The Four Feathers

I am a HUGE Richard Arlen fan, so of course, did I ever love this one!!!! The filming is rather modern for that era and the emotion and action seem to be equally portrayed and well done by all. There doesn't seem to be the same kind of poetry and grand cinema "feel" in later movies, I am glad it was produced in this decade of film-making. I love Fay Wray, she is well-paired with Arlen. This story is one of personal discovery and courage despite great adversity and seemingly impossible odds. Richard Arlen comes to sound without one iota of hesitation* and does one of tha most memorable characters in his long career. Friendship, betrayal, redemption: Great stuff to put on the screen--fantastic story. *(This is one of the first pictures made after sound was available.) Exceptional Group of Classic Film Stars!! Hope I can find a copy for my Richard Arlen video collection.

Paramount's final all-silent movie (with a synchronized music score and a few sound effects) was The Four Feathers (1929). Far more faithful to the Empire-at-all-costs spirit of the novel than later versions, the mood here is far less romantic (in both senses of that word). In fact, although Fay Wray plays the heroine, her role is really quite small (and she is unattractively photographed to boot). William Powell has a larger role to play, although his character is overshadowed by Richard Arlen who makes a reasonably convincing stab at the Sun-Never-Sets hero (and as his role is completely silent, his accent never shatters this illusion). Watch for a natural-born actor, Harold Hightower, in his only movie role as the boy with the monkey. Directors Schoedsack and Cooper (of King Kong fame) contribute some really thrilling, shot-on-exotic-locations, all-action sequences, including an eye-numbing hippo stampede that seems to go on forever yet never runs out of puff.

Merian C. Cooper and Ernest B. Schoedsack's first feature film that integrated their naturalist outdoor adventure style with Hollywood production values. Following GRASS (1925) and CHANG (1927), THE FOUR FEATHERS (1929) was one (1) of the last films in the transition from the Silent Era to Sound. It featured sound effects and a synchronized musical score. Paramount provided the stars, RICHARD ARLEN, CLIVE BROOK, WILLIAM POWELL, FAY WRAY and the technical skill to illustrate the story. This guaranteed its success at the box office when other such transitional-est films failed.

A.E.W. MASONs' THE FOUR FEATHERS had been filmed at least two (2) times before, 1915 and 1921. It would be adapted directly again in 1939, 1955 (STORM OVER THE NILE), 1977 (T.V.), 2002 as well as used as a basis for other films. Each adaptation contains variations from the novel too suit the then current producers motives. The version considered the best is 1939 that places emphasis on SACRIFICE, OMDURMAN and EMPIRE, we rate it TEN (10)**********STARS, IMDb.

COOPER/SCHOEDSACK put special emphasis on the natural aspects of filming in Africa including a stampede of Hippopotamuses as well as other elements native to the area. The cast does a first class job interpreting the screen play showing the sophistication of the late silent era. No mugging or obvious pantomime for the camera to get the point across. Film is well done and worth seeing compressing the salient features of the original novel. A novel that should be read first prior to seeing any of the versions. This would be the last COOPER/SCHOEDSACK production that would feature a emphasis on their original naturalist style. After this their pictures would reflect more and more being studio bound. This was a absolute necessity though. Their fantastic concepts could not be done any other way.

I liked this version better than the 1939 British version but it is still very hard to swallow. The novel is famous and so are the film versions, but I thought that "The Four Feathers" is the height of escapist entertainment. Not for a minute did I buy the premise of a dishonored soldier redeeming himself by such preposterous acts of heroism and gallantry.

In any case, this one is more exciting and absorbing than the later version in that the battle scenes and location shots were staged better, and the actors were more suited to their roles. I especially mean casting Richard Arlen as Harry Faversham. He was better by far than John Clements, who even at the end of the film still seemed like a weakling, whereas Arlen never did. He seemed more conflicted than cowardly. This '29 version has affirmed my belief that remakes are inferior to originals - even if this was twice filmed previously.

This characteristically elaborate production from the people who later gave us 'King Kong' plainly took so long to make it was overtaken by the introduction of sound and wound up as Paramount's last silent feature, thus necessitating a Movietone soundtrack. No matter, it still gives Alexander Korda's definitive 1939 Technicolor super-production a run for its money as rip-roaring macho entertainment.

There are a number of plot differences between this version and its successors which I'll put down to it probably being closer to A.E.W.Mason's 1902 novel, but it still gets most of the best-remembered moments into a trim 81 minutes. Cameraman Robert Kurrle keeps it looking good throughout, while the spectacular location work (including extraordinary footage of monkeys and hippopotami plunging into a river) is all one would expect of the team who gave us 'Grass' and 'Chang', with rousing battle scenes against a spectacular desert backdrop that easily bear comparison with Korda's version.

George Fawcett is a forbidding Col. Feversham (sic), Fay Wray makes an appealing heroine, but like Clive Brook and Noah Beery Sr. (playing a slave trader) doesn't get much screen time, while William Powell as in most of his silent roles looks rather incongruous without a martini glass in his hand. Most of the weight of the film falls up on the broad shoulders of brilliantined Richard Arlen, who isn't terribly convincing as the scion of a long line of old military duffers, but is certainly adept at the derring do.