GamerTab That was an excellent one.

Ploydsge just watch it!

Maidexpl Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

Staci Frederick Blistering performances.

Steffi_P Little B-pictures like this don't tend to have a lot going for them. There is much about Moonfleet to indicate it comes from the lower end of studio output – a now-obscure adventure novel as its source text, minimal sets, outdoor scenes on the back-lot, garish costume design and Fritz Lang in the director's chair. Not that Lang was a bad director – far from it – but he was never allowed to get his hands on anything prestigious during his Hollywood years, and his name in the credits is as good as sign of "cheap and cheerful" as any. However the great thing about movie-making is that inventiveness and flair cost nothing, and these are things Lang had by the bucketful.The daunting and adventuresome spirit of the novel really seems to have inspired Lang, and from the offset he fills the screen with the kind of disturbing imagery that he always did so well – a nightmarish stone angel, hands appearing out of the earth, a hanged criminal creaking in the breeze, all shot with a painterly precision that heightens their macabre impact. Also integral to Lang's approach is the way he utilises the barren sets to create stark empty spaces in his shots. A great example is when Stewart Granger first appears. Lang has the camera track back, gradually opening out the space, which is all the more effective because the shots leading up to that moment had very close, tight compositions. Many of the compositions have some conspicuous empty space or distant vanishing point, and the whole picture acquires this desolate feel, as if we are a long way from law, safety and normal civilization. So what has this to do with the story? Well, it's very simple for feelings of fear and unease to flip over into ones of excitement. It's that fine line between the creepy and the thrilling that really brings the adventure plot to life. Lang even places us squarely inside the sense of danger with point-of-view shots in the scene where young Jon Whitely is hiding from the smugglers in the crypt.One of the biggest holes in these low-budget productions was often the cast, but while none of the performances in Moonfleet is exactly outstanding, there is a good balancing out of adequate ones. Whitely, Granger and the ubiquitous George Sanders give restrained and naturalistic turns, each convincing and never too exuberant. Granger in particular keeps things at a steady pace, and succinctly shows his character's conflicting emotions through subtle changes in his face. On the other hand we have some gloriously expressive and theatrical performances from various bit players, keeping up that slight unworldly tone, but only in roles which are small enough that they do not threaten to unbalance the picture. The stand-out among these latter players is Alan Napier as the fire-and-brimstone pastor, who gets one brief yet riveting appearance.Moonfleet also happens to be one of a number of pictures from the 1950s which it appears would later be reference points in the Indiana Jones movies of the 1980s. Specifically, the afore-mentioned crypt scene reminds me of the opening of Last Crusade, in which the teenage Indy spies on a gang of treasure-hungry hoodlums. The underground burial chamber is also reminiscent of the Venetian catacombs from later in the same movie. Although these similarities could be coincidental, it is perfectly believable that Moonfleet would fire the imagination of a nine-year-old Steven Spielberg and sear itself into his brain, all testament to the powerful imagery and keen sense of adventure that transcends its low-budget roots.

Spikeopath "Two hundred years ago the great heath of Dorsetshire ran wild and bleak down to the sea. Here in the hidden caves and lonely villages, the smuggling bands plied their trades. And here, one October evening of the year 1757, a small boy came in search of a man whom he believed to be his friend"This is the opening salvo for the MGM adaptation of J. Meade Falkner's novel of the same name. Miklós Rózsa's luscious sweeping score then tones down to let us read and savour, and from here on in we are hooked into this booming colourful adventure. With the makers practically overhauling J. Meade Falkner's novel, it's perhaps unsurprising that fans of the novel have no time for this. Thus if you have read the book and not seen the film then perhaps you best avoid it? Likewise those who are in to swashbuckling as a preferred genre, do not be lulled into the belief that because Stewart Granger is the lead character of Jeremy Fox here, that this is Scaramouche 2, because it has plenty of swash but not enough buckle for those of that persuasion. You witless, gutless misbegotten gallows-bait!Filmed in Cinemascope and Eastman Color, Moonfleet is a hugely enjoyable adventure that encompasses smugglers, rapscallions, wonderfully costumed soldiers, and crucially, an engaging bond between a man and his newly adopted son. The sets and Oceanside location are excellent, and the costumes from Walter Plunkett benefit greatly from the "coulourscope" filming process, Robert H. Plank's photography sharp and a treat for the eyes. Story wise there are plot holes to thrust your épée or foils thru, and goofs that have no place in a production such as this, but if a keg of smuggled brandy and a search for a hidden diamond has you interested? Well this will deliver without a shadow of a doubt. George Sanders, Joan Greenwood and young Jon Whiteley (excellent) join Granger in delighting to the end of this enjoyable piece. Fritz Lang directs and fuses Gothic traits with bravado adventure leanings and the results are very easy on the eye, go on, have a look see. 8/10 Hurrah!

cuzjackincanuckland I know the original novel, aimed at male children and adolescents, but this monstrosity of a screen-play has little connection to it, and the changes are not for the better. Why didn't they change the name of the film and have a completely new set of names for the characters? If it was to attract people who knew the original story, was that well-advised? They would only come away from a viewing disgusted and angry. The original story had its faults and weaknesses, but the story in the film is sheer nonsensical rubbish.In the novel, the boy is older and a native of the village, he has a living mother, his helper is Elzevir Block who is the inn-keeper, there are no lords or aristocrats, only a miser-merchant who bought the manor-house; the boy is involved in the smuggling, led by Elzevir Block, there are no pirates or piracy; and he, the boy, returns to village when a man only through luck and the self-sacrifice of Elzevir Block, and there meets his childhood sweetheart. Other than the possibly-supernatural occurrences, the book plot is in many ways realistic.

bob the moo Young John Mohune comes to Dorset to meet a man called Jeremy Fox who he believes was a friend of his late mother and will help look after him. Expecting a friend in Fox, John is upset to find an uncaring man who has no interest in John. He persists though in trying to gain the friendship and attention of Fox even in the face of great dissuasion. All Fox's acquaintances are rather desperate men, which fly in the face of his rather "proper" appearance. John doesn't suspect anything, being a child, but the area is famous for smugglers and Fox may be connected and perhaps be more dangerous than anyone realises – not least the innocent John Mohune.I watched this film simply because I was a bit taken aback by the fact that it was a Fritz Lang film. Not being a name I would have associated with a period film I decided to take a look and see what he did with it. In fairness Falkner's source material does give him something to work with and there are interesting themes and ideas running through it. It takes a little bit to get going but after a while the smuggling story and the relationships make for a good adventure that is brisk enough for children while also having a bit of meat for the adults. I quite enjoyed the sweeping adventure feel it had but I was more interested in the character of Fox, who is never a "good man" and is all the better for it (in terms of the narrative). Lang appears to be interested in this as well, and he does make Fox the biggest part of the film.Granger rises to this by turning in a solid performance where he is a rough character but not to the point where he loses the audience. The problem with the film is not with him – unfortunately it is with Jon Whiteley. He is too cute and very much a child actor – and I don't mean that in a good way. He isn't really able to emote and, apologies for the lack of intelligent criticism, but he just got on my nerves. I'm sure this film didn't want to go too deep but I would be happy to see a remake of this with a stronger and more natural child actor in the role, that may allow the relationship to be developed a bit further. Sanders is always a welcome presence but he is given very little to do. The rest of the support cast are all solid enough but the film is pretty much Granger's and he works it well even if Whiteley isn't up to much.Overall though this is a solid little adventure tale that makes for solid family viewing. It is brisk and swashbuckling enough to entertain children while the solid yarn will engage adults. The cast mostly give a good account of themselves and, while I didn't hate him, I must admit that Whiteley was annoying to me personally and his performance here suggested a good education but a limited ability.