To my mind this is the most "Hollywood" of all the Golden Age 3-D titles I've seen so far. I mean that as a compliment, of course. It's sumptuous, vibrant, lusty, melodramatic, romantic, and it has exactly the characters (and actors playing them) you'd want in period genre fare like this: the macho matinee hero, the strong-willed heroine who starts out antagonistic but eventually comes to see things the hero's way, the hissable villains, the wildcard interlopers you're never too sure about.
At least two plot twists blind-sided me, which is always good. The script is sharp enough and the material sturdy enough to keep me invested through repeat screenings. It's a polished, colourful production that's typical of the kind of literary costume romp the Hollywood studio system used to deliver on a good day. I enjoyed every minute of it.
Fernando Lamas is so perfectly cast it's almost untrue. His speech at the court hearing more than convinced me of Carlos's intelligence and his moral compass. There's also a Flynn-like ironic touch to his bravado; he knows exactly what the material is and how this well-educated-yet-two-fisted character should be played.
Arlene Dahl is at her best when she's at her feistiest. She really lights up whenever a scene gets dramatic and tempers flare, though to be honest she's very good throughout. Like Rhonda Fleming and Eleanor Parker, those other underrated redheads, she's a far more accomplished actress than her cover girl looks might suggest.
Patricia Medina is one of the most gorgeous women I've ever seen. I think her character is the hardest to swallow, but she acquits herself admirably. This is a very competent cast indeed.
Numerous 3-D shots in Sangaree are strikingly composed. Two in the tobacco warehouse, umpteen at the ball, at least one in the courtroom, several crowd scenes indoors and outdoors, some views over the water: it's a varied and highly effective use of what was at the time a fledgling form of visual storytelling. Much has been made of the innovative early uses of sound, of colour, of the widescreen format, and the films that first managed to incorporate them seamlessly into the filmgoing experience. I'd place several 3-D shots from Sangaree alongside any moments from those in terms of seamlessness, artistry, and the sheer magic of experiencing a fresh dimension of cinema. Critics maintain that a 3-D film should be able to stand on its own without the extra dimension. Well, this one does, thank you very much, but it's so much more when viewed the way the filmmakers intended. All films should be afforded that right.
At least two plot twists blind-sided me, which is always good. The script is sharp enough and the material sturdy enough to keep me invested through repeat screenings. It's a polished, colourful production that's typical of the kind of literary costume romp the Hollywood studio system used to deliver on a good day. I enjoyed every minute of it.
Fernando Lamas is so perfectly cast it's almost untrue. His speech at the court hearing more than convinced me of Carlos's intelligence and his moral compass. There's also a Flynn-like ironic touch to his bravado; he knows exactly what the material is and how this well-educated-yet-two-fisted character should be played.
Arlene Dahl is at her best when she's at her feistiest. She really lights up whenever a scene gets dramatic and tempers flare, though to be honest she's very good throughout. Like Rhonda Fleming and Eleanor Parker, those other underrated redheads, she's a far more accomplished actress than her cover girl looks might suggest.
Patricia Medina is one of the most gorgeous women I've ever seen. I think her character is the hardest to swallow, but she acquits herself admirably. This is a very competent cast indeed.
Numerous 3-D shots in Sangaree are strikingly composed. Two in the tobacco warehouse, umpteen at the ball, at least one in the courtroom, several crowd scenes indoors and outdoors, some views over the water: it's a varied and highly effective use of what was at the time a fledgling form of visual storytelling. Much has been made of the innovative early uses of sound, of colour, of the widescreen format, and the films that first managed to incorporate them seamlessly into the filmgoing experience. I'd place several 3-D shots from Sangaree alongside any moments from those in terms of seamlessness, artistry, and the sheer magic of experiencing a fresh dimension of cinema. Critics maintain that a 3-D film should be able to stand on its own without the extra dimension. Well, this one does, thank you very much, but it's so much more when viewed the way the filmmakers intended. All films should be afforded that right.