The King's Vacation

George Arliss shines in this affectionately told story of a king who is, at heart, a "man of the people"--he wins over an attempted assassin after a short talk instead of sending the man to the executioner as his advisers were going to do--who is nevertheless forced to abdicate because of political instability in his beloved country, but is later asked to return. Arliss (as the king who has been keeping a long-held secret from his queen) and Florence Arliss (as his queen who has known about the secret all along) are outstanding, the direction by John G. Adolfi is smooth and the story moves along quite well. A very good film.

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.

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.

The underrated George Arliss is the best thing in this somewhat stilted royal drama. Unfortunately much of the political sentimentalising will seem dated and unconvincing, although Arliss' performance is suitable regal and sensitive. If only we could be so moved by the King's political difficulties as we are ultimately by his private ones, then it would be much better film.

The revolutionary upheaval in his State (which occurs off-screen) is a distant, mainly abstract affair. The King's humanity and concern for his subjects is pure Hollywood puff: the idea that such a figure would really be so liberal and caring requires quite a suspension of disbelief. Most unbelievable of all is the incident with the would-be assassin. After making an attempt on the King's life, the man is likely to be executed. After a brief interview with the King ('why, you talk like one of us!' says the agitator after just a few words) he is reprieved. Later, upon the King's abdication, we glimpse him in the crowd, waving as enthusiastically to the monarch as any loyal subject. As an account of real political strife and dissent or of psychology indeed, this is pure nonsense.

In contrast, the quiet ending, in which Arliss dispenses his more private emotional judgement with dignity and grace, is humane, moving, and probably the best moment in the film. It shows a maturity of vision missing elsewhere.

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.