A colorful historical drama about the discovery of what is now California and the evils surrounding it through the conquest and captivity of those already there. Questionable casting has both Richard Egan and Anthony Quinn as Spanish officers, with Egan hardly right for the part, especially when seen on a horse talking with the accented Quinn. The narration at the beginning indicates that the details are based on fact, but that the language spoken is different. Egan is a fine actor (one of my favorites of the 50's, and especially as the powerful Sam Clegg on "Capital"), but his casting is totally jarring. With actors like Cesar, Fernando or Ricardo popular during this time, surely 20th Century Fox could have done better and used Egan to better use elsewhere. As the mission priest whose world they turn upside down by storming in and causing the death of a native woman, Michael Rennie is totally commanding, telling Egan, Quinn and their men off for their hypocrisy as Christians. It's one of the few times on screen I recall hearing something like this. Jeffrey Hunter as the native chief and Rita Moreno as his sister are other major characters, their participation later in the film stirring up the bulk of the conflict. This is colorful and certainly epic, but hard to avoid the flaws.

Anthony Quinn is the best actor here, making a more than convincing Spanish conquistador heading the expedition to secure all California for the Spanish in the late 18th century with critical success to begin with. In his retinue is Michael Rennie as the priest in charge of establishing the church in these remote parts in the far west of America beyond he deserts, also with limited success to begin with. The drama of the film is the conflict with the Indians, appearing as downright savages with very sly means for making war on the intruders, and Jeffrey Hunter makes a very convincing leader of them, vacillating between disbelief and trust in a religion that does not allow him three wives but only one. The turnout of events makes him strongly doubt the credibility of the religion of these modern intruders and with very good reasons. Richard Egan plays the difficult part, the soldier who commits himself in a love affair with one of the prettiest Indian girls with fatal consequences. The film is actually a drama of faith, the inevitability of doubt and the questioning of the meaning of this whole business, while it's also the question whether the priest actually succeeds in saving the credibility or not. He makes a great performance, but Anthony Quinn is the ultimate winner of the game.

There is a sequence at the end of "Captain from Castile" starring Tyrone Power when the Spanish set out to conquer the New World. It's a fantastic scene accompanied by a monumental musical theme, "Conquest", by composer Alfred Newman. I was disappointed the movie ended at that point. We don't get to see what happens. However "Seven Cities of Gold" starts where "Captain from Castile" left off, albeit 140 years later. A Spanish army sets out to explore California; this time accompanied by a stirring score by Hugo Friedhofer, another of the great film maestros. Both he and Newman gave the Spanish themes a thorough workout. The film is based on the 1769 expedition to California led by Captain Gaspar de Portolà (Anthony Quinn). Forcing his way into the expedition is peace-loving missionary, Father Junipero Serra (Michael Rennie), who wishes to build missions to convert the natives. After encountering the Indians and winning them over, Portolà's second in command, Lt. Jose Mendoza (Richard Egan), causes friction. He ignores advice often given to travellers not to fool around with the native women; Ula (Rita Moreno), the trim, tanned chief's daughter proves far too tempting. Eventually Mendoza is forced to reject her. You might get away with that sort of thing during the rose ceremony on "The Bachelor", but not here. It takes an act of self-sacrifice to save the expedition. The film is not a mindless action fest. In fact, it might be just a little too talky. It acknowledges the damage done during the Spanish conquests, but presents Father Serra and his faith in a positive light. I have always liked Richard Egan. He had an amazing presence. He looked heroic and actually was. You read snippets about his military service during WW2; the hand-to-hand combat expert, and hints of lone missions in the Philippines, but he never spoke of it. There were bigger stars than Richard Egan, but not bigger men. Jeffrey Hunter seemed a little awkward in his feathers and war paint while Anthony Quinn on the other hand was gravitas personified. He exuded the qualities that make you believe he could lead men anywhere. I remember seeing "Seven Cities" on B/W television. It's not the way to see it. The filmmakers went to a lot of trouble with impressive sets, authentic costumes and real locations. Widescreen and full colour does it justice.

If you want to know about the founding of the city I consider the most beautiful in America, San Diego, than Seven Cities Of Gold is the film for you. It's a reverential account from a historical novel with the central figures Gaspar DePortola the soldier/conquistador who took care of the military end of things and Father Junipero Serra who handled the spiritual details. His mission which became the center of San Diego was the first of many he would found in the conquest of California. Anthony Quinn is Portola and he's certainly my idea of a Spanish conquistador. He's a believer, but has more faith in his ammunition and artillery than in the maxim of the Lord will provide. The figure of Father Junipero Serra is a controversial one in terms of the damage he did to the Indian culture. But the Catholic church in the Spanish and Portugese conquests also had a role in blunting somewhat the impact of the gold hungry conquistadors, it did shield their converts from the seamier depredations of European society. Serra who is played by Michael Rennie is done in the same saintly manner that Rennie played St. Peter in The Robe and Demetrius And The Gladiators. By all accounts Serra was a spartan figure for a priest. Jeffrey Hunter plays a new young Indian chief who is not crazy about these people invading his neighborhood. That concern is heightened exponentially after his sister Rita Moreno is despoiled by one of the Spanish soldiers looking for a little action. In fact it throws the fate of the whole expedition in doubt. Richard Egan is the despoiler who has some big decisions to make. Egan who was a serious Catholic in real life makes a decision commensurate with his real faith. Real historians might have trouble with Seven Cities Of Gold. But as entertainment, especially if one is Catholic, this should please you.

Being produced in 1955, this film used a number of stereotypes to justify the Spanish "invasion" of what became southern California. Today, as we look much differently at how conquerors treated indigenous peoples, our view of this film is much different than it probably would have been in 1955...more than half a century later. This was not a film that was very good for the key actors. Worst of all was what I looked at as an almost silly role for actor Jeffrey Hunter...as the son of the chief and then the chief of the local Indians. I laughed out loud, something that shouldn't happen in a period drama. But the man was handsome! And then there was Anthony Quinn. Quinn was already hitting his stride when this film was made, but this film only scraped the surface of his talent. And then there's Richard Egan. I've never warmed up to Egan as an actor; the most I can say here is that he was pleasant on screen. The actor that comes off the best here is Michael Rennie. I remembered Rennie from his iconic role in "The Day The Earth Stood Still" and "Les Misérables", and he does a nice job here as the historical figure Father Junipero Serra. I would be overstating it to say that the plot plods along, but I also didn't find myself sitting on the edge of my chair. And I found the ending disappointing because it never really brings in the greater context of how important the role of this mission (both military and religious) had on the history of California for decades to come. It was an opportunity lost. Of interest here, however, is the role played by a young Rita Moreno. This is one of those films I was glad to have watched...once. I would never be tempted to watch it again.

Done on grand scale, this is the tale of Father Junipero Serra and the founding of the California Missions, in particular, the first at San Diego. Rennie, Quinn, and Egan turn in good performances and the story moves along quite well, even though history is played with fast and loose in this treatment. Of particular interest is the style and treatment of the Indians encountered by the mercenaries and the priest-there is much more realism than most films of this era. The action scenes are done well and the obvious, but inevitable conclusion makes the point. A good watch.

20th Century Fox's SEVEN CITIES OF GOLD (1955) is a handsome looking colourful adventure story set in early California in 1769. Yet it has been pilloried by some for not being more than it is. A pity really, for it is quite an enjoyable picture with great atmosphere nicely played by a committed cast and directed with good attention to detail by Robert D. Webb. This was another elaborate fifties Fox production photographed in beautiful Cinemascope and Delux color by the brilliant Lucian Ballard. It was produced for the studio by Robert Webb & Barbara McLean and was expertly written for the screen by Richard L. Breen and John C. Higgins from a novel by Isabelle Ziegler. A marvellous sense of time and place is established from the beginning as we follow the procession of the mighty Spanish Conquistators under Captain Portola (Anthony Quinn) in the quest for the famous seven deposits of gold the Indians had left behind. Accompanying the army is Father Junipero Serra (Michael Rennie) the revered Jesuit monk who founded the missions of San Diego and was responsible for making peace with the Diegueno Indians. One of Portola's young officers Jose Mendoza (Richard Egan) falls for the charms of a beautiful Indian girl Ula (Rita Moreno) and begins an affair with her. But when he tells her he cannot take her back with him she becomes offended, flees from him in a rage and accidentally falls to her death from a cliff top. The erstwhile peaceful Indians now want blood and vow to attack the Spanish stronghold unless Jose is handed over to them. At first Captain Portola will not adhere to the Indian demand but later Jose (just like Jeff Chandler's character in TWO FLAGS WEST) to allay any fear of an attack, sacrifices himself and to the ominous and incessant beat of the Indian war drums walks out of the fort gates to his preordained fate. The sequence is deeply moving and heartfelt! Performances are generally good throughout with Rennie being a standout in his best role since "The Day The Earth Stood Still" (1951). As the zealous Father Serra he is sincere and convincing. Good too is Richard Egan as the ill-fated Jose. A likable actor - Egan never got his fair dues for his screen efforts (He stole the acting honours from everyone around him in "Untamed" the same year). But the most disappointing bit of casting in SEVEN CITIES OF GOLD has to be Anthony Quinn. For an actor who has second billing in such a big production his part is not only poorly written but it is under written. He is hardly in the picture at all and when he does make an appearance his presence is merely perfunctory. Any of a dozen Hollywood bit players could well have played his part. One of the most stirring aspects of the picture is the extraordinary music by Hugo Friedhofer. A vital and arresting score full of appropriate Spanish, Mexican and Latin rhythms. The composer's vast knowledge of this music shines through. The main title is a broad passionate Granada-like Spanish cue with blazing trumpet that points up the all-conquering Conquistadors and is heard in different guises (including a spirited march variation) as the picture progresses. There is a religious theme for Father Serra as well as some wonderful mariachi cues and indigenous folk songs. One such song 'Senorita Carmelita' is sung by the troopers (including Egan) at an open-air feast. It is infectious and totally irresistible! SEVEN CITIES OF GOLD is Friedhofer's best and most enjoyable adventure score! SEVEN CITIES OF GOLD is a much better movie than its reputation reveals and deserves reappraisal for (1) Its authentic historical setting (How many movies besides "Captain From Castile" can you think of that covers the same period in American history?). (2) Its fine performances. (3) Its splendid Cinemascope/Color cinematography and (4) its rollicking musical score.

*Spoiler/plot- Seven Cities of Gold, 1955. A historical costume drama about Portola's expedition to California in 1769 in search of fabled golden cities of the southwest Indians. It features the settlement of the Spanish at San Diego, and the efforts of Father Junipero Serra to establish missions and encourage peaceful relations with the Indians. *Special Stars- Michael Rennie, Jeffrey Hunter, Richard Egan,, Anthony Quinn. *Theme- Niceness can prove helpful in the new territories. *Trivia/location/goofs- Co,or. The real Franciscian friar Father Junipero Serra was beatified (called "blessed") by the Catholic Church some years ago, which is the first step towards sainthood. He is now referred to as Blessed Junipero Serra. Look for a studio cable pulling down tree during battle with Indians. *Emotion- A mundane historical sword and sandal drama of a small amount of drama. Mediocre at best. *Based on- The historical legends of Portola and Father Sierra's travels in aboriginal California.

Although coming from a different stable (Twentieth Century Fox as opposed to Universal), this historical epic is in the same vein as the contemporaneous KISS OF FIRE (released just a fortnight after this one and my review of which can be accessed elsewhere) but emerges a decidedly more satisfactory movie. For one thing, to the common Spaniards vs. Indians scenario this adds both mythical and mystical elements that render the mixture a thought-provoking one. The former is represented by the ultimately fruitless search for the legendary titular golden kingdoms while the latter applies to Michael Rennie's fine portrayal of crippled but single-minded Jesuit missionary, Fr. Junipero Serra – a real-life figure who was recently beatified by The Vatican and is on his way to becoming a saint! Despite boasting a notable cast and being a major Hollywood studio 'A' production, this offbeat and worthwhile adventure seems to have literally fallen through the cracks of time because, 14 years into the format, there is still no sign of it ever getting released as a legitimate Widescreen DVD nor, apparently, has it ever been shown on the "Fox Movie Channel" because the copy I landed was sourced from a serviceable but washed-out pan-and-scan VHS! This state of events does not do justice to Lucien Ballard's De Luxe cinematography but, on the other hand, neither exactly does the pedestrian direction from Robert D. Webb – also a previous winner of the Best Assistant Director Oscar for IN OLD CHICAGO (1937) – to its colorful subject; nowhere is this more evident than during a fanciful and thoroughly unexpected sequence (a Bunuelian moment if ever I saw one!) in which The Holy Family unaccountably offer hospitality to Rennie and Richard Egan when they are dispersed in a desert storm! That the film still remains a superior product (despite bogging down somewhat during the indigenous scenes) is down to the cast: apart from Rennie's monk, as already mentioned, there is top-billed Egan as the hot-headed but, ultimately, self-sacrificing lieutenant of the Spanish conquistador heading the expedition led by Anthony Quinn; the latter, then, is remarkably restrained but undeniably commanding, and well on his way to acquiring star status for himself (which he had mostly enjoyed abroad up to that time!), and also on hand are Jeffrey Hunter (making a belated entry – completely covered in paint, and wigged- out, at that! – as the new Indian chief) and Rita Moreno (as Hunter's sister and Egan's tragic love interest). Incidentally, not only had director Webb already worked with Hunter on a fine Western WHITE FEATHER (1955; where he also portrayed an Indian!) and would soon do so again on the even better THE PROUD ONES (1956)...but, given this film's religious overtones, it is telling that all 4 leads here had been or would subsequently be involved in Biblical epics! Interestingly, Edward Dmytryk was originally announced as director on this one with Cameron Mitchell in the lead; besides, the actual crew members included assistant cameraman Jorge Stahl Jr. (he would be Luis Bunuel's cinematographer on his delightful jungle adventure DEATH IN THE GARDEN the following year) and co-director(!) Rene' Cardona (best-known as the prolific exploitation film-maker behind such infamous fare as SANTA CLAUS {1959} and NIGHT OF THE BLOODY APES {1969})!

There's a mixture of interesting drama and camp in this story of Spanish conquest over California Native Americans. Egan and Quinn play Spanish officers who are on the lookout for the title cities, but who are saddled with priest Rennie who is along for the ride to build a mission. The men don't see eye to eye on how to handle the "Indian problem" and this lends itself to some nice discussion of and demonstration of the tactics used to control them. Eventually, the human elements of both the "whites" and the Indians begin to blend, but not without difficulty and eventually with great sacrifice. Contemporary audiences will be surprised that Egan is top-billed over Quinn and has the more substantial role. Even though Quinn is the authority figure in charge, the story is more about Egan. Quinn is believable as a Spaniard (as he was as so many other nationalities in his career!), but Egan is about as Spanish as William Bendix!! His flat American accent and obviously non-Latin coloring create a sensory paradox when he is onscreen. Rennie is also far from Spanish, but manages to pull it off better with a less distinct accent. All three male leads do a decent enough job acting-wise, but never really catch fire. The only other performers of note are Hunter and Moreno as natives. Hunter gives his usual impassioned performance (unfortunately covered in war paint most of the time) in one of many roles that were beneath his ability. Moreno gets very little to do, but tries to inject some emotion into the proceedings. While the Cinemascope lens captures some awesomely beautiful scenery, it also keeps the actors at a distance. Time and again, dramatic and emotional moments are played in practically long shots! There are very few close-ups in the movie. The two most beautiful cast members (Hunter and Moreno) get nothing closer than a two-shot. This puts a sort of wall up that detracts from the emotional investment in the story. Then there's the camp factor. It begins immediately with a hilarious voice-over that exclaims how accurate the story is and that the only change that was made is that the "words will be set in English." PLEASE! Moreno and Hunter, while compelling performers, are given ridiculous wigs and clothing to wear. Attempts at humor, handled adeptly by Hunter, seem to add a corny aspect to the otherwise serious film. There's a bizarre interlude with Egan and Rennie finding shelter in a sandstorm. The sword-and-sandal crowd may find themselves trying to spot Egan's winky as it veers to the left in his clingy green trousers (with oh-so-festive red cummerbund.) In all, it's a pretty, sometimes engaging movie, but rather silly at times and lacking any real emotional resonance.