The King's Vacation

Wise & benevolent, a king sporting the heart & soul of a common man is forced by revolution to abdicate. He returns to the wife & daughter he hasn't seen in 18 years, but soon discovers it is no easy task to reclaim the life of an ordinary man. Now a royalist plot may restore him to the throne, making the King's retirement merely THE KING'S VACATION.

George Arliss, that most watchable & urbane of movie actors, is utterly charming in this short, sweet film. Delivering a drama lesson with every glance & gesture (watch him in the scene in which he must meet the largest family in his kingdom), Arliss is - as always - a pure delight. It is a shame that he is all but forgotten today.

Kudos should also go to Florence Arliss, for her sensitive portrayal of the Queen. A frequent costar of her husband's, Mrs. Arliss graced her scenes with a quiet dignity. Dick Powell also appears - but does not sing - in a small role as a mechanic in love with the King's daughter.

Fine production values tremendously help the impact of this lovely film.

As another reviewer mentioned, I wonder if The Duke of Windsor ever saw this film and took his cue from George Arliss. The story revolves about a King who has lost his appetite for being one, and yearns for the woman he was forced to leave behind. It is 18 years later now and he tries to adjust to her lifestyle and to his daughter. He was forced to dissolve the marriage , leaving them both to become king.

The story is a lovely old antique of the kind no longer made, a gentle romantic comedy played to perfection by Arliss and his former wife, played by Marjorie Gateson. His wife as a king is played by his real life wife, Florence Arliss. It is very short at 61 minutes but gives the viewer a glimpse of the marvelous talent and magnificent stage presence that was George Arliss. His presence makes this pedestrian story a must for viewers who appreciate excellence in acting.

In "The King's Vacation," George Arliss has lost all touch of any hammy acting carried over from silent films. This excellent British actor of stage and screen was in his 60s by the time of sound movies, and he had less than a decade left before his retirement. Still, we have more than a dozen very good films in which Arliss starred in the 1930s.

Cinephiles will know of Arliss from our love of all things to do with films, and study of the silver screen history. The only way most people today would know of Arliss would be to see him in his films. And this is a good one to introduce audiences to an actor who could emote better than all other actors to his time. What Arliss didn't have in physical appearance or handsome stature, he more than made up for in his acting talent. His looks, his facial expressions, and his gestures alone spoke countless lines better than those spoken with voice by many another actor.

This film has a simple, slower and more deliberate plot than is the usual fare for Hollywood. As such, it was an excellent vehicle just to showcase the outstanding talent of Arliss, as well as that of the other actors, including his wife, Florence Arliss who plays his queen, Margaret. Arliss is Phillip, king of a fictitious eastern European country. Marjorie Gateson plays Helen, the love of his early life and mother of their daughter Millicent who is played by Patricia Ellis. The other major players are Dudley Digges as Lord Chamberlain, a very young Dick Powell as John Kent who is in love with Millicent, Vernon Steels as Barstow who is in love with Lady Helen, and O.P. Heggie who plays Thorpe, Phillip's faithful and loyal attendant.

While a simple story, "The King's Vacation" packs of lot of lesson and morality. This is a tale of love, pride and sacrifice. Other reviews may comment on the plot, but I think the great enjoyment is in seeing it play out. Some critics panned Arliss's roles in some of the many biographical movies he played. He certainly comes across as very hammy in those silent and some early sound biopics. But to see and enjoy the real talent of this great actor, one should watch any of a handful of very good films we still have with us. Among these are many of the films he made in 1932 starting with "The Man Who Played God." Besides "The King's Vacation," other excellent Arliss films include "The Working Man" in 1932, "The House of Rothschild" in 1934, "The Last Gentleman" in 1934, "Cardinal Richelieu" in 1935, and "Mister Hobo" in 1935.

George Arliss again plays the gentle giant in this short -ish film from Warner Brothers. He starts out as the King Phillip, but after an assassination attempt, steps down to what he thinks will be a quiet, private life. This was a strategic move, to avoid much bloodshed in the revolution that he sees coming ahead. Arliss had made a few silent films, and of course won the Oscar for his "Disreali" role. Marjorie Gateson is Helen who has her own plans in the works. After Arliss abdicates, things don't go according to plan... or at least according to HIS plans. His former wife has things all mapped out for him... which is a little confusing. Phillip catches his new fiancée in a lie, and will have to sort things out. Florence Arliss, George's real life wife, plays Margaret. The royalty aspect plays a small role here, and Phillip actually could have had any occupation, but I guess the fact that he was king adds a sense of loyalty and duty to the profession. It's an okay story. No real issues, but nothing too exciting. Directed by John Adolfi. He and Arliss worked together on seven films, but sadly, Adolfi died quite young at 52.

Romantic drama of king who left his wife and daughter for 18 years to be king and then abdicates to re-encounter them again, finding wife unfaithful and using his position to create a niche for herself in society.

He also learns the true love and devotion of his deposed queen. Another excellent character study of Arliss and the best of his wife, Florence Arliss, on film.

This is a charming film, whose value can only be appreciated by those who are 70 years of age or older, who can bring a lifetime's experience to viewing the film. Younger folk simply won't understand it and will of necessity, dismiss it.

It is the first film in which Arliss, thank goodness, divests himself of lip rouge. I imagine some WB executive told him he needed it for his mouth to be given character, but it always looked very odd in his first talkies and now it is removed and kept off for the duration of his film career.

Seek this one out if you are of the senior citizen class of folk.