The Rover

It's the time of the French Revolution, just after the guillotine was in full swing, with Robespierre as its main leader. The events take place in the midst of the French Directory (1795-1799), after the end of the Robespierre terror to which some "citizens" of the film wish to return, and just before the Napoleonic invasion of Egypt. A former pirate (Anthony Quinn), freed for his services to the republic, arrives at the port of Toulon after fleeing from an English ship. The customs chief wants some of his coins and tries to arrest him. He manages to escape and takes refuge on a farm owned by two beautiful women, an aunt named Catherine (Rita Hayworth) and a niece named Arlette (Rosanna Schiaffino). Both seem interested in him, but the man is too busy refloating an old, moth-eaten ship in order to set sail again, evading the blockade that prevailed at the time. The veteran pirate then befriends the young woman with a mental illness, and this in turn leads to tragedy after she falls in love with a French naval officer (Richard Johnson).

This obscure and forgotten film for the general public was decently directed by Terence Young, although it has some flaws and lapses in pace, and some situations are not well explained. A forgotten and underrated film by critics, it boasts considerable quality thanks to its effective direction, superb performances, brilliant photography, and Ennio Morricone's excellent music. This is a Italian/British co-production, shot in 1966 and released in Italy in 1967, being mainly an italian production, but its success quickly faded. The film was shot and first released some 44 years after the publication of Joseph Conrad's 1923 novel of the same name. The performances are quite good; as always, Anthony Quinn is fabulous, and co-star Rosanna Schiaffino is downright brilliant, desirable, and very attractive. Along with other supporting actors, they provide notable performances, such as British heartthrob Richard Johnson, Ivo Garrani, Luciano Rossi, and Anthony Dawson.

Special mention should be made of the engaging and enjoyable soundtrack by maestro Ennio Morricone, in his usual style. As well as the evocative and appropriate cinematography by expert Italian cameraman Leonida Barboni. Filmed in a large number of locations in Capodarco, Fermo, Marche, Italy (beach and coastal area scenes); Elba, Tuscany, Italy; Incir De Paolis, Rome, Lazio, Italy (Studio); and Cinecitta, Rome, Italy (Studio). This exciting film was adequately directed by Terence Young, although it contains some flaws, gaps, shortcomings, and a certain predictability. Although it had a British director, this film was never released in Great Britain or USA. Terence Young was an irregular craftsman who made three of the first four James Bond films, including "Dr. No," "From Russia with Love," and "Thunderball," box office hits so impressive that they were difficult to follow up, although he tried in search of more box office hits. His most important film was undoubtedly "Wait in Dark," starring Audrey Hepburn and Richard Crenna. However, his later period was largely unsuccessful, filled with flops and mediocre films like "Amazons," "Klansman," "Bloodline," "Inchon," "Jigsaw Man," and "Takeover," although some action scenes remained sufficiently graceful and engaging. The Adventurer's score: 6/10. Acceptable and passable, it is worth seeing, but is essentially advisable for fans of Anthony Quinn and enthusiasts of adventure dramas.

The movie "L'avventuriero" failed to achieve the expected success. Critics argue that the film adaptation falls short in making the human conflicts believable, resulting in an adventure story that fails to captivate the viewer. The plot loses its way throughout the movie, making the pacing tedious. However, some cinephiles may appreciate the melancholic ending as perhaps poetic.

There are two noteworthy aspects: 1) The music composed by the renowned Ennio Morricone (1928-2020); 2) The Italian actress Rossana Schiaffino (1939-2009), who compensates for the lack of dramatic resources with the beauty of her face.

Conrad, Quinn, Young, Hayworth (plus Johnson and Dawson) and Schiaffino. Excellent photography, good locations. But ...

The early scenes were promising, but when Quinn reached the all-but- deserted village the film started to drag and never picked up pace.

Given a very limited distribution (despite the people involved) this international production remains, even now, an obscure (and unappetizing) historical piece; not all that much of a surprise, however, since it just isn't very good – either as drama, adventure, or as an adaptation of the Joseph Conrad novel.

Director Young was an expert at action (having pretty much cemented the style of the James Bond extravaganzas); however, this is a largely talky and stodgy affair – which, perhaps in keeping with the film's very title, doesn't seem to know where it's headed! Ennio Morricone provides the suitably melancholic music; the main cast seems impressive on paper but, for the most part, it has very little to work with here – resulting in generally awkward performances. The titular seafaring character is played by Anthony Quinn – a veteran of (much better) pirate sagas, such as the prime THE BLACK SWAN (1942), the vintage AGAINST ALL FLAGS (1952; with which I should be re-acquainting myself over the next week-end, incidentally) and the similarly meaningful but more successful A HIGH WIND IN JAMAICA (1965) – whose exploits, typically for the larger-than-life actor, end in self-sacrifice (albeit a recurring motif in the author's fatalistic work as well, as can be judged from the likes of "Heart Of Darkness" and "Lord Jim").

Rosanna Schiaffino has the most difficult – and self-conscious – part as the unstable yet voluptuous woman (whose odd behavior is eventually explained in a brief flashback) protected by Quinn from harassment by the locals and the lustful attentions of her ageing 'guardian'. For an actress who had been the personification of allure and glamour, Rita Hayworth is here saddled with an unenviable frumpy look and, even worse, a thankless characterization (by the way, she and Quinn had last appeared together 26 years previously in BLOOD AND SAND [1941])! Richard Johnson's earnest officer, then, supplies belated antagonism to Quinn in the fields of both romance and patriotic duty (the setting is post-Revolutionary France).

Anthony Quinn is ready and able, but he has nothing to do in THE ROVER, an alternately boring and confusing adaptation of the novel. You won't care what happens to him or anyone else in the movie. Movie has a beautiful score by Ennio Morricone, but it seems to have been made for a totally different movie, with the music frequently inappropriate for the scenes it plays in