Beau Geste

This is why we go to the movies. Great story telling, great characters, great actors, great directing, suspense, a certain pace and so on... a perfect movie. Why, oh why they don´t make movies like this anymore? Why are we treated to flicks like "King Arthur"? Have we lost it?

It´s all about adventure. Suspense, thrill, wit....Well, they would nowadays add some cruelties and that would be okay but it still would be superior to 99,9% of recent Hollywood flics.

Come back Capra, Hawks, Frankenheimer, Zinnemann, Ford, Hitchcock, Lang et al. - please come back

10/10

People who know Julien Duvivier's "la bandera"(1935) will find analogies between the two movies.In both of them, the legion is an escape from law.The approach is different however:in "la bandera",the hero and his mates are simple,crude people.In Wellmann's work,they are distinguished,"noblesse oblige" characters.Wellman's movie has a romantic flavor,which is totally absent in Duvivier's pessimistic story.

It seems that "beau geste" has worn well,better than Duvivier's dated saga.Both movies have the same flaw:the Tuaregs are the "villains",we absolutely know nothing about them.In Duvivier's movie,we don't even see them,and they are always referred to as "the bastards" (sic)They seem reduced to attacking baddies,an entity whose humanity is denied. Wellmann's superiority lies in the fact that he plays the game of adventure ,now matter how unlikely it is while Duvivier has "realist" ambitions.

Wellmann smartly blends a whodunit with pure adventure elements.The solution of the mystery,which we learn at the very end of the movie is very unexpected and gives the movie some kind of Hustonian touch (and in 1939,Huston had yet to make a movie!)

As for the directing is concerned,the last third of the movie shines.If the legion routine life scenes inside the fort are inferior to those of Duvivier,on the other hand its finale is more moving and more astonishing.The sergeant,using dead bodies as scarecrows ,is almost surrealist and might have influenced the conclusion of Anthony Mann's "Cid".A scene we saw at the beginning ,"the Viking funeral" finds an absolutely brilliant explanation .While John (Ray Milland) is preparing the "ceremony" in a fort full of dead bodies,we don't realize.It's only when he explains to his brother (yes,there was a dog at his feet)that we understand.

A very fine cast,including Susan Hayward on the threshold of a brilliant career (it's her second movie).The title is justified too.Because "Beau Geste" means in French "Beautiful gesture".

NB: A trip to Norway taught me this:the Vikings were buried in the ground on their boats.

I know this, along with Sherlock Holmes, is one of the most filmed stories ever, but the 1939 version must stand out as the best. The mood and atmosphere of the desert is captured brilliantly, the photography is excellent as is the cast. Gary Cooper fits the role of Beau exactly as one would have imagined him, while the brothers played by Ray Milland and Robert Preston are spot on. Of course Brian Donlevy was at his best in this film as the vicious Sergeant, and it is one of the few times when I have thought he acted well. Susan Hayward's role was minor, but of course she was a virtual unknown at that time. It was good to see Donald O'Connor as a young Beau, as well as stalwarts like Albert Dekker and J. Carrol Naish. The opening scene is quite remarkable even by todays standards.

The three Geste brothers, wards of their Aunt Patricia, go off to the Foreign Legion because they are suspected of stealing a family jewel, the Blue Water sapphire. It's a question of family honor and pride back in the day when this was thought to be a real virtue.

Beau Geste continues as a story about the Geste brothers in the Foreign Legion. Since they are all adopted wards with no clue as their real origins, that might account for the distinctly non-British speech of Gary Cooper as Beau and Robert Preston as Digby. Ray Milland as the youngest brother John was presumably influenced by British speech at a young enough age.

Though the three brother leads perform more than adequately, Beau Geste is truly a film where the character actors take over. Brian Donlevy was given his one and only Oscar nomination for Best Supporting Actor as the sadistic Sergeant Markov. You won't forget him, I promise you.

Three others that also stand out are Albert Dekker who leads a mutiny against Markov at the distant outpost of Fort Zinderneuf and Stanley Andrews as Maris who tries to prevent the mutiny. And last but certainly not least is J. Carrol Naish who is Rassinov the eyes and ears of Markov among the men. Naish was an amazingly versatile character actor who played just about every ethnic type you could name. He blended into his characters so well he almost has no identity of his own on screen. And that hyenish high-pitched cackle that he uses for Rassinov will linger with you forever.

Susan Hayward is in this also as the love interest for Ray Milland. She's young and pretty wasted in a thankless role in a male dominated film. No hint at all here of the characters she later portrayed like Lillian Roth or Barbara Graham.

Beau Geste is the kind of adventure story for those who like their heroes gallant and romantic as so many of us do.

Three brothers join the Foreign Legion following the mysterious disappearance of a valuable sapphire.

This movie came out the same year (1939) as that other masterpiece of colonial adventure, The Four Feathers. Both make first-rate use of family bonds and family honor to create a strong emotional context to all the colorful combat. Those bonds really work here, establishing a strong sense of one for all and all for one. Plus the fact that the brothers have been adopted by the kindly Lady Brandon (Thatcher) not only lends poignancy, but makes the central twist work really well.

As good as Cooper-Milland-Foster are, it's really Donlevy's movie. His cruel martinet has stayed with me over the decades—the military haircut, the perfectly squared shoulders, the command voice. He not only commands his legionnaires, he commands the movie, as well. And, when he falls, I still have mixed emotions, despite his many acts of cruelty. It's a crackling good story, but it's his imposing presence that makes the adventure memorable. No wonder Donlevy was Oscar-nominated, a near-perfect blend of character and actor.

Two minor reservations. Cooper's fine in Beau's role, more animated than usual. However, at nearly forty, he appears a shade too old for the youthful part. Also, I've never been able to reconcile to the relative ease with which the mutiny is put down. There's like five guys with guns facing a hundred guys who stand to be executed for their planned mutiny, yet they meekly give up, especially after Schwartz (the great Albert Dekker) has so powerfully roused them to action. To me, director Wellman's staging here is less than convincing.

Nonetheless, the mix of mystery, emotion and action remains superbly entertaining, and is ironically, one of the few movies that actually lives up to its title.