 |
| James Stewart. |
The Rare Breed
With the exception of
The Flight of the Phoenix, James Stewart didn't get a lot of worthy roles in the 1960s. He was in his mid-fifties when the decade began, so instead of his typical romantic leads and loner heroes, he played a lot of patriarchs in lukewarm fare like
Dear Brigitte,
Shenandoah, and
Take Her, She's Mine (I admit having a soft spot for
Mr. Hobbs Takes a Vacation). Stewart also continued to appear frequently in Westerns, where his now-graying hair only added to his tough exterior. One of his better horse operas of the period was
The Rare Breed, a modest effort bolstered by a strong cast and an offbeat premise.
 |
| Maureen O'Hara. |
Maureen O'Hara stars as a (typically) spunky, yet refined, English woman who's intent on realizing her deceased husband's dream of cross-breeding longhorn steers with Herefords. When she sells a prized Hereford bull named Vindicator, Stewart's crusty ranch hand agrees to deliver the bull to its new owner. Along the way, O'Hara, Stewart, and Juliet Mills (as O'Hara's daughter) spar with a pair of crooks, who--along with Stewart's character--plan to steal the bull. The plot changes direction at the mid-point when the trio arrive at the ranch of a Scottish rancher (played by an almost unrecognizable Brian Keith), who takes a romantic interest in O'Hara.
 |
| Yes, that's Brian Keith! |
The film's first half is a lazy hodgepodge that shifts back and forth from a lighthearted Western (with big barroom brawls) to a more serious film (where people are killed in cold blood). Still,
The Rare Breed settles down in its second half, becoming more of a character study, with Stewart's loner--having lost O'Hara's trust and affections--finally finding meaning in his life.
The three veteran leads are solid, with Keith having a grand time with his Scottish brogue. Yet, Juliet Mills (
Nanny and the Professor) comes off best as a young woman with true grit. (It's fun to see O'Hara, Keith, and Mills together, since the first two starred with Juliet's sister, Hayley, in
The Parent Trap.)
From a production standpoint, the film's scenic landscapes are undermined by poor-looking rear screen shots and stunt doubles that barely resemble the stars.
Blackbeard's Ghost
Peter Ustinov and an atmospheric coastal setting make
Blackbeard's Ghost one of Disney's better live action comedies of the late 1960s. Disney regular Dean Jones stars as Steve Walker, the new track coach for Godolphin College. Steve arrives in the quaint seaside town on the night of the Buccaneer Bazaar, a fund-raising effort for the elderly Daughters of the Buccaneers. The nice old ladies are in financial trouble, because a local gangster has bought their mortgage and wants full payment. His plan is to boot them out of their inn so he can replace it with a casino.
That night, Steve, who is staying at the inn, inadvertently calls forth Blackbeard's ghost when he recites a spell from a witch's book. Blackbeard (Ustinov) explains that he's been caught in "limbo," destined never to join his ghostly crew until--as Steve later discovers--the pirate performs a good deed. This will obviously be a challenge for the whiny, surprisingly sensitive, rum-drinking buccaneer.
 |
| Peter Ustinov and Dean Jones. |
Though based on a children's novel by Ben Stahl,
Blackbeard's Ghost recycles many familiar elements from earlier Disney films. In lieu of a wacky basketball game (
The Absent-Minded Professor) or football game (
Son of Flubber), we get a track meet where Blackbeard--who's invisible to everyone but Steve--helps Godolphin College's unimposing athletes earn an unlikely victory. Predictably, Steve's eventual love interest (played by the always likable Suzanne Pleshette) dates the gruff football coach who dislikes Steve. The gangsters are a thick-headed bunch except for their leader, the appropriately-named Silky Seymour (well played by Joby Baker, another Disney regular).
 |
| Suzanne Pleshette. |
While it may all sound rather predictable,
Blackbeard's Ghost gets a huge boost from Peter Ustinov, who transforms the bloody pirate into a reluctant and amusing hero. Ustinov even keeps in check his tendency to play some roles too broadly. Of course, a little blustering seems appropriate for a famous pirate. The end result is that, despite the film's derivative aspects, Ustinov makes
Blackbeard's Ghost a diverting way to spend an evening.
