The Flying Dutchman
Ava Gardner says in her autobiography that the actor Mario Cabré, who plays the bullfighter in love with her in the movie, wanted to do the same in real life. According to her, he was a real pain in the ass.,In the workroom where Stephen is repairing his race car, the words "NON FUMAR" are written on the wall, with the English words "NO SMOKING" beneath. The Spanish is incorrect: it should read "NO FUMAR".,Geoffrey Fielding: To understand one human soul is like trying to empty the sea with a cup.,Opening credits prologue: According to the legend, the Flying Dutchman was condemned to wander the seas eternally unless he could find a woman who loved him enough to die for him . . . .

THE SEAPORT OF ESPERANZA, ON THE MEDITERRANEAN COAST OF SPAIN, ABOUT TWENTY YEARS AGO . . . .,Edited into Histoire(s) du cinéma: Une histoire seule (1989),You're Driving Me Crazy
(uncredited)
Music and Lyrics by Walter Donaldson
Sung by an uncredited male voice,Albert Lewin's 1951 movie injects the Flying Dutchman legend into an upper-class English-speaking community in a small port in 1930s Spain. Ava Gardner, never more beautiful and just about to emerge as a star, is the Pandora of the title, a night-club singer and femme fatale, engaged to be married to a gentlemanly racing car driver (Nigel Patrick), but with a hotheaded bullfighter (Mario Cabré) eager to win her.

Enter the Flying Dutchman, Hendrick van der Zee, trying to find a woman willing to give up her life for him so he can gain release from his eternal roving of the seas. James Mason's performance as Hendrick is one of the main salvations of the movie. With his grace, good looks and wonderfully expressive voice, he is able to give credibility to situations and lines that would be fatal for other actors.

But the film's prime asset is its visual richness. At a straightforward level there is lovely Mediterranean scenery, and some great action sequences, notably the flamenco dancing, land-speed record, and bullfight scenes. Then there are quite a few references to surreal art, matching the surreal nature of the film, such as Hendrick's Chirico-like painting of Pandora, and a remarkable shot of her, lying on her back with the profile of her face in close-up, like a Dali painting. (The film is set on the Costa Brava, near Dali's home town of Cadaques.) And throughout, there is Jack Cardiff's creative camerawork in beautiful technicolor. These visual qualities outweigh such flaws as an intrusive voice-over, and the stress laid on the - for me - irrelevant "Moving Finger" quatrain from the Rubaiyat.,