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Plot
Enchanted Island bears only the faintest traces of its source material, the Herman Melville novel, Typee. 19th century-whalers Abner Dana Andrews and Tom Don Dubbins jump ship, finding refuge on a tropical island inhabited by cannibals. When Tom disappears, Abner jumps to the logical conclusion and vows not to end up in the pot himself. Returning to his ship, Abner is drawn back to the island by Fayaway (a miscast Jane Powell), the tribal chief's daughter, with whom he has fallen in love. The film's "official" synopsis suggests that the story is unresolved at the end; in fact, the film comes to a satisfying if not altogether believable conclusion. Produced in Mexico by Benedict Bogeaus, Enchanted Island was to have been released by RKO Radio, but the collapse of that studio forced Bogeaus to distribute the film through Warner Bros. ~ Hal Erickson, All Movie Guide

Quote:
It seems that Dwan was not the Rousseauist he is sometimes mistaken for – it would certainly be hard to hang that label on Pearl of the South Pacific (1955), where the script's paean to Man in the state of Nature is constantly undercut by the garish artifice of John Alton's colours and Van Nest Polglase's sets. Just before the end Dwan turned that turkey on its head in Enchanted Island, which comes as close as anyone dared in 1958 to retelling Herman Melville's Typee: A refugee from civilisation living among Tahitian savages discovers that the savages have killed his best friend, that he is their prisoner, and that they are cannibals (only hinted at in the film). Made on location in Mexico – like his last film, The Most Dangerous Man Alive (1962), for which there was no money to build sets – Enchanted Island returned Dwan to the conditions in which he made his first two-reelers, which spawned an art where themes like Nature and Civilisation were less important than the plastic invention that playing variations on them made possible. Bill Krohn, The Cliff and the Flume, 2001

http://www.filesonic.com/file/41725123/Dwan Allan - Enchanted Island (1956) [VO Sub FRA].avi
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Amid big-budget medieval pageantry, King Richard goes on the Crusades leaving his brother Prince John as regent, who promptly emerges as a cruel, grasping, treacherous tyrant. Apprised of England's peril by message from his lady-love Marian, the dashing Earl of Huntingdon endangers his life and honor by returning to oppose John, but finds himself and his friends outlawed, and Marian apparently dead. Enter Robin Hood, acrobatic champion of the oppressed, laboring to set things right through swash buckling feats and cliffhanging perils!

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Quote:

Silent action king Douglas Fairbanks Sr. is the most exuberantly athletic of Robin Hoods, for sheer physicality perhaps outdoing even Errol Flynn’s definitive performance. Fairbanks’s third swashbuckler after The Mark of Zorro and The Three Musketeers, Robin Hood is in some ways the ideal Fairbanks vehicle: The bravura stuntwork and moral theme of resisting oppression are as strong as in The Mark of Zorro; the awesome castle sets rival the lavish production design of The Thief of Bagdad; the well-crafted plot is as engaging as Don Q Son of Zorro; and the large-scale action scenes, with scores of Merry Men besetting Prince John’s troopers, are bigger in scale than even the buccaneer action of The Black Pirate.

Missing from the story are the familiar episodes of Robin Hood’s career: the fateful shooting of the King’s deer; the quarterstaff bout with Little John atop a river-spanning log; the archery contest / trap episode. Instead, Fairbanks’s Robin Hood uses its long first act to develop a surprisingly involved back-story in which the man who will be Robin Hood — here styled the Earl of Huntingdon rather than Robin of Locksley — accompanies Richard the Lion-heart on the Crusades until he hears of Prince John’s perfidy back in England. (This message comes to Huntingdon from Lady Marian — a message that, unlike the intercepted missive Marian tries to send to Robin in the Errol Flynn version, is successfully delivered. In this version, it is Robin’s reply to Marian that is intercepted.)

Once Huntingdon takes up the mantle of Robin Hood, the familiar cast of Merry Men — Friar Tuck, Will Scarlet, Allan-a-Dale, as well as hundreds of extras — are introduced without much explanation. The physical exuberance of the Merry Men is a bit overdone, as Robin’s crew seem incapable of moving from one place to another without leaping and capering like overgrown wood elves.

All the same, Fairbanks was at the top of his game physically, and his Robin Hood leaps from the parapets, rides an enormous tapestry-like curtain thirty feet or more to the ground, and — in the film’s most memorable stunt — climbs up the chain of a closing drawbridge to the top of the castle wall.