The Green Goddess

A small plane is forced down somewhere near the Himalayas. On board are an English major, his young wife and their doctor friend. The plane lands in the tiny Princedom of Rukh, ostensibly under the British Viceroy, but actually ruled by a curiously deranged old Raja. The three visitors find themselves at the mercy of the Raja and are caught up in his lustful plots & plans.

This very early talkie is an interesting little curio and still fun to watch. George Arliss is a fascinatingly sardonic Raja. His every word & gesture entertain the imagination. Mr. Arliss was a very important & distinguished English actor working in Hollywood in the 1930's, although now he's sadly neglected. This was his first talkie - (but was released after DISRAELI). All of his Warner Brothers movies are very entertaining, if you can find them.

In the supporting cast are Ralph Forbes as the heroic doctor; H.B. Warner & Alice Joyce as the callous Major & his estranged wife; gaunt Nigel de Brulier as a suspicious temple priest; and Ivan Simpson as the Raja's wicked butler.

George Arliss's Victorian melodramatic style of acting might put some off today. Still playing The Rajah Of Rukh in one of his stage triumphs, Arliss is still fascinating to watch. Especially as he entertains three unexpected European visitors with malice in his heart.

It turns out three of his half brothers got caught in revolutionary activity against the British Raj and the more violent kind than what Gandhi advocated. Arliss takes it as a sign from his Hindu gods that Ralph Forbes, Alicia Joyce and H.B. Warner have to crash land in his remote part of India, near the Nepal border. At first he's a gracious host, but then he springs it on them that they're hostages.

Ivan Simpson plays Arliss's English butler. It amuses him to have one and Simpson is in no position to complain since he's a wanted man. He's a sniveling and sneaky sort and not one to be answering a call for help with king and country platitudes. Simpson was the only other one besides Arliss to appear on Broadway with him and in a 1924 silent version of The Green Goddess.

When this film came out the British public was debating the issue of giving up India. Almost singlehandedly Winston Churchill then a member of the Tory shadow government and the Beaverbrook press prevented independence from being granted sooner, not exactly Winnie's finest hour.

Arliss was competing against himself at the Academy Awards as he lost to his own performance as Disraeli in Disraeli, another of his stage triumphs.

Old fashioned that he is, George Arliss is still fascinating in The Green Goddess as the Rajah of Rukh.

For the historically challenged it may come as a surprise that once upon a time England (Great Britain) was the foremost power in the World. The Empire which 'The Sun Never Sets On'. Two (2) World Wars and the break-up of that Empire has reduced it too its former colonies Eastern outpost and unsinkable Aircraft Carrier.

THE GREEN GODDESS (1930) is a remake of its silent predecessor, '1923' which was inspired by its stage origin, '1921'. All three featured early 20th Century Stage and Screen Star, George Arliss. Mr. Arliss had a habit of playing eccentric and/or historical characters, first for Warner Brothers then later at 20th Century Fox. This was not the first nor last time that Mr. Arliss would successfully either transfer a stage triumph or remake the silent version for the Silver Screen.

'THE NUTS'; A forced landing of three (3) British subjects in a Kingdom north of India are held hostage by 'The Raja of Rukh' (ARLISS). The price of their freedom, the release of his three (3) murderous half-brothers condemned to death. If not released they will forfeit their lives too the Raja's rather blood thirsty subjects. Who curiously seem to resent the 'British Raj' running of their country, go figure? How does it end just requires that you watch it for it is interesting viewing, nuff said.

The film is unusual for its time for showing the resentment that the indigenous peoples had for their British Over-Lords. Most Hollywood films payed homage to the Empire so they would get wide release and profits from their product. Opponents too 'the Empire' were portrayed as fanatical 'nuts' or worse. Though Mr. Arliss's acting style seems stage bound by todays conventions he is still a commanding presence and recommend not only this film but others he did for viewing.

On a last note, fret not England. Another former empire is our Western outpost and Aircraft Carrier. A former Naval pupil of yours, called Japan. So you are in good company.

I was nine years old when I saw this movie. I have re-read your synopsis and it validates every item in my memory. I characterized George Arliss in this role as the 'poobah' of his kingdom.

When the British warships' longboats pull away toward their ship, George is on a promontory overlooking the scene. He had just unsuccessfully bargained for keeping the girl and giving the pilot and the Dr. back to the Brits.

With a final sigh, I recall the movie's closing line as he states, "Well, she probably would have been a lot of trouble anyway."

Even a nine year old could appreciate that line and the resignation with which he delivered it. That line has been a friend for my entire life and I am now about to be 89. I learned from your summary that George died on Feb. 5, my birthday. I also learned to appreciate British character actors.

If one's movie life started in 'talkies' with Al Jolson (Sonny Boy), George Arliss, Charlie Chaplin (silent), or even Douglas Fairbanks, it is very difficult to get interested in contemporary films.

This was one of Warner Brothers' early talking picture experiments, made in late 1929 and released in 1930. The main thrust behind Warner Brothers' being first in talking pictures with "The Jazz Singer" died with its premiere - Sam Warner died just before the Jazz Singer opened. Since the other brothers had been dragged kicking and screaming into the talking picture era, Warner Brothers fumbled around from that point until late 1930 when they truly began to find their stride. This film is from their "fumbling era" of 1928-1930.

That doesn't mean that this picture or any of their other experiments are necessarily bad, it just means that they are truly experimenting at this point with somewhat kooky plots they would never try just a couple of years later. Warner Brothers was very fortunate during this time to continue a long running relationship they had with one star of the stage - John Barrymore - and begin a relationship with another - Mr. George Arliss. His acting is the main reason to watch this film.

Here Arliss plays the wise and wizened Raja of the mythical kingdom of Rukh. The day before his three brothers are to be executed for an assassination of a British official in India, three British citizens crash land in his kingdom, having gotten lost in the fog over the Himilayas. The primitive people of his kingdom, who worship a green goddess, see this as a gift from the goddess - a British life each for the lives of the Raja's three brothers taken by the British. The three British prisoners had quite a bit of drama in their lives even before landing in this mess. Major Crespin (H.B. Warner) has been an unfaithful husband to his wife Lucilla (Alice Joyce), who has forgiven him but not forgotten. The pilot, Dr. Basil Traherne (Ralph Forbes) and Lucilla have been in love for years, but have done nothing about it because Lucilla is still technically married and wants to remain so because of her two children.

The Raja is technically and politically astute. He actually wants to kill his British prisoners as a kind of thumb in the collective eye to the British for keeping the Indians in subjection. However, he is also smart enough to know his "goose would be cooked" if the British ever knew what he did. He also doesn't really want his brothers released, because their deaths eliminate any possible wranglings over his throne should he die before his own children reach adulthood. Learning his lesson from British and Russian history, surviving uncles are not always so kind to the surviving underage progeny of deceased kings. We learn all of this from Arliss' own lips as he gives a superb performance every bit as good as the one he gave in Disraeli, just in a more inane plot.

The Raja does offer one concession, he will spare the life of Lucilla if she agrees to be his consort and bear him a son. He even agrees to smuggle her children out of India and bring them to her so she can raise them. As for the other two, they are pretty much condemned to die, but there is one hope for them all. There is a wireless device in the Raja's castle with which - if they can get access - they might be able to get a message to India. Also, the Raja has as his assistant a man of British birth named Watkins, a condemned criminal if he returns to his homeland, but inside Rukh he is the Raja's link to the culture and habits of the west and, more importantly, the Raja's wireless operator.

The kookiest part of this film - Nigel De Brulier as a wild looking bearded man who is always looking through keyholes and - for some reason - is given to carrying around a trident. I highly recommend this film to the fans of early talkies. This one will hold your interest.