The Fighting Prince of Donegal


1h 52m 1966
The Fighting Prince of Donegal

Brief Synopsis

British colonists kidnap a rebel Irish prince.

Film Details

Genre
Adventure
Historical
Adaptation
Release Date
Jan 1966
Premiere Information
Cleveland opening: 5 Oct 1966
Production Company
Walt Disney Productions
Distribution Company
Buena Vista Film Distribution Co., Inc.
Country
United Kingdom
Screenplay Information
Based on the novel Red Hugh, Prince of Donegal by Robert T. Reilly (Milwaukee, 1957).

Technical Specs

Duration
1h 52m
Sound
Mono (RCA Sound System)
Color
Color (Technicolor)

Synopsis

In 16th-century Ireland, garrisoned by British troops against the threat of Spanish invasion, the elder Prince Hugh of Donegal dies, and his son, Hugh O'Donnell, becomes head of the Donegal clan. Because of the belief that "when Hugh succeeds to Hugh, Ireland shall be free," Queen Elizabeth of England has the young prince captured and imprisoned in Dublin Castle. Aided by an Irish servant boy, Sean O'Toole, Hugh makes a bold attempt to escape but is recaptured. Lord MacSweeney and another clansman, Henry O'Neill, propose a peace treaty in return for Hugh's release. They succeed only in provoking the Irish-hating Captain Leeds; and O'Neill is thrown into the same cell with Hugh. When the two rebels eventually make good their escape, Captain Leeds seizes Donegal Castle and takes both Hugh's mother and his sweetheart, Kathleen MacSweeney, as hostages. By now all Ireland is ready to take up arms against England, and Hugh rallies the divergent clans into an army and storms Donegal Castle. The women are freed, and Captain Leeds is vanquished in a duel with Hugh. The English troops are forced to withdraw in defeat.

Film Details

Genre
Adventure
Historical
Adaptation
Release Date
Jan 1966
Premiere Information
Cleveland opening: 5 Oct 1966
Production Company
Walt Disney Productions
Distribution Company
Buena Vista Film Distribution Co., Inc.
Country
United Kingdom
Screenplay Information
Based on the novel Red Hugh, Prince of Donegal by Robert T. Reilly (Milwaukee, 1957).

Technical Specs

Duration
1h 52m
Sound
Mono (RCA Sound System)
Color
Color (Technicolor)

Articles

The Fighting Prince of Donegal


Although the Disney studio is best known for its classic animated features, the company has long had an affinity for live-action period adventures, particularly those based on popular books or true historical events. In fact, much of the studio's output in the 1950s and 60s consisted of this genre, including tales of legendary pirates and seafarers (Treasure Island, 1950; Kidnapped, 1960), the Revolutionary War (Johnny Tremain, 1957), the American frontier (Davy Crockett, King of the Wild Frontier, 1955; The Light in the Forest, 1958), and legends from British history. The latter was a subject the studio frequently went back to, and with the success of the Irish supernatural story Darby O'Gill and the Little People (1959), Disney decided to turn to that country's history for this picture.

Disney also had something of a penchant for rebels, both real and mythic, fighting against unjust authority, from Tremain to Robin Hood, Rob Roy, and Zorro. So a movie about an Irishman who fought to oust the English from his homeland wasn't out of character.

Hugh O'Donnell, aka Red Hugh, was an Irish nobleman who lived from 1572 to 1602. Heir to the chieftain of one of Ireland's most powerful, independent, and staunchly anti-English clans, he was captured by his enemies as a 15-year-old and held prisoner for four years with the promise that no harm would befall him if the O'Donnells remained passive. His daring escape and near-fatal journey back to his home energized the rebellious Ulster clans, and in 1593 he was made The O'Donnell, Prince of Tir-Connaill, one of the great war chiefs of his land.

As anyone who knows even the slightest details of Irish history is aware, eventually the English did win their fight to control the country, to disastrous effect for its people, and O'Donnell had to flee to Spain, where he hoped to outlive the English monarch Elizabeth I and return home with Spanish military aid. Unfortunately he died there just a year later. Legend has it he was poisoned by English spies, but recent scholarship generally agrees it was an illness that took his life.

Of course, the filmmakers took great liberties with the story, and if you had just crawled out from under a rock, you might think that the Irish were victorious in their struggle and that events such as the Great Famine, mass emigration, and the Troubles never happened. The studio wasn't in the business of historical documentaries, however, so it's not terribly surprising that they turned an essentially tragic episode into a romantic swashbuckler. Nevertheless, they might have tried a little harder to get some Irish-born actors in the principle roles; you don't find one until you get to sixth-billed Richard Leech, but at least McEnery has a last name that speaks of Gaelic ancestry.

This was the actor's sixth feature film. He made his professional stage debut in 1958 at the age of 18. The classical theater is where he's made his greatest mark; he played most of the major roles and quite a few minor ones in his 20 years with the Royal Shakespeare Company. His first big splash in movies was as the boy who gave Hayley Mills her first screen kiss in Disney's The Moon-Spinners (1964).

The movie wasn't even filmed in Ireland. It was shot at the Pinewood Studios facility at Iver Heath in Buckinghamshire, England, but the director was Dublin-born Michael O'Herlihy (1928-1997), a major television director in the U.S. for most of his career. This was the first historical epic for esteemed English cinematographer Arthur Ibbetson, best known prior to this for a couple of popular Alec Guinness comedies and several Hayley Mills dramas. He went on to shoot the period pieces Anne of the Thousand Days (1969), for which he received an Academy Award nomination, The Prisoner of Zenda (1979), and the Mel Gibson version of The Bounty (1984), as well as the classic children's fantasy Willy Wonka & the Chocolate Factory (1971).

The picture received mixed reviews on its release. Some critics found it clichéd and historically inaccurate (e.g., the song sung by the cast at the finale, "O'Donnell Aboo," which was not written until the 1840s), while others found it to be harmless fun. It didn't do well at the box office, effectively ending Disney's swashbuckler phase.

John Hurt and David Hemmings were reportedly considered for the lead.

Disney had the film re-edited and run in three parts on the studio's Wonderful World of Color TV series the following year. That version had an additional opening scene featuring Queen Elizabeth I.

Director: Michael O'Herlihy
Producer: Walt Disney
Screenplay: Robert Westerby, based on the book Red Hugh, Prince of Donegal by Robert T. Reilly
Cinematography: Arthur Ibbetson
Editing: Peter Boita
Art Direction: Maurice Carter
Original Music: George Bruns
Cast: Peter McEnery (Hugh O'Donnell), Susan Hampshire (Kathleen McSweeney), Tom Adams (Henry O'Neill), Gordon Jackson (Captain Leeds), Norman Wooland (Sir John Perrott)

By Rob Nixon
The Fighting Prince Of Donegal

The Fighting Prince of Donegal

Although the Disney studio is best known for its classic animated features, the company has long had an affinity for live-action period adventures, particularly those based on popular books or true historical events. In fact, much of the studio's output in the 1950s and 60s consisted of this genre, including tales of legendary pirates and seafarers (Treasure Island, 1950; Kidnapped, 1960), the Revolutionary War (Johnny Tremain, 1957), the American frontier (Davy Crockett, King of the Wild Frontier, 1955; The Light in the Forest, 1958), and legends from British history. The latter was a subject the studio frequently went back to, and with the success of the Irish supernatural story Darby O'Gill and the Little People (1959), Disney decided to turn to that country's history for this picture. Disney also had something of a penchant for rebels, both real and mythic, fighting against unjust authority, from Tremain to Robin Hood, Rob Roy, and Zorro. So a movie about an Irishman who fought to oust the English from his homeland wasn't out of character. Hugh O'Donnell, aka Red Hugh, was an Irish nobleman who lived from 1572 to 1602. Heir to the chieftain of one of Ireland's most powerful, independent, and staunchly anti-English clans, he was captured by his enemies as a 15-year-old and held prisoner for four years with the promise that no harm would befall him if the O'Donnells remained passive. His daring escape and near-fatal journey back to his home energized the rebellious Ulster clans, and in 1593 he was made The O'Donnell, Prince of Tir-Connaill, one of the great war chiefs of his land. As anyone who knows even the slightest details of Irish history is aware, eventually the English did win their fight to control the country, to disastrous effect for its people, and O'Donnell had to flee to Spain, where he hoped to outlive the English monarch Elizabeth I and return home with Spanish military aid. Unfortunately he died there just a year later. Legend has it he was poisoned by English spies, but recent scholarship generally agrees it was an illness that took his life. Of course, the filmmakers took great liberties with the story, and if you had just crawled out from under a rock, you might think that the Irish were victorious in their struggle and that events such as the Great Famine, mass emigration, and the Troubles never happened. The studio wasn't in the business of historical documentaries, however, so it's not terribly surprising that they turned an essentially tragic episode into a romantic swashbuckler. Nevertheless, they might have tried a little harder to get some Irish-born actors in the principle roles; you don't find one until you get to sixth-billed Richard Leech, but at least McEnery has a last name that speaks of Gaelic ancestry. This was the actor's sixth feature film. He made his professional stage debut in 1958 at the age of 18. The classical theater is where he's made his greatest mark; he played most of the major roles and quite a few minor ones in his 20 years with the Royal Shakespeare Company. His first big splash in movies was as the boy who gave Hayley Mills her first screen kiss in Disney's The Moon-Spinners (1964). The movie wasn't even filmed in Ireland. It was shot at the Pinewood Studios facility at Iver Heath in Buckinghamshire, England, but the director was Dublin-born Michael O'Herlihy (1928-1997), a major television director in the U.S. for most of his career. This was the first historical epic for esteemed English cinematographer Arthur Ibbetson, best known prior to this for a couple of popular Alec Guinness comedies and several Hayley Mills dramas. He went on to shoot the period pieces Anne of the Thousand Days (1969), for which he received an Academy Award nomination, The Prisoner of Zenda (1979), and the Mel Gibson version of The Bounty (1984), as well as the classic children's fantasy Willy Wonka & the Chocolate Factory (1971). The picture received mixed reviews on its release. Some critics found it clichéd and historically inaccurate (e.g., the song sung by the cast at the finale, "O'Donnell Aboo," which was not written until the 1840s), while others found it to be harmless fun. It didn't do well at the box office, effectively ending Disney's swashbuckler phase. John Hurt and David Hemmings were reportedly considered for the lead. Disney had the film re-edited and run in three parts on the studio's Wonderful World of Color TV series the following year. That version had an additional opening scene featuring Queen Elizabeth I. Director: Michael O'Herlihy Producer: Walt Disney Screenplay: Robert Westerby, based on the book Red Hugh, Prince of Donegal by Robert T. Reilly Cinematography: Arthur Ibbetson Editing: Peter Boita Art Direction: Maurice Carter Original Music: George Bruns Cast: Peter McEnery (Hugh O'Donnell), Susan Hampshire (Kathleen McSweeney), Tom Adams (Henry O'Neill), Gordon Jackson (Captain Leeds), Norman Wooland (Sir John Perrott) By Rob Nixon

Quotes

Trivia

Notes

Copyright length: 110 min. Released in Great Britain in October 1966; running time: 104 min.

Miscellaneous Notes

color