Son of Flynn: Fatefully Following in the Footsteps of a Swashbuckling, Hellraising Legendary Father

Biographical, Cinema, Popular Culture
Errol Flynn (Source: New York Post)

Film star Errol Flynn was a larger than life character of mythic proportions, on-screen he was an authentic Hollywood legend. But his attention-getting off-screen personal life embellished his aura of notoriety and fame even more than the many Hollywood adventure film roles he played. On the silver screen Flynn embodied the heroic, swashbuckling celluloid figurepar excellence as Robin Hood, Captain Blood, Don Juan, General George Armstrong Custer, Gentleman Jim Corbett and Major Geoffrey Vickers, just some of his many celebrated roles. In his private life—most of it though was pretty public—the rebellious Tasmanian had a legendary playboy reputation for debauched behaviour and manoeuvrable morality…excessive drinking, brawling, drug-taking, wild partying, famously prodigious sexual exploits and a proclivity for underage girls culminating in rape trials. But even before his Hollywood period Flynn’s episodic life in New Guinea and New Britain was an incident-packed cavalcade of adventures that wouldn’t have been out of place in an Indiana Jones movie. Young Errol clearly had a compulsion to try different things, bouncing from one knockabout job to another – shipping clerk to tobacco planter to colonial agent to would-be gold prospector to tour guide, etc. During all this Errol escaped crocodiles and native headhunters, womanised indiscriminately, shot and killed a local for which he was tried for murder and subsequently acquitted. Damningly as well, Flynn was also an absconding serial debtor, an inveterate liar and an alleged slave-trader.

Father & son together

So, given Flynn’s Brobdingnagian reputation, any offspring of his, especially a male, would have a lot to live up to. Flynn’s three marriages produced only one male heir, Sean, born in 1941 to Flynn and his first wife Lili Damita. Almost inevitably as fate would decree it Sean Flynn, 6’ 3”, with a similar athletic build and inheriting Errol’s good looks, did attempt to follow in his far from model pater’s footsteps. Sean got an initial taste of acting in his teens appearing in Flynn Senior’s TV show The Errol Flynn Theatre𝕒. Sean inherited a small sum when his father died suddenly in 1959 and with it enrolled at Duke University but did not complete his degree. The beckoning call from Hollywood or “imitation” Hollywood was not far away.

Son of Errol

The Son of Captain Blood
In 1961 the highly predictable happened! Sean was cast as the swashbuckling lead in a sequel of sorts to his dad’s spectacular breakthrough role in Captain Blood which had catapulted Errol into instant, universal stardom in 1935. Son of Captain Blood, an Italian–Spanish–British co-production (with some of the action scenes shot in Spain). The script was penned by Casey Robinson, writer of the original 1935 film. Prior to production the neophyte Sean received instruction in how to fence, fight and fall safely and convincingly on screen from Tarzan actor and stuntman Jock Mahoney𝕓 (Gene Freese, Jock Mahoney: The Life and Films of a Hollywood Stuntman (2013). Unfortunately Sean’s foray into cinematic pirate territory didn’t reproduce the family sparks – as the LA Times pithily summarised the movie, “the old magic isn’t there.”

Sean with Pili…or is it Mili? (Source: briansdriveintheater.com)

Ephemeral B-movie star
Though Sean failed to set the screen alight in The Son of Captain Blood he did make a few more minor adventure films in Europe the mid-1960s, such as Duel at the Río Grande (as Zorro), followed by a couple of forgettable Spaghetti Westerns, the second playing opposite a popular Spanish teenage comic duo, Pili y Mili, AKA the Bayona Sisters (Sharp-Shooting Twin Sisters).

The last photo of Sean Flynn (left) & colleague on the day they disappeared (Photo: Perry Deane Smith/MCT/Tribune News Service via Getty Images)

Frontline Flynn, the Gonzo war photographer
When Flynn Junior became bored with acting, perhaps channeling Hemingway more than his father, he took himself off to Africa to work as a guide for safaris and big game hunting. Sean’s final movie was a 1967 French–Italian action picture Five Ashore in Singapore. By this time Sean had taken up a new career as a freelance photojournalist, basing himself in Vietnam with the Indochina war in full swing. This work was much riskier than anything Errol ever tackled in his tumultuous life…Sean went on patrols with the Green Berets, getting shot at by the Viet Cong (being wounded on one occasion), all in the name of getting the best pictures of the raging war𝕔. In 1970 Flynn went to Cambodia to cover the spread of the Vietnam War into that neighbouring country. Sean and another American photojournalist disappeared on 6th April 1970, never seen again, after they ventured into Communist-held territory in Cambodia. In 1984 Flynn was declared dead in absentia, his exact fate remains a mystery but most think that the two Americans were executed by either North Vietnamese guerrillas or the Khmer Rouge.

Sean Flynn on patrol (Photo: Tim Page)

Sean’s willingness to repeatedly put himself in the path of extreme danger in the Vietnam conflict led some observers to conclude that the combat photographer harboured a “death wish”. Certainly, Sean seemed to have inherited Errol’s reckless gene, always looking to push the envelope without regard for self. Both father and son seemed to be guided during their lives by a Byronic impulse, their lives inextricably linked to the romantic and the tragic (Jeffrey Meyers, Inherited Risk: Errol and Sean Flynn in Hollywood and Vietnam (2002).

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𝕒 hosting this British anthology series was one of the jobs the former matinee idol had to resort to after his Hollywood film career took a nose dive

𝕓 who had earlier stunt-doubled for the older Flynn

𝕔 Flynn was one of a group of Vietnam War “Gonzo” photographers including Tim Page and John Steinbeck IV who were committed to going anywhere, putting themselves into extreme risk situations to get the best combat photos

The Rise and Fall of the Greek-Australian Milk Bar: American Dreams with an Hellenic Touch

Cinema, Commerce & Business, Inter-ethnic relations, Local history, Memorabilia, Popular Culture, Retailing history

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Anyone who grew up in the golden age of milk bars in Australia, from the 1940s to the 1960s, will have a memory of or an association with these erstwhile hubs of suburban and small town social life…for many of that vintage it’d be hanging out inside with friends, indulging in their favourite flavoured milkshake, ice cream or other sweet tooth delight. My own fond recollection is of salivating over chocolate malt sundaes with nuts and taking turns at playing (or tilting) the pinball machine in the back corner of the shop. This treat was an exhilarating antidote to the aftertaste of having spent the preceding six hours toiling away in school confinement.

B&W 4d Milk Bar with mechanical cow & Red Cross-like symbol

They were such an integral institution during my salad days that I was under the assumption that milk bars had been around forever. In fact they only surfaced in Australia for the first time in the early years of the Depression. The first bonifidé milk bar is generally considered to be the Black and White 4d. Milk Bar which opened its doors at 24 Martin Place, Sydney, in 1932𝕒, it’s conception was the idea of a Greek migrant to the Antipodes, Joachim Tavlaridis, who had Anglicised his name to Mick Adams. Mick had visited the US and had drew on the American diner/soda parlour concept that was flourishing in the US for his inspiration (including American menus, ice creams and chocolate). The distinguishing feature of the Black and White Milk Bar was its singular purpose, it exclusively sold just sodas and milkshakes (in the iconic silver-coloured metal milkshake cups with actual fruit in the shake). Mick was an early entrepreneur in the field, later adding Wollongong, Adelaide, Melbourne and Brisbane shops to his milk bar “empire”. (‘1932: Australia’s first milk bar’, Australian Food Timeline, www.australianfoodtimeline.com). Mick Adams and other Greek-Australian small businessmen like him were the pioneers of the milk bar trade in Australia…typically the shops operating as open-all-hours family businesses, cf. postwar migrant Italians in the vanguard of delicatessen culture in Australia𝕓.

Golden Star Milk Bar, Perth (Photo source: M. Coufos)

Greek cafes with a large dollop of Hollywood glitz
The Greek owner-operators in Australia added glamour to their milk bars by infusing the decor with an vibrant American feel…gleaming chrome, neon illumination, plush leather chairs, mirrors, curvilinear Art Deco interiors, soda fountain pumps, snazzy uniforms, American jukeboxes. These early Greek milk bars (and cafés)𝕔 were purveyors of American dreams along with confectionery and sugary flavoured chilled beverages. Macquarie University history academic Leonard Janiszewski describes the agency of the early milk bars as “a kind of Trojan horse for the Americanisation of Australian culture” (‘The story of Australia’s Greek cafes and milk bars’, ABC Radio, Conversations (broadcast 02 May 2016). The milk bar caught on like wildfire—by 1937 there were around 4,000 in Australia, with names like “Olympia”, “The Orion” and “The Paragon”—as they did across the Tasman in New Zealand where the milk bar is known as “the Dairy”.

Milk bars passé
By the 1970s the heyday of the Australian milk bar was well and truly past its use-by-date. Faced with an inability to compete with supermarket chains and multinational-owned petrol stations plus high rents, milk bar closures (together with that of the community corner store) became an increasingly common sight. 7-Eleven-style convenience stores started to pop up everywhere across suburbia to fill the void (‘Remembering the Milk Bar, Australia’s Vanishing Neighbourhood Staple’, Matthew Sedacca, Saveur, 18 January 2018, www.saveur.com).

Olympia, tea and milkshakes (Source: Daily Mail Australia)

One Greek milk bar that did manage to defy extinction for much longer than most was the Olympia Milk Bar in the inner-Sydney suburb of Stanmore. Taken over by the Fotiou brothers in 1959, the Olympia under surviving brother Nick achieved a kind of local iconic status in recent years for its anachronistic novelty…open late, and always dimly lit, ancient chocolate bar wrappers plastered all over, a yesteryear-looking shop locked in a time warp. The Olympia somehow survived to 2018, until the Council decided to close down the dilapidated milk bar.

Postscript: Green plaque fiasco
Attempts since 2017 to commemorate the Black and White Milk Bar as “the world’s first modern milk bar” with a green plaque have met with a roadblock. The plan had been to place the plaque on the original site of the proto-milk bar in Martin Place, Sydney, now the ANZ Tower. The spanner in the works has been the overseas corporate owner of the building who has steadfastly refused to allow the plaque to be mounted on the structure. The matter remains deadlocked with the City of Sydney Council unable to find an alternate, close-by location acceptable to Mr Adams’ relatives (“‘Disrespect’: Frustration grows over plaque for world’s first modern milk bar in Sydney”, Adriana Simos, Greek Herald, 05-Oct-22, www.greekherald.com.au).

Green plaque in limbo!

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𝕒 a staggering 5,000 customers fronted up on the opening day!
𝕓 Mick’s concept of a modern milk bar was later replicated overseas in various places within the Commonwealth and Europe
𝕔 the nouns “café” and “milk bar” seem to be interchangeable in describing these Greek-Australian run establishments

Slavery, the Elephant in the Room: Myth-making about the United States’ Uncomfortable Past

Cinema, Inter-ethnic relations, Popular Culture, Regional History

When human rights principles buttressed by international law took root, slavery in both its traditional and modern forms became ever more of a dirty word in First World societies like the US. Little wonder then that faced with the stark realities of such a repugnant and vilified practice staining their own country’s history, some might seek to lay a euphemistic guise over the unpalatable nature of the institution.

Texas, 1835-36 (Source: texashistory.unt.edu)

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“Involuntary relocation”, denial, whitewashing?
One topical example of this involves Texas and its long and vexed relationship with slavery. A conservative group of Texas educators in 2022 proposed that schoolchildren should be taught about the state’s history of “involuntary relocation”, which enables teachers to neatly avoid the dreaded word “slavery” altogether (on the pretext that references to slavery might be too confronting for the tender ears of small children). Needless to say this attempt “to blur out what actually happened in that time in history” has been heavily criticised by progressive historians (‘State education board members push back on proposal to use “involuntary relocation” to describe slavery’, Brian Lopez, The Texas Tribune, 30-Jun-2022, www.texastribune.org)ⓐ.

The Alamo, San Antonio (Photo: age fotostock)

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Texas creation myth
Conservative groups in Texas have good reason to try to bury the spectre of slavery as the institution is very much connected to the state’s most sacred historical symbol, the Battle of the Alamo in 1836. The traditional Alamo story—brave American freedom fighters against the far superior forces of tyrannical México, their heroism inspiring the (Anglo-led) Texians under Sam Houston to achieve independence—is ingrained on the consciousness of all Texans and all flag-waving Americans…it is in fact a story central to the creation myth of Texas. The defenders of the Alamo, so the conventional Anglo narrative goes, made the ultimate sacrifice for liberty. The heroic Alamo myth has been reinforced by fictionalised screen versions of the Alamo’s leaders: Davy Crockett, Jim Bowie and William Travis come across as courageous martyrs for the Texians’ cause (largely thanks to Walt Disney and John Wayne)…in reality they were far from lily-white, Crockett was a slaveholder and an unsuccessful politician who resorted to buying votes, and his glorified death at the Alamo as portrayed on the screen—going down valiantly fighting “evil” Méxicans to the very end—was a fiction (first-hand accounts verify that Crockett surrendered and was executed). Bowie and Travis were both slave traders and the morally dubious Bowie also made a living through smuggling. Hardly 19th century model citizen stuff (Bryan Burrough, Chris Tomlinson & Jason Stanford, Forget the Alamo: The Rise and Fall of an American Myth, (2021)).

The Alamo according to the John Wayne movie

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Slaveholder rebellion, Manifest Destiny, American exceptionalism?
Similarly, the traditional view of why the American colonists revolted—because they were supposedly being oppressed by a tyrannical regime in Mexico City—is at variance with the inconvenient facts. American colonists came to Mexico’s Tejas with the purpose of making money through from cotton, the only viable cash crop in the territory at that time. For this to happen, black slave labour was a necessityⓑ. Once the Texians declared their independence in 1836, the centrality of slavery in the new republic became even more apparent with the institution being enshrined in the Texas constitution. Numbers of slaves in the republic grew exponentially, doubling every few years in the period from 1836 to 1850ⓒ. By 1860 slaves made up nearly one-third of the state’s population. As James Russell noted, rather than being “martyrs to the cause of freedom” as claimed, the defenders of the Alamo could more truthfully be tagged “martyrs to the cause of freedom of slaveholders”(‘Slavery and the myth of the Alamo’, James W. Russell, History News, 28-May-2012, www.historynewsnetwork.org)ⓓ.

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Slavery, mythology and the Civil War
When I went to school in the 1960s I learned that slavery was the cause of the American Civil War, clear and simple, the Southern states wanted to retain the practice and the Northern states wanted to end it. But in the US itself there has been no such consensus. As early as 1866 the defeated South had cobbled together its own, alternate narrative for America’s most costly war.

The post-bellum myth portrayed a society of happy, docile slaves and benevolent masters as conveyed in the classic film Gone With The Wind

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“Lost Cause of the Confederacy”
Southerners depicted the Civil War as a noble “lost cause”, romanticised its soldiers (Robert E Lee the chivalrous Christian gentleman) and constructed a pseudo-historical myth that the war was all about states rights, not slavery, the South was just protecting its agrarian economy against Northern aggression, trying to defend its way of life against the threat posed by the powerful industrial North. In reality, when South Carolina, the first of the Southern states to secede, did so in 1860, it complained that the national government had refused to suppress the civil liberties of northern citizens (ie, its failure to halt Northern interference in the South’s slave industry) (Finkelman, Paul (2012) “States’ Rights, Southern Hypocrisy, and the Crisis of the Union,” Akron Law Review: Vol. 45: Iss. 2, Article 5.
Available at: https://ideaexchange.uakron.edu/akronlawreview/vol45/iss2/5).

Confederacy based on the principle of white supremacy
The Confederacy’s (CSA) philosophical underpinnings rested on an unquestioned sense of white supremacy and black subservience, bolstered by pseudo-scientific ideas of race gaining traction at the time. Suffrage was a right afforded only to CSA’s white males. The South fought to safeguard its “right to hold property in persons”, and to do so in perpetuity (‘The Confederacy Was an Antidemocratic, Centralized State’, Stephanie McCurry, The Atlantic, 21-Jun-2020, www.theatlantic.com).

Slaves in the cotton field (Artist: John W Jones)

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ⓐ it didn’t go without notice that this development is occurring at a time that Tejanos (Texas Latinos) are poised to become the majority in the Lone Star state

ⓑ the government for its part had originally invited American migrants to Méxican Texas to populate the vast province and to counter the indigenous peoples, especially Comanches and Apaches, who freely raided and plundered Méxican settlements and ranches

ⓒ fulfilling the founder of Anglo Texas Stephen F Austen’s prediction that the Texas Republic would become “a slave nation”

ⓓ Burroughs et al dismissed the Texas Revolt as “a sooty veneer of myth and folklore”

Unconsummated Hitchcock: “The Short Night”, the Auteur’s Unrealised Final Fling at Making a Bondesque Film

Biographical, Cinema, Popular Culture
Source: art.com
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ROTUND, sardonic Anglo-American auteur Alfred Hitchcock’s oeuvre comprised over 50 feature films but he was no stranger to unfinished or unrealised film projects. Starting with what was meant to be his directorial debut in “Number 13” (AKA “Mrs. Peabody”) in 1922, for the next 57 years Hitch was at the helm for upward of twenty aborted films. Hardly any of the score of unmade movie projects ever got beyond the pre-production stage[1̲̅].

Alfred’s hitch in making ‘Hamlet’
There were various reasons why the films never got made…difficulties in location (Walt Disney, the man, not the corporation, wouldn’t let Hitchcock film ”The Blind Man” at Disneyland supposedly because of his disapproval of Psycho); Hitch’s dissatisfaction with scripts[2]; Hitchcock’s ”Titanic” project was waylaid by a string of obstacles including objections from the British shipping industry; some projects were vetoed by producers and studio heads; Hitchcock couldn’t get the female lead he wanted for ”No Bail for the Judge” (Audrey Hepburn)[3]. Hitch’s great success with The 39 Steps prompted him to try to direct film adaptions of other John Buchan novels featuring spy Richard Hannay, eg, ”Greenmantle”, however he couldn’t afford the rights to the book. He even wanted to direct Shakespeare, his enthusiasm to do a modernised version of Hamlet (with Hitchcock favourite Cary Grant cast as the “Melancholy Dane”) was ultimately blunted by the threat of a lawsuit from a writer who had already penned a modern-day version of Shakespeare’s great tragedy (‘Every Unmade Alfred Hitchcock Movie Explained’, Jordan Williams, Screen Rant, 12-Jun-2021, www.screenrant.com).

The final project pursued by Hitchcock was ”The Short Night”—based on a novel of the same name by Ronald Kirkbride and on the exploits of real-life double agent George Blake—which was to be Hitchcock’s red-hot crack at making a “realistic Bond movie”. In an interview with John Russell Taylor for Sight and Sound Hitchcock outlined the story’s great allure for him: ”It’s a situation that fascinates me: the man falls in love with the wife of a man he’s waiting to kill. It’s like a French farce turned inside-out. If he sees a boat coming across the bay with the husband on it, he can’t hop out of the back window, he has to wait and do what he has to do. And of course he can’t take the wife, who loves him, into his confidence. And so the whole romance is overshadowed by this secret, which gives it a special flavour and atmosphere. That’s what I want to convey”.

Poster for the movie that never materialised
Originally conceived in the late 1960s (after two uninspiring earlier Hitchcock Cold War espionage features Torn Curtain and Topaz were coolly received), the director scouted locations in Finland. Hitch wanted the “real deal”, Sean Connery, to play the Bondesque double agent protagonist, the director must have been keen on the film…while the project was still parked in pre-production, without anything about the movie being nailed down, Hitch had a poster designed for the movie (‘Alfred Hitchcock’s unrealized projects’, Wikipedia). Alas, scripts were again a problem, Hitch churned through a bunch of writers and a number of different treatments in the search for the ‘right’ script, but an even bigger problem was Hitch himself! Now 80, Hitchcock‘s health was failing badly, he was unfocused and listless on the set[4], he simply was no longer up to it. Towards the end of 1979 Hitchcock quietly retired from the business and ”The Short Night” project was shelved for good.

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[1̲̅] Hitchcock managed to shoot only a few scenes of “Mrs. Peabody”,before a lack of budget brought the production to a close

[2] the prickly and demanding Hitchcock had fractious relationships with his scriptwriters, he even fell out with his favourites like Ernest Lehman (over Family Plot, contributing to Hitchcock ditching “The Wreck of the Mary Deare” and starting work on the espionage classic North by Northwest

[3] Hitchcock’s uber-creepy obsessiveness with many of his leading ladies (Grace Kelly, Tippi Hedren, Ingrid Bergman among others) has been well documented, eg, Spellbound by Beauty, Donald Spoto (2008)

[4] ”moving in and out of senility” in the view of the last screenwriter parachuted into the project, David Freeman