The Crusades

After the release of Ridley Scott's KINGDOM OF HEAVEN and 70 years after the premiere of DeMille's CRUSADES, I found it interesting to see the film. Cecil B DeMille is usually associated with ancient or biblical epics like TEN COMMANDMENTS, CLEOPATRA, KING OF KINGS or THE SIGN OF THE CROSS. However, after the two great epics of the early 1930s, he made a movie about a different historical period, the infamous crusades that aimed at protecting the Holy Land from the Muslim "infidels". The problem with this film, however, is that it looks historical but contains serious historical inaccuracies. Therefore, it cannot be treated as a serious historical epic and it is not a history lesson whatsoever. Nevertheless, it is a very interesting movie being an authentic look at DeMille's talents and a real 1930s movie. Consequently, it can still touch some of the 21 century viewers, particularly classic movie fans.

CHARACTERS: Most of the names that we hear in THE CRUSADES are historical. They are, however, showed in a different perspective and addressed to the audiences of that time. DeMille calls our attention foremost to Richard the Lionheart (Henry Wilcoxon) and his lovely wife princess Berengaria (Loretta Young). Richard is a man of courage, a king who, unlike other kings, is close to his people. But, he joins the crusade due to entirely different reasons than other kings. He does not have any faith in the cross he is to wear but wants to escape marriage with Alice (Katherine DeMille), the sister of Philip, king of France. On the way to the Holy Land, he meets the love of his life, Berengaria, a very noble and pure lady who, in the long run, changes Richard into a peacemaker and believer. These two characters are very well developed and their plot has much to say to today's viewer: the love between a man and a woman does not have to be based on sex only. Their love is mostly a spiritual love rather than sexual one (so appreciated by Medieval people). It is showed a bit humorously in the moment when Richard dares jump into his wife's bed, dedicated to John, Matthew, Luke and Mark... Another character that needs mentioning is the Hermit (C.Aubrey Smith). This is a man of great courage and faith whose sole aim in life is the cross. "Take the Cross to your hearts," as he says to the people in England gathered to join the crusade is a particularly powerful moment.

CAST: Even though Henry Wilcoxon plays the main role, he is not that good in this movie. As a matter of fact, I far more liked his performance in CLEOPATRA (1934). His acting, behavior of a proud man suits Antony very well but does not suit Richard that well. Stars who deserve highest attention in this movie are C.Aubrey Smith as the Hermit, Ian Keith as Saladin, and Joseph Schildkraut as Conrad, Marquis of Montferrat. Smith memorably presents a stereotypical hermit (this face and this voice!), Keith stresses Saladin's wisdom and an indefatigable desire to defend his religion. He shines in the scene when visiting the royal assembly. Finally Schildkraut undeniably deserves careful attention in his magnificent portrayal of conspiring Conrad. It is true that his role is distorted historically, but he does, in this performance alone, a terrific job. Loretta Young's performance, however, is far from masterpiece. Sometimes, she is sweeter than chocolate with sugar.

DIFFERENT DeMILLE: It is noticeable that THE CRUSADES, though an epic, concentrates more on message rather than lavish sets and costumes. As a result, DeMille is less noticeable than in lavish CLEOPATRA or THE SIGN OF THE CROSS. What we get here is the story, vivid characters, message of peace. That is very important to state since a lot of people associate DeMille ONLY with sets, visual effects, costumes and bathes. Here, he gives something more. It is true that there are monumental moments, like the siege of Acre or a touching scene of crusaders leaving their families for the Holy Land, but they are not in the main focus.

This film is filled with one more thing that I consider significant to mention, SYMBOLISM. It is in other DeMille's movies too, but never that much as in THE CRUSADES. The most memorable moment is a scene of salvation. Simple crusaders die and just before their last breath, they desire to touch the Cross. They climb high steps enlightened by the light coming from above. It is similar to Christians going to arena in THE SIGH OF THE CROSS, but here, it really seems that DeMille wanted to show a vision of heaven.

In the end, the film shows the victory of peace. It is a historical fairy tale but partly refers to the period of peace between Christians and Muslims termed by Saladin. This led another director to make a movie, 70 years later... THE CRUSADES, however, is still entertaining in some way. It is not for historians, but a must see for all DeMille's fans and all people interested in early talkies. 7/10!

The first part of the film is excellent with only credits to the sustained grand cinematography with constantly impressing settings and great acting, showing all the best of what made Cecil B. DeMille the greatest director of epics in Hollywood. The second part is ridiculous, a very liberal rewriting of history, the script writers using it lavishly to construe their own fancies, resulting in a monumental soap opera. Loretta Young is the star of the film, constantly bewitching as Berengaria, and actually living up to her real legendary beauty - her beautiful legendary hair, very much emhanced in the film, has sometimes been confused with the constellation "Berenice's hair", while Berengaria couldn't have been far from it. Henry Wilcoxon also makes a Richard Lionheart with credibility enough, he actually was like that in reality, outragesously insolent, politically impossible for his lack of realism and reliability, a great romantic but no good as a husband, and a hopelessly foolhardy daredevil. Here of course he is made more ideal, as Hollywood always did in the 30s, and you forgive the gross distortions of history in the second part because of his charming chivalry. The film is good but not one of DeMille's best, but it is impressing enough, and the first part, until the ridiculous Saladin-Berengaria affair gets started, is among the best of DeMille's works.

The name De Mille evokes big sets, big costumes and bigger action and Crusades was his follow up to his earlier take on Christian oration from the scandalous - in a good way - Sign of the cross. Henry Wilcoxson, his Marc Anthony of Cleopatra and the always beautiful Loretta Young team up in this extravagant epic. King Richard the Lionheart is not a Christian and is not faithful to the ways of the sign of the cross but to escape a forced marriage he signs up for the Crusades to free the holy city of Jerusalem. Of course, there is scheming behind his back to seize his throne while he is gone. Along the way he trades for a wife, Loretta and haggles and argues with his other European leaders. Now, it has often not be said for it is almost as if De Mille build big sets and big stories to tell little moments for all his excess, his movies are ridiculously dialogue driven, even by the standards of the other expensive blockbuster-type movies made back then. De Mille loved dialogue scenes and focusing on character. Very strange. And this movie is really a politics and character movie as the future of Europe is argued and royal pompous exposed. The action sequences are obvious studio sets but well shot. The final moments have good heart that is not forced but earned. Thus, is this a good movie. It is hard to say because for every good scene there is a juvenile scene obviously put in to satiate the masses. Good direction though, very good direction. That said, Crusades lost money when first released, if you only look at its Domestic boxoffice rentals but was the biggest grossing movie of its year.

Cecil B. DeMille's spectacles were mostly bound to America and Americans for most of the silent film period into the early talkies. His exceptions were the original "Ten Commandments" (but there was a modern story set in America as well as the tale of Moses), and "King of Kings" where he told the story of Jesus's Ministry. Then, in 1933, he decided to do movies that dealt with the history of the ancient world. First came "Sign of the Cross" in 1933 and then "Cleopatra" in 1934. Both were in the Roman Empire, and both allowed DeMille ample scope to be lascivious and tantalizing about sex, and yet be moralistic as well (especially in "Sign of the Cross"). Both had Claudette Colbert in them in the female lead (shared in "Sign of the Cross" with Elissa Landi). "Sign" had Charles Laughton and Frederic March in the leads. But "Cleopatra" only had Henry Wilcoxon and Warren Williams as the leads. Still both films were very successful.

DeMille seems to have planned to tap European and Middle Eastern history for awhile. His next historical pageant is "The Crusades" which, while an entertaining film (none of his films are less than entertaining) is not as good as the first two. It is actually telling the story of the Third Crusade of 1190 - 92, and (although lauded in some of these comments as being historically accurate) it doesn't really go into it too well.

The third crusade was led by Richard the Lion Hearted (King Richard I of England), King Philippe Augustus of France, and the Holy Roman Emperor Frederick Barbarosa. Now the movie does show Philippe at the initial planning stages, and Richard soon getting involve. But aside from an occasional mention of Barbarosa, and one or two brief glimpses of an actor as the Emperor, his character is never developed. Frederick Barbarosa was a lead player in this crusade, and he drowned trying to ford a stream during the early part of it. This was a real tragedy for the European invaders, as Frederick had been umpiring the constant arguments between Philippe and Richard (neither of whom liked each other). None of that is in the film.

To fully appreciate this film (flaws and all) watch it first after seeing "Becket" and then "The Lion in Winter". Those two films tell the story of Richard Plantagenet's daddy and mommy, Henry II of England and Eleanor of Aquitaine. Henry II had built up his kingdom and power, despite problems from his old friend Thomas a'Becket. Most of the power was due to the inheritance of Eleanor in France, which was her dowry. Eleanor had been Queen of France briefly, but divorced King Louis and took her property with her. Henry was in a very good position to dominate King Louis and his son Philippe. But (from "The Lion in Winter") you will remember that Philippe tells off Henry that time is on his side - Henry is going to die soon, and Philippe is young. Philippe was also very sly. He was more interested in getting Richard into the Crusade so to weaken the English government, and allow Philippe to make incursions into Eleanor's power base. And it worked like a charm. Once Barbarosa was dead, Philippe took advantage of the first argument with Richard to take his men back to France. Soon he was in touch with Richard's brother, Prince John, who was regent for the king. John soon makes arrangements to keep Richard from ever coming home again.

At this point I'd suggest you see "The Adventures of Robin Hood" followed by "Robin and Marion" to see the return of Richard and the end of his lamentably bad reign.

DeMille hints at the political skulduggery. Note the business between Conrad of Montsarrat (the potential King of Jerusalem) and John. But John is made to be the mainspring of these conspiracies. That he was involved there is not doubt, but Philippe was the real key to them.

There is also another issue, touched on in "The Lion In Winter" but dropped here - DeMille would never have discussed it in the context of a hero. Richard I was gay. His marriage to Berengaria was not a love match (although made one here and in the later film "King Richard and the Crusaders" based on Sir Walter Scott's "The Talisman"). So on that part the film is not accurate.

The battle for Acre was very bloody, but the worst part of it (which Arab historians have bristled about for centuries - British ones tended to ignore it) were the massacres of Arab (and Jewish) citizens at Acre. Somewhere over 30,000 (at least) were killed. This atrocity was sort of dropped from the movie.

The acting is good, and some of the scenes quite fascinating: the marriage by proxy of Berengaria and Richard (represented by his friend the minstrel Blondel); The literal horse (or cattle) trading by the King of Navarre for his daughter to get married is funny. Especially moving is a scene where Richard sees his old friend, the blacksmith, die after a fight with the Saracens.

"The Crusades" was a box office flop. DeMille (for the next 15 years) made films about American History, beginning with "The Plainsman". Only in 1949 did the old world beckon again with "Samson and Delilah". And his final masterpiece, the second "Ten Commandments", would be his picture of ancient Egypt.

In his autobiography, C. B. Demille indicated that he found the greatest compliment ever given to the film was during an IRS audit. The agent doing the audit was astonished that a film that good didn't make any money.

The historian and author Harold Lamb was instrumental in the scripting. Demille wanted the flavor of the Crusades in the one film, so The Hermit was used to outline the cause of the Crusades, and was used to "compress" the timeline to the Third Crusade. He also wanted to show that Saladin was as "knightly" as any of the Crusaders.

The film provides spectacle throughout, from ceremonies to battles, but that was Demille's style. The political intrigue in the background was more pronounced in this film than behind-the-scenes activities in . other Demille films, but that touch may have been Mr. Lamb's.

I first saw this on television, many years ago, by accident. It wasn't scheduled, but I happened to tune in to it when it started. It caught my attention, and I was hooked. It's one of his better films. It's also an interesting contrast to Kingdom of Heaven.