Die scharlachrote Blume

"The Scarlet Pimpernel" is one of the classics and the 1934 film is by far the best cinema version. Leslie Howard is perfect for the part of Sir Percy Blakeney. Howard bounces between the foppish, sissy boy aristocrat and the cunning, ingenious hero, who is a master of disguise. You want to kick him in the teeth one minute and you're cheering for him the next.

Merle Oberon, who has never impressed me much as an actress, plays Lady Blakeney. She is painfully and completely oblivious to her husband's true identity. Her performance is strained but Miss Oberon is still one of the most breath-takingly beautiful women to ever grace black and white film. Raymond Massey is excellent as Chauvelin, especially his scenes with Howard where he is having to keep his temper in check when dealing with the impossible antics and behavior of Sir Percy's alias. Excellent cinematography, and good supporting performances. One of my favorite hero movies.

"They seek him here, they seek him there, those Frenchies seek him everywhere..." He's the cunning English spy code-named Pimpernel: master of disguises, savior to guillotine-bound aristocrats during the French Revolution, and most likely to be found in London making as big an ass of himself as credulity will allow. No one (not even his wife) would ever suspect the idiotic Sir Percy Blakeney of being the leader of an underground network of anti-Republic rebels, and it's still a joy to watch Leslie Howard, in the title role, successfully negotiating the ruse under the disdainful noses of his enemies. Without the unexpected element of farce the whole thing would be just another dated exercise in derring-do and low adventure, but the Pimpernel's foppish alter ego makes him one of the more unique (and hilarious) heroes ever to grace the silver screen. The poetry is, by the way, Sir Percy's own: "Is he in heaven, or is he in hell, that damned elusive Pimpernel?" ("It has a certain something..." he tells a giggling audience of landed gentry, "which gives it a certain...something.")

One might want to pre-judge this movie on the basis of its release date (1934), but it would be a mistake to consider this movie as creeky and old. On the contrary, it remains so brilliantly focused and sharply contrasted, that the viewer can get lost within the film-strip of this fine Korda film. The sets are realistic and evocative. Some, such as parlors and ballrooms glitter like the jewels of their occupants, while others, like public taverns and "clubs", can be grimy with pipe smoke, ale, and mutton.

The story is one of hidden identity, of unsung heroism, illusion, and danger......risk and reward, of good men doing what's necessary to save doomed people. It's also a moving love story.

Central in all of this is Sir Percy Blakeney (Leslie Howard in his finest screen role). He is a Fop in the extreme. He poses, he prances, and he eternally fusses with his attire. Are his cuffs properly ruffled, so that when he takes snuff, "it's a swallows flight"? Neckwear is another preoccupation of Sir Percy's.... he even uses this obsession in one of the film's wittiest lines, "A man who can't tie his own cravat isn't likely to put a noose around the Pimpernel's neck, is he?" But, the paradox of course is that Sir Percy, his wife not even knowing, is the bane of the French Revolutionists, the Scarlet Pimpernel. He and his followers make repeated and risky trips across the English Channel to rescue those they can from the fate of the guillotine. This charade of Sir Percy's is the core of much of the film's hilarious moments. But it's easy for this movie to take quick turns from humor to grim seriousness.

The love interest is the International beauty Merle Oberon, who is showcased exquisitly. She has developed a contempt for her foppish husband and his silliness, as she desperately tries to save her brother's life by trying to discover the true identity of the Pimpernel for villain Raymond Massey. She idealizes the Pimpernel who she often contrasts to her nit-wit husband, but as he tells her (and with some moment), "It's dangerous to fall in love with a phantom, m'dear. For all you know he's a married man who is deeply in love with his wife."

There is adventure and romance. A must see movie.

And those "Frenchies" sought him everywhere.

Leslie Howard probably was the first British stage star who became a genuine Hollywood star as well. We tend to think of Ronald Colman, his elegant contemporary, but Colman never had the great stage career Howard did, and never made films in England - he worked (for Samuel Goldwyn mostly) in Hollywood. Howard conquered English cinema, most notably in PYGMALION (which he co-directed) and this film. His ability to play a romantic figure like Percy Blakeney and a Shavian master character like Henry Higgins shows his amazing talent. By 1935 he had been in several films opposite Frederic March and Norma Shearer (SMILIN' THROUGH), Mary Pickford (SECRETS), Bette Davis and Humphrey Bogart (THE PETRIFIED FOREST), Davis and Olivia de Haviland (IT'S LOVE I'M AFTER), and Bogart and Joan Blondell (STAND-BY). He continued in this manner, eventually being in Ingrid Bergman's first American movie (INTERMEZZO), and in GONE WITH THE WIND as Ashley. For an actor who died tragically prematurely in World War II, Howard left an impressive film record.

Sir Percy Blakeney must have become a favorite role to Howard. He was to make it the basis for a final spy comedy-thriller (his last role) PIMPERNELL SMITH, bringing the character up-to-date (taking on the Nazis led by Francis Sullivan as a "Goering" clone). But the original is the better film, as there is a real attempt to capture the spirit of the 1790s, the stirrings of Regency England. The scenery looks a little forced, but it is done consciously to capture the London of 1793.

There are slightly jarring effects (inevitable in any historical movie). Nigel Bruce captures the triviality of the Prince of Wales (the future George IV), although he does strike the proper note in explaining the difficulties of attempting to rescue French political prisoners and aristocrats. But his Scottish burr is noticeable. Merle Oberon does well as the heroine, cruelly twisted into helping the French (via the detestable Chauvin, played by Raymond Massey) into betraying aristocrats to the guilloutine. Her willingness to spy for the Frenchman based on his threatening to execute her brother for treason. Only later does she accidentally realize that her noodle-headed husband is the man she is ultimately forced into betraying.

Massey played mostly villains at this point in his career, except in THINGS TO COME. However, he was to soon make a "favorable" transition, by starring on stage and in the film of ABE LINCOLN IN ILLINOIS. His turn as the psychotic John Brown in SANTE FE TRAIL also changed his movie personae - as he shows that his psychosis is based on a genuine desire to end slavery, as opposed to the opportunistic greed of his betrayer Van Heflin. Here his Chauvin is pompous and deadly. Not a nice character at all. But he has moments to shine: When he hears Blakeney's idiotic verses about the Pimpernell, he is doing a quiet slow burn and says, "I particularly like that use of the term "Frenchies"!". When he hears Oberon bemoaning the deaths her testimony (which he forced her to give) caused in the French courts, he suddenly makes a comment too often forgotten in movies about the French Revolution: "Why is it that everyone is always bemoaning the fate of the poor aristocrats? Don't people ever recall what they did to us?!" Even Chauvin and Robespierre had some points to bring up.

Howard's gleeful performance is the anchor for it all. As clever and watchful a spy as one imagines, instantly dropping the seriousness to play the fool. Look at how he keeps bringing up the proper tying of cravats, or his miscalling the apoplectic Colonel Winterbottom "Ramsbottom". Wonderful stuff Sir Percy. Wonderful movie still.

To date, I've seen three "Scarlet Pimpernels" from three different eras, but the more I see this one, the more I appreciate it for the economical little masterpiece that it is. Three years ago, when I reviewed Powell & Pressburger's "Elusive Pimpernel", I dismissed its predecessor as a 'dated period piece' remarkable only for Leslie Howard's performance; watching it again now I'd hedge no bets in saying that it excels above its successor in almost every way.

From the very beginning, long before the hero appears, it's evident that we are in for a treat. The reason? Above all, the script.

Necessary establishing information -- the Pimpernel's name and fame, the Revolution, the state of the Blakeneys' marriage -- is conveyed quickly and naturally in a few pertinent phrases here and there, without any need for static exposition. A vein of wry humour runs through almost every scene, from the Prince's opening conviction that all the excesses of the Terror can be explained away by Johnny Foreigner's lack of sporting spirit -- "why, if it weren't for fox-hunting and pheasant-shooting, we might be cruel too!" -- to Sir Percy's sleepy quip when his wife implores him to rise above trivialities for once ("Can't rise above anything longer than three syllables, m'dear -- never could") and the cheerful double meaning of his disguised assurances to a Frenchman reviling 'perfidious Albion': ''It won't take *us* long to cross the Channel, eh boys?'' But wordplay is also used to poignant effect, as when he tells Marguerite, estranged from her husband but bedazzled by the romantic image of the unknown Scarlet Pimpernel, "For all you know, he's a married man deeply in love with his wife..."

If the script is witty, humane and on occasion impassioned, it owes a great deal also to the nuanced delivery of the cast. Nigel Bruce far outshines his bumbling Watson of later years in the pat of the pompous and preening but not entirely stupid Prince-Regent-to-be; Raymond Massey's Chauvelin is intelligent as well as menacing, despite an accent that strays periodically and disconcertingly across the Atlantic from France, plus the necessary abridgement of the plot for cinematic purposes; Merle Oberon, no raving beauty to today's taste, provides all the resourcefulness and heartbreak one could ask for, playing proud, neglected Marguerite -- one can easily credit her as Orczy's 'cleverest woman in Europe'.

But casting Leslie Howard in the dual title role was a simple stroke of genius. His tall figure and bony beak of a face serve perfectly both as the languid Sir Percy, setting off a series of immaculately-fitting 'unmentionables', and as the commanding, quick-thinking Pimpernel; and the scene in which he drops from one persona to the other almost in mid-sentence upon the entry of the irate Colonel Winterbottom is a joy to watch. He is absolutely convincing as the "spineless, brainless and useless" fop, and yet he can shade intelligence and feeling back into his features at the drop of a hat in unconcealed moments that never let the audience forget the man behind the mask. His scenes with Merle Oberon as Marguerite are joint masterpieces of brittle drawing-room comedy with an undertow of unhappiness that convinces us of the former passion between them, alluded to but never shown.

Blakeney, of course, gets all the best lines, and Leslie Howard makes the most of them, mocking with exquisite insolence in his guise as licensed fool. But perhaps the third factor that really makes this film is the richness of those background moments when the starring characters are not there. The secure pomp of England epitomised in the opening shots of the changing of the guard; the revolutionary barber stropping his blade with eagerness at the thought of aristocrats' throats; the 'tricoteuses' beneath the guillotine, counting off heads with busily-clicking needles; and the instants of screen time that establish each of the 'aristos' awaiting execution -- tiny, non-speaking parts -- as individuals in their own right.

The script is intelligent, succinct and sparkling with understatement. The actors' faces speak as eloquently in the pauses as in any silent drama. The black-and-white photography is sumptuous, from the lavish ballroom scenes to the grimy "Lion D'Or" in Boulogne. And Leslie Howard is endlessly watchable in an ever-changing portrayal of leashed strength in masquerade. The only caveats I'd make are concerning the soundtrack quality -- I suspect the prints I've heard have been damaged -- and the final brief epilogue scene, which despite the gentle wordplay falls, to me, a little flat. In all other respects this would be the "Scarlet Pimpernel" I'd recommend: every time.