picked "Sgt. York" over this as best picture of 1941 is a real mystery to me.

Viewed "Blood & Sand" when it first came out in 1941 in NYC and it was considered a great film, and even today, generation after generation enjoy seeing this film and the great classic actors. Many audiences at the time thought that the bull fighting scenes were cruel and disgusting. Tyrone Power(Juan Gallardo),"Eddie Duchin Story",'56 was a very handsome actor who put his heart and soul into this great acting role. It was a shame that Tyrone Power died at a very young age and it was quite sometime before anyone even told his own mother about his death, because she was very elderly and the news would have broken her heart. Linda Darnell(Carmen Espinosa)"Zero Hour",'57 was the perfect wife of Juan and gave a great supporting role. Linda Darnell was visiting her sister in Chicago and died in a fire accident. J. Carrol Naish, (Garabato)"House of Frankenstein",'44 was a faithful friend and supporter of Juan and John Carradine(Nacional),"Evils of the Night",'85 gave his advice to help Juan become a great bull fighter. Laird Cregar,(Natalio Curro), "Hangover Square",'45 was a newspaper critic and played a very two faced role towards Juan. Anthony Quinn( Manola de Palma),"Revenge",'90, was a super star in this picture and was becoming a great classic giant on the silver screen. Rita Hayworth,"Salome",'53 was the temptress of Juans very heart and soul and did her very best to almost ruin his marriage and his career in the bull fighting ring! It is a shame that Rita Hayworth had a short life, suffering from Alzheimer's in her later years in life. This is a film I can see over and over again, very great films were produced in 1941 and this one will live on forever!

Tyrone Power, as handsome as any star in history, with a magnetic screen presence is, however, about as believable in the role of a Spanish bullfighter as Oliver Hardy or Buster Keaton. Rita Hayworth gnaws the scenery like a horde of beavers, but she would be pleasurable to watch just eating a chicken wing. Linda Darnell is so long-suffering she'd depress Norman Bates. Finally Anthony Quinn (and not for the last time in his career), seems to have imbibed a gallon of coffee and taken a handful of downers at the same time, and is undergoing a battle as to which will prevail directing his demeanor. Hayworth and Quinn's paso doble is excellent to watch, yet so "over-the-top" at the same time - but neither of them ever were strangers to "over-the-top." But because, rather in spite of, these aspects, the film is thoroughly enjoyable, and the plot is true to the classic. All of these mannerisms from the cast are outstanding examples of earlier, overdrawn movie drama, from its inception into the 1950's. They provide an added dimension when seeing again films such as this - providing a nostalgic view of this earlier genre, as well as the famous stars of the past.