By 1961 US newspapers had started to use the term “skyjack” as interchangeable with “hijack” (in reference to the unlawful seizure of an aeroplane), but as the StocktonRecord (Calif.) noted, the word “hijack” colorfully persists
Skyjacking, the hijacking of aircraft as a tactic toward the attainment of a particular aim or objective of the perpetrator, descended on the world like a plague from the late 1960s onwards. In just three years from 1968 to 1971 there were nearly 200 aerial hijackings globally and the numbers grew exponentially over the decade (‘Hijacking’, Britannica, www.britannica.com). Many of these hijack attempts were politically motivated, often by terrorist groups–Popular Front for the Liberation of Palestine, Japanese Red Army Faction, Republic of New Africa, Black Liberation Army, Kashmir separatists, Croatian nationalists, etc—but a steady minority involved “lone wolf” attacks on airlines. Where the perpetrators targeted commercial flights it was generally standard practice for exorbitant ransoms to be demanded for the passengers taken hostage by the armed hijackers. A pattern of skyjack attempts in the 1970s, confined primarily to the US, saw ongoing instances of terrorists seizing control of commercial aircraft and demanding the flights be re-routed to Cuba1⃞ (see Endnote).
≜ Japanese Red Army Faction hijack of JAL351 in 1970 (source: ROK Drop)
When did the first hijack attempt on an aeroplane take place? ☄︎ ☄︎ ☄︎ ☄︎ The earliest instance occurred in 1919, when aviation was still very much in its infancy. The ur-hijacker was one Baron Franz von Felső-Szilvás, a Hungarian aristocrat (and self-taught pioneering palaeontologist) who was desperate to escape the nascent Hungarian Soviet Republic. Trapped in Budapest, bereft of a passport, the baron commandeered a light plane at gunpoint and forced the pilot to fly him to Vienna where he sought refuge from the short-lived communist Magyar regime2⃞ .
Baron von Felső-Szilvas (source; X.com)
It was not until 1931 however that the first recorded attempted hijacking of a commercial civilian airliner took place. It happened in Peru whilst the country was in the grip of revolutionary upheaval. American pilot Byron Rickard on his mail run flight for Pan-Am found his plane surrounded by Peruvian guerrillas upon landing in Arequipa. The guerrillas took Rickard prisoner and demanded the plane be flown to Lima to drop anti-presidential propaganda leaflets. Rickard refused to comply and the armed rebels were thwarted in their attempt at air piracy3⃞ .
“D.B. Cooper” – a shift in the methodology of “lone wolf” skyjacking 1971 brought by far the most outrageous hijack attempt by an individual. A passenger (known only by the alias “D.B. Cooper”) on an Oregon intra-state flight from Portland to Seattle informed cabin staff that he was carrying a bomb in his briefcase and demanded a sum of $200,000 and four parachutes upon arrival in Seattle. When his demands were met “Cooper” allowed the passengers to exit the 727 jet, and then he instructed the pilot to fly him to Mexico. At some point in the flight thereafter “Cooper” absconded with the loot…presumably he bailed out although no one knows where he ended up, disappearing without trace, with all FBI efforts to find him ultimately fruitless. The audacious feat won the solo hijacker a kind of instant folk-hero cache in the US, and more significantly prompted a spate of copycat, would-be skyjackers who tried to replicate Cooper’s success but failed (‘A Brief History of Airplane Hijackings, From the Cold War to D.B. Cooper’, Janet Bednarek, The Conversation, 18-Jul-2022, www.smithsonianmag.com).
≜ “D.B.Cooper” hijack (FBI identikit image)
Endnote:Hollywood embraces the sub-genre The skyjacking phenomena of the Seventies provided cinema and television with a rich vein of subject material. A seemingly endless stream of movies have gone the aircraft hijack scenario route for their plot action – just a sample of the better known titles include Skyjacked, Airport ‘77, The Delta Force, Air Force One, Passenger 57, United 93, Mogadishu and The Hijacking ofFlight 3754⃞. The “Take me to Cuba” trope was a recurring motif on ‘70s TV comedy sketches from the likes of Monty Python et al, with predictable jocular takes on the hijacking “craze”.
≜ Airport ‘77
1⃞ hijackings with a destination of Havana, Cuba, were so prevalent in this period that (according to Brendan I Koerner in his book The Skies Belong To Us) American airline captains were given maps of the Caribbean and Spanish-language guides in the event of just such a diversion (“TWA85: ‘The world’s longest and most spectacular hijacking’”, Roland Hughes, BBC News, 27-Oct-2019, www.bbc.com)
2⃞ the Felső-Szilvás episode had echoes in the Cold War climate of the late 1940s with a series of skyjackings (in Rome, Bulgaria and Czechoslovakia) by anti-communists trying to escape communist rule in the Eastern Bloc
3⃞ by a stroke of considerable bad luck Rickard was again the unfortunate victim of an hijack 30 years later while piloting Continental Airlines Flight 54 in 1961
4⃞ and any flagging in the sub-genre’s popularity by around the turn of the century was revived by the events of 9/11 in 2001
Gladiator: Gladiatorius, from the Latin, gladius (“sword”)
We’ve all see gladiator movies, right? And most of us have probably seen either the eponymous Gladiator or its celluloid forebear Spartacus, or some inferior version of the cinematic sub-genre. A bunch of armed desperados fighting for their lives in the arena for the pleasure of Caesar and co. On the screen gladiators all seem much of a muchness with some variations of weaponry, but it may surprise some to discover that contrary to the world of movies, in reality there were a whole host of different types or classes of gladiatorial warriors plying their brutal and perilous trade in Ancient Rome.
Spartacus (1960)
The first record of gladiatorial contests in antiquity dates to 264BC and there’s some evidence that the Etruscans were forerunners to the Romans in this combative pastime. By the time of the opening of Rome’s Colosseum (80AD) the gladiatorial games (Munera gladiatoriaⓐ) were a serious business, with prize money and betting on matches the norm. Gladiators served a two-year internship with one of four special arena-schools (ludus) that specialised in training new gladiators of different types. With the fights strict rules and etiquette applied in the arena (pompa), and careful planning went into the bouts. The organisers sought to put on strategic contests with well-matched opponents…these promotions were above all entertainments, and no one involved with the promotions wanted them to end too quicklyⓑ.
Let’s look first at the types of gladiators that we’re probably most familiar with thanks to Hollywood, Cinecittà, etc. before moving on to other ones that film-makers didn’t bother to research. Moviegoers will recognise the lightly-armoured gladiator wearing a manica (arm guard) who fights with a weighted net (rete), dagger (pugio) and three-pointed trident (fuscina or tridens), trying to ensnare his sword-wielding opponent within his net and skewer him. The movies are not big on the typology of gladiators, tending to lump them altogether under the generic name, but this arena net-fighter in the Roman world—resembling and modelled on a fisherman—was called a Retiarus (pl: Retiarii). It would be very unusual for a Retiarus to fight another Retiarus, gladiators of the same class did not normally fight each otherⓒ, it was much more interesting to see a gladiator tests his skill and weapons against an opponent with a distinctly different set of weaponry. In particular Romans were fascinated by the prospect of a lightly-armed gladiator and a heavily-armed gladiator going head-to-head, the former testing his speed and agility against the skill and precision of the latter (Marlee Miller).
Retiarius (Lower right)
Secutor (Bas-relief with secutores. National Museum of Rome, Baths of Diocletian, Rome. 2nd-3rd century AD)
Symbolic battle of the sea The Retiarus would usually be matched, for contrast, against a heavily armed gladiator with a helmet, long sword and shield. This was the Secutor (“follower” or “chaser”)ⓓ or the similar Murmillo. The Secutor held a scutum (large oblong shield) and gladius (short sword, 64-81cm in length) with protection on his right arm and left leg. The full-visor helmet worn by both the Secutor and the Murmillo had a fish-like appearance, imbuing the Retiarus v Secutor/Murmillo contest with the symbolism of a battle between angler and fishⓔ.
Murmillo: Murmillo stands triumphant, in a 4th century CE mosiac from Torrenova, Southern Italy. (Source: Corbis / Getty Images)
The Retiarus seems to have provided the inspiration for another entrapment style of gladiator, the Laquerius (= “snarer”). Laquerii pursued a similar strategy and tactics as the net-man but used a lasso or noose to catch and subdue his opponent. The “snarer” in the illustration below is armed with a trident though his usual weapon would be a poniard or sword. The Veles (= “skirmisher”), armed with a spear, sword and parmula shield, was another lower-level gladiator with a similarly indirect style of fighting.
Laquerius: “The Snarer” (image: escenarys.com)
Barbarian vs Greco-RomanThe Thraex (Thracian) gladiator was a bit of a variation on the Secutor theme…entire head enclosed in a broad-rimmed helmet, a parmula shield (small, circular, lighter but still made of steel), armoured greaves (leg guards) and a Thracian short curved sword (a sica) about 34cm-long. The Thraex was usually up against the Hoplomachus (so-named for his equipment which resembled the Greek hoplite soldier), whereas the Murmilloⓕ tended to be matched with both. The Hoplomachus (“armoured fighter”) wore heavy protective gear and a bronze helmet and was armed with a small concave shield, sword and spear (hasta).
Proto-gladiator The Samnite gladiator (from Samnium in southern Italy), thought to be the first type of Roman arena fighter, was the prototype of the Secutor, Murmillo, etc., with similar apparel and weaponry, short sword, rectangular shield and rimmed helmet. The Samnite was very popular during the Roman Republic, but when Samnium became an important ally of Rome under Augustus, the Samnites stopped featuring in the contests.
Scissor (Tombstone bas-relief to Scissor Muron. Louvre Museum, Paris. 1st–2nd century AD)
There was also the gladiator types who used an unusual weapon, the Scissor…his fighting instrument had two parts, a long tube that protects the gladiator’s arm, and at its end, a thin cylindrical pipe with a crescent-shaped blade. Scissores were often pitted against Retiarii, which could be to his advantage if he could get close enough to cut his opponent’s net with the pincer movement of his open scissors. Another, minor type of gladiator, the Arbelas, utilised a weapon, the Arbelos, which resembled a cobbler’s semi-circular blade.
Gladiator vs the animal kingdomTwo very different types of gladiators shared the arena with captured animals. One type, called Bestiarii (“beast-fighters”) fought wild animals like lions, leopards and bears in the amphitheatres, but with the odds massively stacked against them. As condemned criminals or prisoners-of-war they were basically “thrown at the beasts as punishment or spectacle”, most with nil chance of survival (Encyclopedia Romana). The second, the Venatores (“hunters”) were much more fortunate, they were fully armed and got to hunt down an assortment of beasts.
Venator vs leopard: Roman mosaic, Galleria Borghese, Roma, 4th century AD. (source: Henry Yad Henry/Pinterest)
The Dimachaerus (Greek for “bearing two knives”) fought their opponents (often the Hoplomachus) using two swords (usually a pair of curved scimitars). These ambidextrous gladiators were considered by the elite and the people alike as having low prestige, due to the general disapproval of their method of fighting and reliance on dual weaponry (the sica), which the Roman populace considered sneaky (‘The Roman Guy”).
Other gladiator classes tended to be even more bizarrely left-field – the Andabata gladiator was drawn from the noxii (criminals who had been sentenced to death in the arena). These unfortunates armed with a gladius were forced to fight blindfolded (ie, they wore a helmet which was devoid of any aperture rendering them effectively sightless). The Essendarius romped spectacularly into the arena aboard a war chariot (called an essendum), but whether he immediately dismounted and fought on foot or initially from the chariot is a matter of speculation. The Cestus seems more boxer than gladiator, he had no body armour and his only weapon was a padded glove containing pieces of iron, blades and spikes. The Bustuarius (= “tomb-fighter”) fought not in the arena but about the funeral pyre as part of the ceremony honouring the newly deceased. Accordingly he was given even lower status than other gladiators.
The Crupellarius was a kind of despised apprentice gladiator. He fought weighed down by heavy armour that comprised a “bulky continuous shell of iron”. Historian Tacitus described the Crupellarii “as a contingent of Gaulish, slave, trainee gladiators”, adding that “they were too clumsy for offensive purposes but impregnable in defence” (Book III, 43, 46 in The Annals of Tacitus, Loeb, 1931).
Stone tablet of a pair of gladiatrices (Photo: De Agostini/Getty Images)
Women’s place in the arena?: Did the Gladiatrix (woman gladiator) exist in the ancient world? Yes! It was very rare and typically met with male censure but there was some Roman gladiatrices who were active in the sport. Sources for the gladiatrix are very threadbare however…historian Cassius Dio makes reference to Emperor Titus permitting female gladiators to perform but on the proviso they were of “acceptably low class”ⓖ (there is however some evidence of elite women, as well as from other classes of Roman society, participating as gladiatrices including as Venatrixes from the 1st century BC). Where they did take part in amphitheatre fights a gladiatrix fought against her own sex – with the single exception mentioned by Cassius Dio, that Emperor Domitian staged night games which pitted gladiatrices against dwarfs.
Sideshow to the main event Gladiatorial combats in the Colosseum, like Shakespeare’s Tragedies, were deadly serious affairs, but like the Tragedies it was considered prudent to include an outlet for comic relief. In the pompa this was provided by performances by the Paegniarii, pseudo-gladiator entertainers who fought “burlesque duels” with blunted or mock weapons, especially during the midday break (‘List of Roman Gladiator Types”). The appearance of dwarf (pumilus) gladiators in the amphitheatres were probably also part of the light entertainment fare for the spectators.
Editor: this was the producer who financed or sponsored the gladiatorial spectacles
Lanista (manager): the owner-trainer of a troop of gladiators (known as a familia); involved active player in the trade of slave-gladiators; rented gladiators to the editor for contest events
Lorarius: an attendant who whipped reluctant combatants or animals into fighting
Rudis: the referee; a senior referee was called summa rudis
𖡒 𖡒 𖡒 𖡒 𖡒
A gladiator who won his freedom was awarded a rudis (“wooden sword”) and was known accordingly as a Rudiarius. Some retired gladiators became trainers or Doctores (“instructors”), assistants or referees. Some gladiators or ex-gladiators hired themselves out as bodyguards for wealthy and important Romans.
Gladiator Mosaic (Panel 4) from Torrenova, Southern Italy
Gladiator movies’ legacy of lingering myths If you were to rely solely on English and Italian language gladiator movies as a representation of historical accuracy you would come to certain conclusions. One would be that all of the arena fighters seemed to be infames, eithercriminals or enslaved “barbarian” prisoners-of-war who were pressed into the profession against their will. Initially this was the case, however by the end of the Roman Republic the demographics had shifted to the extent that volunteer gladiators, known as Auctoritas, comprised half of the amphitheatre fighters (Encyclopedia Romana)ⓗ. A second conclusion to draw from viewing examples of the sub-genre on screen is that gladiators fought to the death and therefore there was a high casualty rate in the arena. The reality was quite different. Sine missio (👎🏼 no mercy given) contests were rare, it was much more common occurrence for bouts to end with a missio outcome (👍🏼 mercy granted). Often economics rather than compassion swayed the outcome, gladiators were a very valuable commodity to the editor/owner and the rich and powerful had a vested interest in protecting their investment (Miller). Historians vary in their estimates of the numbers who died as a result of the combats but the concensusis that it was low. According to Suetonius(Life of Nero, XII. 1), in one full year in Nero’s Campus Martius amphitheatre no one died. It needs to be remembered that the Rome’s gladiatorial games constitutedonly a small window of the year, about 10 to 12 days and that most gladiators only fought about twice in that period (Encyclopedia Romana), which in itself would limit the death toll.
Secutor vs Retiarius (illustration source: forums.taleworlds.com/)
ⓐ Munera gladiatoria was part of the system that required Roman citizens of high status and wealth to provide public works and entertainment for the pleasure of the Rōmānī people
ⓑ for the combatants too, there was no virtue perceived in easily defeating a weaker opponent (Encyclopedia Romana)
ⓒ an exception to this was the Provocator (= “challenger”) who wore heavy legionary armature and fought other Provocatores
ⓓ the Secutor was so named because he would pursue the lightly armed Retiarus – from sequor (“I follow, come or go after”)
ⓔ Retiarii tended to be derided as a type of gladiator—they were seen as an effeminate (low) class because of their indirect fighting style—the net-man was described derogatorily as Retiarius tunicatus (“tunic”), despite the fact that he was one of the most successful gladiators in the arena
ⓕ introduced to replace the Gallus, “barbarian” prisoner-gladiators from Gaul
ⓖ that many Romans thought the gladiatorial profession was suitable only for the lower, especially criminal (infames), classes, is a recurring theme, notwithstanding this some middle-upper class citizens did fight in the arena. Known as Eques, these lightly-armoured knights fought on horseback but were only permitted to pit their skills against other members of the Eques
ⓗ even one Roman emperor, the egocentric Commodus, “volunteered” to participate in the Colosseum gladiatorial combats as a Secutor (and Venator) sparking widespread disapproval among Romans
᯼ ᯼ ᯼ ᯼ ᯼
Reference materials, articles and blogs consulted
‘Types of Gladiators That Fought In The Colosseum’, The Roman Guy, www.theromanguy.com
‘The Roman Gladiator’, Encyclopedia Romana, http://penelope.uchicago.edu
‘Gladiators: Types and Training’, Marlee Miller, The Met, August 2023, www.metmuseum.org
‘5 Famous Ancient Roman Gladiators’, Michael Waters, History, Upd. 07-Jun-2023, www.history.com
‘The Roman Scissor: Gladiator, Weapon, or…? (AKA: Return of the Arbelos’, (Alessandro Bettinsoli), Eleggo.Net, 18-Dec-2016, www.eleggo.net
People tend to associate the sport of chariot racing with the ancient Romans, thanks in part to Hollywood and movies like Ben-Hur…chariot racing was a fundamental part of ludi circenses (circus entertainment) for the Roman public, together with gladiatorial combats, mock hunts and wild animals pitted against each other. Chariot racing however wasn’t an activity that originated with the Romans, the ancient Greeks and the Etruscans were right into the sport long before them𝔸. It emerged in the Hellenic world at least as early as 700BC with contests taking place in stadia known as hippodromes (“horse course”). The sport features in the Iliad and by 684BC it was so popular it debuted as an event in the proto-Olympic games. In Greek chariot races the competitors were the owners of the rigs and horses, and with Spartan women entitled to own property, this allowed some women to participate in the popular sporting spectacle. Success in the four-horse races was well remunerated, with prizes for the winner such as 140 ceramic pots of olive oil (‘Ben-Hur: The Chariot Race’, A Historian Goes to the Movies, 16-Sep-2016, http://aelarsen.wordpress.com).
Spartan woman winning a chariot race (vase decoration)
The premier venue for Roman chariot racing, the epicentre of the sport in antiquity, was the massively-proportioned Circus Maximus, a specially-constructed race course located between the Aventine and Palantine hills in Rome. The course was an extended oblong shape along a 2,037-foot-long sand track (spatium) with sharp 180° turns at each end (a race comprised seven laps with the top speeds nudging 40 mph) (Encyclopedia Romana, Upd. 21-Nov-2023, www.penelope.uchicago.edu). The rage for currus circenses (chariot racing) as a spectator sport was such that the Roman went from having 10-12 races a day on 17 days of the year only in Emperor Augustus’ time to 100 races per day during the reign of Domitian. The standard “horse power” for racing chariots was four horses—called a quadriga or quardigae𝔹—piloted by older, more experienced horsemen called agitatos, whereasnovice drivers (auriga) were usually assigned a bigae (two-horse vehicles). Less common but not unheard of were six, eight and ten-horse chariots. The best horses for currus circenses were sourced from the Roman provinces of Lusitania and Hispania and from North Africa (‘Chariot Racing: Rome’s Most Popular, Most Dangerous Sport’, Patrick J Kiger, History, Upd. 17-July-2022, www.history.com).
All that remains today of Circus Maximus
To the Roman masses, the chariot drivers were above all entertainers, just like actors or musicians of the day, but there was a duality to how they were viewed by society. The elite drivers were lauded and lionised by the public (just like elite sportsmen today), but at the same time they were cursed as witches or magicians (this conclusion was drawn because how else could you explain their repeated victories?)(Kiger). Not all social elites in Rome were as gung-ho about the sport as the populus Romanus, although the egregious and unstable emperors Caligula and Nero were both big fans.
To the victor, laurels…and “big bucks”
Charioteers faced a high danger of injury or death from their profession, but the lure was the prospect of fabulous wealth…for the best race drivers. The prize money for a single victory ranged from 15-30 thousand sesterces up to 60,000 sesterces. If you were successful on the track and survived, you could earn a fortune and set yourself up for life…one such ace driver was Portuguese-born Gaius Appeuleius Diocles whose 24-year career netted him upward of 36,000,000 secterces from 1,462 victories. Diocles’ race winnings, valued today as equivalent to US$17 bn, would place him far above the superstar earnings of the Michael Jordans and Novak Djokovics of the modern era in sport (Kiger).
Diocles, champion of the Red team (source: earlychurchhistory.org)
Charioteers competed in teams under the aegis of factiones (factions) which like Formula One racing today, were under the control of team bosses/owners – these were different associations of contractors. The four principal factions, each one associated with a particular season and god, were known as the Reds, Blues, Greens and Whitesℂ. Each faction team had its own talent scouts whose job it was to find the most promising charioteers and horses, and each team had its own passionate tribal supporters base, much as we see today in professional football𝔻 (‘Chariot Races’, The Roman Empire in the First Century, www.pbs.org).
The four “colour” factions
The faction bosses bankrolled the whole operation of their teams, including the engagement of medical and veterinary staff, in return they took a cut of the drivers’ winnings. With customarily 12 charioteers in a race (three drivers from each team), teams pursued a stratagem of using their two lesser drivers to try to manoeuvre and block their opponents to maximise the chances of success of their team’s star driver (Formula One and contemporary professional cycling adopt similar team tactics in races) (‘Chariot Racing’, Travels Through Greco-Roman Antiquity, http://exhibits.library.villanova.edu).
A Roman mosaic of two famous race horses (source: earlychurchhistory.org)
Chariot racing revolved around money, not just for the drivers and factiones, betting on the outcome by the race-going “punters” was big business too. The Circus Maximus didn’t have on-course bookies or the TAB or Ladbrokes but betting was widespread on an individual basis. Prior to a race spectators in the seated areas or in the refreshment arcades would make private wagers with each other on the upcoming race.
Footnote: Hollywood does currus circenses ⟴⟴⟴ Most movie-watchers would have seen the 1959 biblical era blockbuster Ben-Hur, the Charlton Heston version immortalised for its epic 20-plus minutes chariot race. The race is a thrilling climax to the movie, accurately capturing the danger and drama of a real chariot contest in Ancient Rome, however much of what is shown veers away from historical verisimilitude…there are nine bronze dolphin lap counters, not seven, though the chariots are comparatively light as they needed to be. In Roman charioteering the race drivers were formed into teams (as outlined above), whereas in the film this is completely ignored with each competitor singularly representing different ethnicities (Jew, Roman, Arab, etc). Roman chariot races had staggered starts and starting gates (carceres) to negate the advantage to drivers nearest the inner wall or barrier (the spina), the movie is again historically out-of-kilter. First, the contestants line up one abreast, backing on to the the spina which seems to be borrowed from the way Formula One car races used to start in the 1950s, then they wheel round and start in a straight line across the sand-strewn track. Having Ben-Hur’s antagonist the elite Roman soldier Messala as a charioteer, is also all wrong…chariot drivers were recruited from the lower orders, slaves, freedmen, foreigners, they were infamis, the disreputable in society, men with a black mark against them. Lastly, Ben-Hur and Messala and the other drivers all hold the reins of their horses during the race, unlike what the Romans actually did, which was to tie the reins around the charioteer’s waist during the race (‘A Historian”).
‘Ben-Hur’, the iconic chariot race scene
𝔸 and the Byzantines continued the sport after the fall of Rome
𝔹 the quadriga races were the main event of the ludi circenses race day
ℂ the Blues and the Greens, the two largest factions, engaged in a fierce rivalry
𝔻 there were also occasionally spectator riots, as in football
Film star Errol Flynn was a larger than life character of mythic proportions, on-screen he was an authentic Hollywood legend. But his attention-getting off-screen personal life embellished his aura of notoriety and fame even more than the many Hollywood adventure film roles he played. On the silver screen Flynn embodied the heroic, swashbuckling celluloid figurepar excellence as Robin Hood, Captain Blood, Don Juan, General George Armstrong Custer, Gentleman Jim Corbett and Major Geoffrey Vickers, just some of his many celebrated roles. In his private life—most of it though was pretty public—the rebellious Tasmanian had a legendary playboy reputation for debauched behaviour and manoeuvrable morality…excessive drinking, brawling, drug-taking, wild partying, famously prodigious sexual exploits and a proclivity for underage girls culminating in rape trials. But even before his Hollywood period Flynn’s episodic life in New Guinea and New Britain was an incident-packed cavalcade of adventures that wouldn’t have been out of place in an Indiana Jones movie. Young Errol clearly had a compulsion to try different things, bouncing from one knockabout job to another – shipping clerk to tobacco planter to colonial agent to would-be gold prospector to tour guide, etc. During all this Errol escaped crocodiles and native headhunters, womanised indiscriminately, shot and killed a local for which he was tried for murder and subsequently acquitted. Damningly as well, Flynn was also an absconding serial debtor, an inveterate liar and an alleged slave-trader.
Father & son together
So, given Flynn’s Brobdingnagian reputation, any offspring of his, especially a male, would have a lot to live up to. Flynn’s three marriages produced only one male heir, Sean, born in 1941 to Flynn and his first wife Lili Damita. Almost inevitably as fate would decree it Sean Flynn, 6’ 3”, with a similar athletic build and inheriting Errol’s good looks, did attempt to follow in his far from model pater’s footsteps. Sean got an initial taste of acting in his teens appearing in Flynn Senior’s TV show The Errol Flynn Theatre𝕒. Sean inherited a small sum when his father died suddenly in 1959 and with it enrolled at Duke University but did not complete his degree. The beckoning call from Hollywood or “imitation” Hollywood was not far away.
Son of Errol
The Son of Captain Blood In 1961 the highly predictable happened! Sean was cast as the swashbuckling lead in a sequel of sorts to his dad’s spectacular breakthrough role in Captain Blood which had catapulted Errol into instant, universal stardom in 1935. Son of Captain Blood, an Italian–Spanish–British co-production (with some of the action scenes shot in Spain). The script was penned by Casey Robinson, writer of the original 1935 film. Prior to production the neophyte Sean received instruction in how to fence, fight and fall safely and convincingly on screen from Tarzan actor and stuntman Jock Mahoney𝕓 (Gene Freese, Jock Mahoney: The Life and Films of a Hollywood Stuntman (2013). Unfortunately Sean’s foray into cinematic pirate territory didn’t reproduce the family sparks – as the LA Times pithily summarised the movie, “the old magic isn’t there.”
Sean with Pili…or is it Mili? (Source: briansdriveintheater.com)
Ephemeral B-movie star Though Sean failed to set the screen alight in The Son of Captain Blood he did make a few more minor adventure films in Europe the mid-1960s, such as Duel at the Río Grande (as Zorro), followed by a couple of forgettable Spaghetti Westerns, the second playing opposite a popular Spanish teenage comic duo, Pili y Mili, AKA the Bayona Sisters (Sharp-Shooting Twin Sisters).
The last photo of Sean Flynn (left) & colleague on the day they disappeared (Photo: Perry Deane Smith/MCT/Tribune News Service via Getty Images)
Frontline Flynn, the Gonzo war photographer When Flynn Junior became bored with acting, perhaps channeling Hemingway more than his father, he took himself off to Africa to work as a guide for safaris and big game hunting. Sean’s final movie was a 1967 French–Italian action picture Five Ashore in Singapore. By this time Sean had taken up a new career as a freelance photojournalist, basing himself in Vietnam with the Indochina war in full swing. This work was much riskier than anything Errol ever tackled in his tumultuous life…Sean went on patrols with the Green Berets, getting shot at by the Viet Cong (being wounded on one occasion), all in the name of getting the best pictures of the raging war𝕔. In 1970 Flynn went to Cambodia to cover the spread of the Vietnam War into that neighbouring country. Sean and another American photojournalist disappeared on 6th April 1970, never seen again, after they ventured into Communist-held territory in Cambodia. In 1984 Flynn was declared dead in absentia, his exact fate remains a mystery but most think that the two Americans were executed by either North Vietnamese guerrillas or the Khmer Rouge.
Sean Flynn on patrol (Photo: Tim Page)
Sean’s willingness to repeatedly put himself in the path of extreme danger in the Vietnam conflict led some observers to conclude that the combat photographer harboured a “death wish”. Certainly, Sean seemed to have inherited Errol’s reckless gene, always looking to push the envelope without regard for self. Both father and son seemed to be guided during their lives by a Byronic impulse, their lives inextricably linked to the romantic and the tragic (Jeffrey Meyers, Inherited Risk: Errol and Sean Flynn in Hollywood and Vietnam (2002).
𒈝𒈝𒈝𒈝𒈝𒈝𒈝𒈝
𝕒 hosting this British anthology series was one of the jobs the former matinee idol had to resort to after his Hollywood film career took a nose dive
𝕓 who had earlier stunt-doubled for the older Flynn
𝕔 Flynn was one of a group of Vietnam War “Gonzo” photographers including Tim Page and John Steinbeck IV who were committed to going anywhere, putting themselves into extreme risk situations to get the best combat photos
