Swashbuckler

The long drawn out rasp of metal on metal accompanied the image of the sword being drawn from its scabbard. So began Richard Lester’s The Three Musketeers. Throughout the title sequence a series of stop action multiple images of two figures locked in combat beautifully set the tone for the next hour and an half.

I was standing on the stairs of one of the exits, checking something behind the screen, when a customer who had recently entered came bounding up these stairs to bump the exit door open and let his pals in. I stepped forward and told the “doorman” that he could join his friends outside. Too bad, they missed out on what was going to happen next.

My friend Dave liked the film too. And it may have been the reason behind our seeking out a fencing club to join. We found one that met in the community center in the Green Lake area north of Seattle.

As for all beginners, there was no jumping into things the first day. Nor the second. Nor any time soon. Basics had to be learned first. How to stand. How to move. Forward and back. The stance at first was awkward, and self-conscious, but as you began to move, it became the most natural thing in the world. Your favored foot was pointed forward and your other heel in line with the front one and pointed at the perpendicular. And you sat into a crouch, with both knees bent, and with your weight balanced over the rear or anchor leg. The lower half of your body was changed into a giant spring, so it was explained. And you felt it, especially in rapid movement.

Then practice, practice, practice. Lunge and recover, lunge and recover. And then we were taught how to hold the foil. (Dave preferred the pistol grip; I preferred the regular). Lectures followed on the geometry of fencing. Everything comes down to two points: the point of your foil and that of your opponent, your line of attack or parrying of his.

I kept waiting for a reference to The Three Musketeers, but was surprised when the instructor mentioned a sequence from another film instead. He was demonstrating the balestra – a movement used to close distance quickly between yourself and an opponent. It is a fast hop, followed by a lunge at the other fencer. This was a movement that Basil Rathbone employed against Errol Flynn in the Adventures of Robin Hood. I remembered seeing it, but it was all so fast – a blur really – that it took this extra knowledge of what the move was to understand what had taken place.

[Actually at the time I was more fixed on another realization. When I saw Robin Hood – at the Harvard Exit, of course – it was double billed with another Flynn flick, The Adventures of Don Juan. Watching them back to back you notice things. In Robin Hood, I saw a scene in which a drawbridge drops down and a number of riders charge out in pursuit. The exact same footage was repeated in Don Juan. It was my introduction to library footage. Say the director or the editor needs to fill a gap in his story, rather than setting up everything for another shoot, you just see what you can use from what the studio has in its “library.” In this instance the makers of Don Juan (1948) went back and borrowed this footage from the older film (1938).]

The Three Musketeers had a long run at the UA Cinemas, from the end of March 1974 through to September. And I was able to check in often and observe the swordplay. About the time it left, I was also leaving the UA (that story later) and moving on to the 5th Avenue Theater in Seattle. And you bet I was back when the sequel – The Four Musketeers – opened the next year. And I kept on fencing, even when we moved down to the Portland OR area. But that’s another story for another day – so stay tuned and Watch This Space.