The Sword and the Rose is a family/adventure film produced by Perce Pearce and Walt Disney and directed by Ken Annakin.

Meanwhile, Henry is determined to marry her off to the aging King Louis XII of France as part of a peace agreement.

Mary marries King Louis and encourages him to drink to excess and be active so that his already deteriorating health worsens.

When she goes to him for help, the Duke of Buckingham tells Lady Margaret that Brandon is dead and decides to go "rescue" Mary himself.

Lady Margaret discovers that Brandon is alive and learning of the duke's treachery they hurry back to France.

At the end of 1948, funds from Walt Disney Productions stranded in foreign countries, including the United Kingdom, exceeded $8.5 million.

[7] With the success of Robin Hood and His Merrie Men (1952), Disney wanted to keep the production team to make a second film; he chose The Sword and the Rose inspired by the novel When Knighthood Was in Flower (1898) by Charles Major.

During this step, each time a batch of storyboards was finished, it was presented to Walt Disney who commented and brought his personal touch.

Annakin later wrote: "I had learned on Robin Hood that if you agreed to work for Walt, you must sublimate some of your own opinions and judgements and faithfully try to interpret the Master’s vision.

However, the relative failure of this and Rob Roy, the Highland Rogue caused Disney to become less enthusiastic about costume pictures.

[19] Leonard Maltin surmised that The Sword and the Rose is historically equivalent to Pinocchio (1940) although it remains primarily a dramatic entertainment featuring costumed actors.

However, it was greeted coolly in the UK mainly because of its historical approximations despite reviews from The Times that said that Mary had "remarkably alive moments" and James Robertson Justice's King Henry had "a royal air".

Steven Watts sees The Sword and the Rose and Rob Roy as showing the Disney studio's concern for individual liberty fighting against powerful social structures and governments.

Brode sees the film and the ball scene, not as a conservative, but as an incentive to "dance crazes" (as the twist) for the American youth of the 1950s and 1960s.

The proximity of the dancers, and rhythms not resemble the flip is introduced to the court by Mary Tudor near the rebellious teenager.