El príncipe y el mendigo

"Crossed Swords" is a lavish and lively adaptation of the Mark Twain classic "The Prince and the Pauper". Producing the picture were the Salkinds, the father and son team responsible for "The Three Musketeers" films, as well as the "Superman" blockbusters. Released in England by Twentieth Century Fox as "The Prince and the Pauper" in 1977, it reached American shores (now distributed by Warner Brothers) in 1978 as "Crossed Swords" and with eight minutes of footage deleted.

Veteran director Richard Fleischer moves the familiar story along quite briskly, while still giving audiences ample opportunities to appreciate the handsome sets and costumes. The all-star cast is mostly impressive. Mark "Oliver" Lester is too old and stiff to give a truly authentic performance in the dual role of Prince Edward and pauper Tom Canty, but he doesn't spoil the film. Oliver Reed is a hearty and touching Miles Hendon, and Ernest Borgnine, fake cockney accent or not, shines as the pauper's cruel father. Charlton Heston perhaps overdoes the part of old King Henry, but how else can you play a character like that? Rex Harrison is smooth as an ill-fated Duke, George C Scott impresses as a beggar king, Raquel Welch looks stunning in her too-few scenes as Edith, Hendon's true love, and she beautifully underplays her part (though her surprising adeptness at comedy is evident here as well). The same cannot be said for scenery chewing David Hemmings, cast as Hugh, Hendon's evil brother, who forced Edith into an unhappy marriage. Among the supporting cast are such familiar faces as Harry Andrews, as a duplicitous Court Minister, Julian Orchard as a court fop, and Sybil Danning as Tom's mother. Two young beauties (Lalla Ward and Felicity Dean) appear as, respectively, future Queen Elizabeth and Lady Jane.

With a rousing music score by Maurice Jarre, perfect for a swashbuckler like this, and beautiful scenery photographed by the great Jack Cardiff, this is light-hearted, spirited adventure at its finest. Surprisingly, the film did not fare well on either side of the Atlantic but, like most period adventures, it has worn well. Incidentally, the DVD release restores the cut footage and includes a theatrical trailer and television spot (for the U.S. release) which compliment the flawless Anamorphic Widescreen transfer.

I haven't seen this movie in 20 years, but I remember going to it mostly because of the impressive cast. The lead, playing the dual roles of the prince and the pauper, was Mark Lester, lately of "Oliver". It was too "lately". By the time this movie came out, Lester was FAR too old for the part(s) of street urchin and child king. Charlton Heston (he's Henry VIII here) seems attracted to this phenomenon. He also did Treasure Island with a too old Christian Bale as Jim Hawkins. Anyway, Heston and the rest of the cast did fine jobs, and the picture is good fun if you can fully suspend disbelief in deep voiced Lester as an innocent child.

This is a good film but it is spoiled by the ineptitude of Mark Lester who wisely retired after this film.Age was irrelevant,acting ability is far more to the point.Enjoyable to watch the stars go through their paces.

This is an oddly mangled version of the famous Mark Twain novel. Historically, Edward VI became king at age 10, and had been dead for three years when he would have been Mark Lester's age (18) at the making of this film. Why director Richard Fleischer chose to transmute the title characters from children to late adolescents is a mystery to me. It makes their bumbling in their respective reversed roles more pathetic than sympathetic. Mark Lester's performance, in both roles of prince and pauper, I thought was distinctly undistinguished in view of his earlier achievements. Perhaps he was already thinking of his medical career ahead. Now having said all that, the strength of this movie, such as it is, lies in its powerhouse supporting cast: Oliver Reed, Raquel Welch, Ernest Borgnine as the abusive father, George C. Scott as a brigand, Rex Harrison, David Hemmings, and even Charlton Heston as Henry VIII -- WOW! As I watched, I wished they had just left the protagonists out altogether and let these master actors tell the story of Sixteenth Century Tudor intrigues. To view or not to view? It's a toss-up: you decide.

Brought to us by the same producers of "The Three Musketeers" and "The Four Musketeers" of several years earlier, this also brought along some of the same cast - Reed, Welch, and Heston - in an attempt to duplicate the success of those earlier adventures. It doesn't quite reach that level but is a fairly faithful adaptation of the Mark Twain story, with solid entertainment value. This was a final gasp in the child star career of Mark Lester, who gained fame as the title character of "Oliver!" from 9 years earlier. A tall gangly young man by this point, he seems out of place here, as if they waited a couple of years too long to film this. He plays the pivotal dual roles of a poor pauper kid who switches places with his double, Prince Edward of England. Reed is the wandering soldier of fortune who takes pity on and befriends the prince, now mistaken for a peasant who seems mad. Reed basically repeats his 'Athos' role from the Musketeers movies, but that's not really a bad thing - it is Oliver Reed, after all.

The movie also piles on as many big stars as possible, a habit of the producers, though many of these stars had their best roles behind them. Heston is on hand as the blustery King Henry, dying about halfway through. Welch doesn't appear until the 2nd half, playing Reed's old girlfriend, now married to his evil brother (Hemmings). Borgnine hams it up as the mean brutal dad to the pauper, while Scott puts in an appearance as a ruler of thieves or beggars, whatever. Harrison is a royal duke, reminding one of his role as Caesar long ago in "Cleopatra"(63). This benefits from the long experience of most of the actors, who lend a humorous, carefree style to most of the scenes. There's even some poignancy in the later scenes between Lester & Reed, who begins to wonder if this may truly be the new king of England he's trying to protect, and it helps to have a nice score, as usual, from Jarre. Twain knew how to write a good story, complete with suspense as we wait for the finale, and this shows through at the end.