bullybyte
Se unió el feb 2003
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Calificación de bullybyte
This is the sort of film that got RKO Radio studios into financial trouble. It has a great cast: Damita, von Stroheim, Menjou, Olivier. The plot is predictable, and the story threadbare. I doubt if there were many more people in the 1930s who were turned on by this kind of melodrama as there are now.
A porcelain collector uses his younger wife to ensnare rich army officers, so that he can blackmail them. Two officers, serving in the British army in India, find out that they are both in love with this same woman. That is the plot in a nutshell. The saving feature of this film it to witness some pretty good acting performances. Apart from Hugh Herbert, whose Scottish accent slips like a postman in the snow and sounds about as authentic as the MacFarterchops tartan, the rest of the cast turn in some pretty good performances. Von Stroheim's performance is weird; but then again he is playing a weirdo. Menjou turns in a competent performance - as he always does. Olivier is subtle: you have to watch him carefully to fully appreciate what he does. The same can be said for Damita. Yes, it's great to have a sophisticated leading lady who doesn't mind getting her kit off; but watch her performance next to Olivier in the dining table scene. Further down the cast, the pair who play the general and his sister turn in good performances, too.
The performances of the cast rescue this film, which is of its time. It is watchable.
A porcelain collector uses his younger wife to ensnare rich army officers, so that he can blackmail them. Two officers, serving in the British army in India, find out that they are both in love with this same woman. That is the plot in a nutshell. The saving feature of this film it to witness some pretty good acting performances. Apart from Hugh Herbert, whose Scottish accent slips like a postman in the snow and sounds about as authentic as the MacFarterchops tartan, the rest of the cast turn in some pretty good performances. Von Stroheim's performance is weird; but then again he is playing a weirdo. Menjou turns in a competent performance - as he always does. Olivier is subtle: you have to watch him carefully to fully appreciate what he does. The same can be said for Damita. Yes, it's great to have a sophisticated leading lady who doesn't mind getting her kit off; but watch her performance next to Olivier in the dining table scene. Further down the cast, the pair who play the general and his sister turn in good performances, too.
The performances of the cast rescue this film, which is of its time. It is watchable.
This is based on the stage play of the same name by Noel Coward.
Nadya is the widowed princess of the fictitious ruritanian kingdom of Krayia. She has been unhappy with her late husband, so she travels to Paris. There she falls in love with a young writer. But word soon comes that the King of Krayia has died. She is now queen. She travels back to Krayia, but the young writer follows her. Hears about an assassination attempt, and manages to stop it. Queen Nadya is not allowed to marry the writer because she is royalty and he is a commoner. As thanks for saving her life, she invites him to dinner - one last night. There is a twist ending which is quite sad. The film talks about lovers being trapped between love and duty, a theme which turns up again and again in Coward's works.
It has been suggested that the film, being silent, lacks the sharp dialogue of Noel Coward. But the film does have redeeming features. Firstly the camerawork under Graham Cutts's direction, is wonderful. In about ten seconds spinning scenes suggest the brutality and turmoil of Princess Nadya's marriage. The other feature is the acting ability of Lili Damita. Cutts tests her to the full. But she is at her best when she suggests allure in the close up, her eyes, dark as sloes, figuratively melting everything in her field of vision.
This film came out as the talkies were coming in. It was hacked about by the censors. It should be a lot better known than it is.
Nadya is the widowed princess of the fictitious ruritanian kingdom of Krayia. She has been unhappy with her late husband, so she travels to Paris. There she falls in love with a young writer. But word soon comes that the King of Krayia has died. She is now queen. She travels back to Krayia, but the young writer follows her. Hears about an assassination attempt, and manages to stop it. Queen Nadya is not allowed to marry the writer because she is royalty and he is a commoner. As thanks for saving her life, she invites him to dinner - one last night. There is a twist ending which is quite sad. The film talks about lovers being trapped between love and duty, a theme which turns up again and again in Coward's works.
It has been suggested that the film, being silent, lacks the sharp dialogue of Noel Coward. But the film does have redeeming features. Firstly the camerawork under Graham Cutts's direction, is wonderful. In about ten seconds spinning scenes suggest the brutality and turmoil of Princess Nadya's marriage. The other feature is the acting ability of Lili Damita. Cutts tests her to the full. But she is at her best when she suggests allure in the close up, her eyes, dark as sloes, figuratively melting everything in her field of vision.
This film came out as the talkies were coming in. It was hacked about by the censors. It should be a lot better known than it is.
