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The Women in Red: The Evolution of a Pirate Trope

Disney’s newest pirate (2018) in its Pirates of the Caribbean attraction: Redd the Pirate. (From the Orange County Register, photo by Joshua Sudock/Disneyland Resort).

With news that Disney is planning a new standalone pirate film starring a female pirate, it’s time review what has become a pirate trope: the woman in red, specifically, or at least often, a redhead. Why this trope in regard to a new Disney film? Because speculation has it that the film will be tied to Redd the Pirate above.

While we do this, we’ll also take a quick look at some of the myths and realities of female pirates during the so-called Golden Age of Piracy in the Americas from roughly 1655 to 1730.

Getty Image from the BBC article on Margot Robbie and a new Disney pirate film.

The seemingly obvious origin of the woman in red (a “scarlet woman”?), at least in terms of pirate fiction and film, is the Redhead in line in the bride auction–“Take a Wench for a Bride”–in the original version of the Disney Pirates of the Caribbean attraction in which drunken pirates shouted, “We wants the redhead!” Forced marriage, in other words.

The bride auction at Walt Disney World when it first opened. Walt Disney Productions publicity still.

Notably, text on the back of the publicity still describes the scene as an auction: “Gold-hungry pirate captain puts the town’s fair maidens–and the ones not so fair–on the auction block for his rowdy crewmen.” Thankfully, things have somewhat changed since then, tongue-in-cheek humor or not.

Early concept art. Walt Disney Productions.
Concept art. Walt Disney Productions.
The original animatronic Redhead from the Disney attraction, now on display at the Walt Disney archives. Disney photograph. The Redhead is far more akin to a stereotypical 19th century Western “saloon girl” than a 17th century Spanish woman.

The Disney auction scene may have been inspired by scenes in The Black Swan (1942), Anne of the Indies (1951), and Against All Flags (1952), in which captured women are portrayed as captives to be sold or given away as plunder. Both Against All Flags and Anne of the Indies have auction scenes of female captives.

When it first opened in 1967, the Disney attraction was intended–and in fact was–as a tongue-in-cheek, lighthearted, swashbuckling film-based version of buccaneers sacking a hapless Spanish town in the Caribbean. Marketing text associated with early publicity stills noted that the ride was a “thoroughly realistic re-creation of buccaneer days.”

The Wicked Wench engaged with the Spanish fort, one of the most famous and enjoyable scenes in the attraction. The ship here is commanded by a red-coated buccaneer captain rather than by his modern film-inspired replacement, Captain Barbossa. 1968 Walt Disney Productions publicity still.

To enjoy it–which I did and still do–required viewing it as a fantasy rather than a depiction of reality, for the reality of buccaneer attacks in the seventeenth century was anything but romantic to the victims: torture, rape, murder, and the enslavement of free men, women, and children were common. Documentary evidence of what today would likely be defined as resulting PTSD, among both victim and perpetrator, exists.

Like most of our fictional and cinematic adventure, we tend to sanitize or ignore facts in order to help create a fantasy more amenable to entertainment. Humans have done this for millennia. And there’s often nothing wrong with this unless we confuse the fantasy with the reality, which unfortunately happens all too often.

The Marc Davis painting of a redheaded pirate which hangs in the captain’s bar in the early part of the Disney attraction. A hint that the auctioned redhead might become a pirate? The portrait is entitled, “A Portrait of Things to Come,” after all. She bears several common pirate tropes too, as might be expected: eye patch, skull and bones on her hat, bandana, and tattoos aka gunpowder spots. Disney image.

Today, the ride has been modified somewhat to both fit with the Disney pirate films, which are only loosely inspired by the attraction, and to bring the attraction up-to-date with current social mores. And this has generally been a good thing, I think, even if the changes are not historical. The attraction is a swashbuckling fantasy, after all, not an accurate animatronic documentary.

The most significant of these changes was the conversion of the pirates-chasing-women scene into one of pirates-chasing-food, and the conversion in 2018 of the bride auction scene into one of conquered residents bearing possessions, perhaps as ransom, and of the famous red-dressed redhead showing a leg into a red-dressed redheaded female pirate standing guard (and still, after a fashion, showing a leg).

The new scene. Disney photograph.

Personally, I much prefer the new scene and new redhead, ancient passing pre-adolescent fantasies notwithstanding.

In general, as in the original trope-setting (and great fun to watch) pirate swashbuckler, The Black Pirate (1926), leading women in pirate films are usually depicted as the “tavern wench” or “exotic wench,” or other saucy secondary love interest; the “swooning heroine;” or the “pirate woman.”

The “pirate woman” is usually by far the most interesting, although too often she, Hollywood-style, gives up piracy at the end of the film in exchange for true love. Or she dies in battle, her true love unrequited, her true love interest running off with the “good girl”–often the swooning heroine.

Sometimes the tropes are combined: Elizabeth Swann in Pirates of the Caribbean: The Curse of the Black Pearl goes from a nod at the literally swooning–via an over-tightened corset–heroine to pirate woman.

She also wears a red dress in the first film of the series, in scenes which combine multiple tropes: woman in peril, woman tied-up, woman with (airbrushed, reportedly) cleavage. The dress is a likely homage to the Disney attraction.

Kieira Knightly as Elizabeth Swann in Pirates of the Caribbean: The Curse of the Black Pearl, just before being forced to walk the plank (another pirate trope).
Elizabeth Swann as a pirate.
Scarlett, a “Tortuga wench,” on the right in a mostly red dress. Disney publicity still.

The red dress shows up in other pirate films as well, and as apparent copies or homages in Halloween costumes and video games.

Geena Davis as Morgan Adams in Cutthroat Island.

Geena Davis stars in Cutthroat Island (1995, Carolco), and in one scene swashbuckles her way tolerably well in a red dress borrowed from a prostitute. The dress is clearly a nod, perhaps more than a bit humorous, at the Disney ride. In fact, Cutthroat Island often seems like one long string of pirate tropes, homages, and stolen scenes. Great soundtrack, though, and Davis does well as a pirate captain.

Now is a good time to briefly point out the reality of women pirates during the so-called Golden Age of Piracy 1655 to 1730. Strictly speaking, we know of only two who can be truly said to be pirates of the Caribbean: Anne Bonny and Mary Read, the former of whom gets all the cinematic glory while the latter was the real swashbuckling bad-ass of the twain.

If Charles Johnson’s early eighteenth century account is true, Read had been thrice a soldier in disguise, then a pirate, and even a privateer, in disguise, and reportedly fought at least one duel against a male crew member. But it’s redheaded Anne Bonny–or at least she’s assumed to be redheaded because she was Irish and reportedly had a hot temper–who gets all the glory, even though she may have been merely the girlfriend along for a joyride with her bad boy pirate boyfriend. Or not. We simply don’t know enough about her. It’s also entirely possible that she was as bold as Charles Johnson described her.

Jean Peters in Anne of the Indies (1951, 20th Century Fox), perhaps the best depiction to date of a female pirate captain. Notwithstanding her name, she’s really playing Mary Read. Publicity still.

Bonny, though gets all the attention, thanks largely to her relationship with “Calico” Jack Rackham. Writers are often lazy, and it’s easier to combine Read’s martial prowess with Bonny’s reported temperament and relationship with Rackham. (However, not all writers who fictionalize the female pirate pair are as lazy. Some, including Erica Jong, have balanced their accounts of the two women.)

But it’s Read, in my opinion, who deserves a movie.

Eva Gabor as the upper class “slave girl spy” in a red dress in Captain Kidd and the Slave Girl, although the same dress appears in other colors in other lobby cards and posters. The slave girl is white, not black. The term slave in these films usually indicates a Caucasian female, notwithstanding its historical inaccuracy. The term slave is also often used inaccurately for indentured servants. United Artists, 1954.
Sonia Sorel (credited as Sonia Sorrell) playing Anne Bonny in Captain Kidd and the Slave Girl. Naturally she has to give up her life, for apparently only “a lady” deserves the hero.

Perhaps Anne Bonny, the assumed redhead, has also given us the redheaded part of the redhead in the red dress trope.

There are no other known women pirates of the Golden Age but for two who were technically pirates under the law, each having participated in utterly inept attempts at petty piracy, one of them comically so. Notably, two of the most commonly cited women pirates of the era were not pirates at all (please please please ignore Wikipedia!): Jacquotte de la Haye is entirely fictional, and Anne Dieu-le-Veult, a wealthy widow, married the famous Laurens de Graff after his buccaneering days. She was never a member of his crew, nor is there any evidence that she was a member of any other crews.

Redheaded Maureen O’Hara in Against All Flags playing Prudence ‘Spitfire’ Stevens based on Anne Bonny in part, but still far more Mary Read in character. Publicity still.

Likely though, there were real buccaneer and pirate women we’ll never know about because they remained in disguise. The common sexism of the day prevented women from becoming obvious members of a pirate crew. In fact, it’s probable that Anne Bonny and Mary Read (in Read’s case, after she revealed her sex) were part of John “Calico Jack” Rackham’s crew only because it was very small, no more than a dozen or so aboard a twelve-ton (that’s very small) sloop.

Pirates by majority vote could override their captains anytime but in action, and a larger crew would doubtless never have permitted women aboard as equals. In general, women were forbidden among early eighteenth century pirates except as prisoners, and even then pirates preferred to keep them away out of fear of indiscipline among the crew.

The Princess Bride starring Robin Wright and Cary Elwes. Some swooning involved. Publicity still.

Red dresses pop up in other pirate or pirate-associated films as well, but it’s hard to tell if they qualify as tropes. Red is a popular dress color, after all.

Tara Fitzgerald in the 1998 television version of Frenchman’s Creek, in which she briefly sails as a privateer commanded by the man with whom she is having an affair. In the novel and original film version (1944, starring Joan Fontaine), Lady Dona St. Columb sails briefly as a pirate. The lady does not swoon.

Nonetheless, there is a possible origin for the redhead in red dress trope prior to the Disney attraction–in fact, its inspiration perhaps, or part of it.

In 1952 Columbia Pictures released The Golden Hawk, a pirate film, albeit one technically about French and Spanish privateers in the Caribbean in the late seventeenth century.

The male lead was Sterling Hayden playing Captain Kit Gerardo. His acting appears a bit wooden by Hollywood pirate captain standards until you read his biography: a true tall ship captain in his youth, later a Silver Star recipient and US Marine Corps officer assigned to the OSS (the precursor to the CIA covert operations department) behind enemy lines in World War Two. In other words, he was playing himself as a privateer captain. Even so, Variety magazine wrote that Hayden was “out of his element as the gallant French privateer…” Hollywood goes for (melo)drama, but most real captains are far more quiet and self-assured. They have to be. But I digress.

Movie poster, The Golden Hawk, 1952, a banner year for middle-of-the-road pirate films.

The female lead was red-haired Rhonda Fleming, one of the “queens of technicolor,” the most famous of whom was Maureen O’Hara who starred in several swashbucklers and whom some critics suggested would have been better in the role–and better for its box office.

Fleming’s character in the film is “fiery,” to be expected of the popular genre, including the Frank Yerby novel on which the film was based. In one scene–SPOILER ALERT!–she shoots Kit Gerardo when he makes “romantic overtures” to her, then leaps out a stern window and swims ashore. No swooning heroine she, thankfully, nor one to put up with harassment.

In a few scenes, Fleming, whose character’s real name is Lady Jane Golfin, wears a luxurious green dress. But in most lobby cards, tinted publicity stills, and movie posters, it’s red.

Rhonda Fleming in a publicity still for The Golden Hawk (Columbia Pictures, 1952).
Sterling Hayden and Rhonda Fleming in a tinted (hand-colored) publicity still for The Golden Hawk (Columbia Pictures, 1952). Ms. Fleming recently passed away on October 15, 2020 in Santa Monica, California at the age of 97.

More importantly, Rhonda Fleming plays a buccaneer, Captain Rouge (that is, Captain Red)–she was also a pirate!

Hand-colored publicity still for The Golden Hawk. Note that the background remains in B&W.
Rhonda Fleming in a publicity still for The Golden Hawk (Columbia Pictures, 1952).

We may have simultaneously moved forward while also coming full circle. 🙂

Postscript July 22, 2020: This bears repeating: Please, please, please do not use the Wikipedia entry on women pirates for research! At least not if you’re looking for facts. 🙂 Wikipedia has a number of flaws in many of its articles on piracy (and in many other areas as well), including factual errors, incomplete information, trolling (intentional factual misrepresentation to trigger a reaction or otherwise for fun), severe ideological slants leading to inaccuracy (i.e. deliberate “scholarly” misrepresentation, often in support of social or political ideologies that run counter to historical fact), and fairly constant regressive, incorrect changes to accurate information.

Copyright Benerson Little 2020. First posted July 8, 2020. Last updated October 17, 2020.