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Anne of the Indies

Anne of the Indies

Adventure · Drama · 1951

After buccaneer captain Anne Providence spares Pierre LaRochelle and recruits him into her pirate crew, their growing attraction is tested when Captain Blackbeard reveals LaRochelle's true identity as a former French navy officer.

Movie details

Anne of the Indies

“The storming, slashing, sweeping saga of history's fabulous pirate queen !”

1951 Adventure · Drama 1h 21m

Critical arithmetic

The consensus, allegedly.

IMDb

6.6 / 10

1.6K votes

TMDB

6.4 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

After buccaneer captain Anne Providence spares Pierre LaRochelle and recruits him into her pirate crew, their growing attraction is tested when Captain Blackbeard reveals LaRochelle's true identity as a former French navy officer.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Anne of the Indies?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Adventure · 1950

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Where it lives

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Names above the title

The people responsible.

Directed by

Jacques Tourneur

Written by

Philip Dunne · Arthur Caesar · Herbert Ravenel Sass

Jean Peters

Jean Peters

Captaine Anne Providence

Louis Jourdan

Louis Jourdan

Captaine Pierre François LaRochelle

Debra Paget

Debra Paget

Molly LaRochelle

Herbert Marshall

Herbert Marshall

Dr Jameson

Thomas Gomez

Thomas Gomez

Captaine Edward Teach alias Blackbeard

James Robertson Justice

James Robertson Justice

Red Dougal

Francis Pierlot

Francis Pierlot

Herkimer

Court is in session

Put Anne of the Indies on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.