At Sword’s Point (1952)

Twenty years (supposedly, for the ages of most of our heroes suggest thirty-five or so) after the original adventures of the Three Musketeers, France is in turmoil. Louis XIII and Cardinal Richelieu are both dead, and the kid who will become Louis XIV still has some years to go to come of age. Queen Anne (Gladys Cooper) does her best to keep the country together as best as she can, but she’s old and ill, and fighting the ruthless Duc de Lavalle (Robert Douglas) for the fate of the kingdom.

Lavalle uses his increasing power and barely hidden violence to push for a marriage with Anne’s daughter Henriette (Nancy Gates), clearly planning to do away with Louis once he is nicely positioned as the only throne candidate standing. By now, the Queen has become quite desperate, hiding Louis away at a secret spot somewhere in the country, and repeatedly attempting to ask the King of Spain for help in keeping the situation stable. All of her couriers to Spain, however, have found themselves on the pointy ends of Lavalle’s men.

In desperation, the Queen remembers the men who served their country so well twenty years past, and sends for the former Musketeers.

Because time works a bit strangely in this France, all four are now either dead or too old for action (damn that gout!). Fortunately, they have children at just the right age who all happen to share their fathers’ character traits and abilities perfectly. Who’d have thunk!

So now it is up to D’Artagnan Jr. (Cornel Wilde), Aramis Jr. (Dan O’Herlihy), Porthos Jr. (Alan Hale Jr,), and Athos Jr. to save the day. Did I say Athos Jr.? In fact, it’s his daughter Claire (Maureen O’Hara) taking up her old man’s banner!

Swashbucklers often tended to have somewhat meatier roles for actresses even outside of the villainess roles and the melodramas where they were allowed to have personalities at the time when this was made. So it’s not a complete surprise that Lewis Allen’s very free (so free the original novel isn’t “Three Musketeers: The Next Generation” at all) adaptation of Dumas’s Musketeer Sequel “Twenty Years Later”, provides O’Hara with so prominent a role even when it comes to the fights, but it’s still a joy to watch.

Interestingly, the film does so while still using some of the standard tropes a woman goes through in adventure fiction, so she still is the romantic objective of the main character, and there’s a lot of flirting; it’s just that Allen, or the handful of scriptwriters, never uses this to diminish Claire. She’s just your standard adventure movie heroine who also happens to have the courage and conviction usually left to the male heroes, and the fencing skills to back it up.

This does of course also practically automatically turn her into the most complex and rounded character on screen. Of course, it does help that the script doesn’t go the route where the badass woman is suddenly turned incompetent once she’s fallen for the hero; nor do the other three, once Claire has demonstrated her fighting prowess, try to keep her away from the action or ever doubt her capabilities. The film and its characters simply accept that being deeply romanceable and being deeply capable aren’t mutually exclusive.

O’Hara seems to relish this role, too, providing Claire with the same kind of swagger and humour the other musketeers are supposed to have. She’s really throwing herself into the fencing sequences, too.

The other musketeers aren’t quite as awesome. Wilde is certainly fine in the fights, but he’s not quite as youthful and charming as the script pretends he is, ending up a bit too stolid, O’Herlihy doesn’t get a lot to do, and Hale Jr. seems to have difficulty enough with the little he is supposed to do already. The thing is, O’Hara’s good enough to make that a matter of little to no import.

The film’s plot, while certainly not brilliant, does help there also. Things never stand still for too long, the plot is always providing opportunities for scenes of men doing hearty belly-laughs while fighting, desperate acrobatic feats, a bit of pathos and romance, and a lot of intrigue. All of it is presented in an expertly timed manner, and really never lets a boring minute come to pass, using RKO’s not titanic purse strings to their technicoloured fullest.

Speaking of intrigue, even though Douglas’s performance is more solid than truly memorable, the script does provide him with a series of somewhat sensible plots, turning him memorable and interesting as a villain simply by virtue of his plans actually making logical sense in a swashbuckling world, therefor providing the heroes with actual odds and stakes to fight against and for, respectively.

All of which only improves At Sword’s Point, a film that could have gotten away with being the Maureen O’Hara show, even more.