The Prisoner of Zenda

'The Prisoner of Zenda' is one of the most fondly-remembered films of the '30s, and for good reason. It offers Ronald Colman, one of Hollywood's most beloved British stars, in the dual role of Rudolf, crown prince of a small European kingdom, and Rudolf Rassendyll, his look-alike British cousin, end product of a brief affair of an ancestor (as the Englishman puts it, "Fishing in forbidden waters"); the radiant Madeleine Carroll, best-known as Robert Donat's leading lady in Hitchcock's classic 'The 39 Steps', as the royal betrothed, who falls in love with the pretender; Raymond Massey, Canadian star of H.G. Wells' SF masterpiece, 'Things to Come' (and, 3 years later, the quintessential Abraham Lincoln on stage and in film!), as Black Michael, Rudolf's scheming half-brother; and, best of all, a youthful Douglas Fairbanks, Jr., son of silent Hollywood's greatest swashbuckler (and a pretty fair swashbuckler, himself), as the suavely villainous ally of Michael.

The story is simple, and has been done many times before, but never with such elan; drugged monarch-to-be must be impersonated by look-alike for coronation, lest kingdom fall into hands of evil half-brother. In the hands of this PERFECT cast (with terrific support by C. Aubrey Smith, a young David Niven, and Mary Astor) the tale becomes a stylish tale of love, intrigue, and derring-do. High points include an astonishingly beautiful Royal Ball, where Colman and Carroll reveal their love; a very funny yet menacing meeting between Colman and Fairbanks, as they discuss the real King's potential fate; and best of all, a MAGNIFICENT climactic swordfight between the pair, as they lunge and parry furiously through the halls of a castle, while exchanging quips and one-liners.

This is swashbuckling at it's finest! If you are unfamiliar with Ronald Colman's work, you're in for a treat...Don't miss it!

Of the at least eight film versions of Anthony Hope's famous novel, this is the best. There is a fairly decent silent version starring Ramon Navarro and a flashier 1950's version with Stewart Granger but this one leads the pack as the most entertaining and the best directed. Dashing Douglas Fairbanks Jr. always in the shadow of his famous father gives the role of Rupert all he's got and that's a lot. He steals every scene he's in, even from the likes of Ronald Coleman and Raymond Massey. He gives treachery and deceit not to mention opportunism new meanings in his double dealings. Few today have even heard of Junior, though most movie buffs have heard of his father silent star Douglas Fairbanks and step mother for a time Mary Pickford. Senior divorced Junior's mother to marry Pickford. Junior gave other outstanding performances on the big screen especially in "Gunga Din" in 1939 opposite Cary Grant and Victor McLaglen. He went on to have a popular television show in the early days of that medium "Douglas Fairbanks, Jr., Presents." He gradually retired from films. Sadly when he passed away in the year 2000 very few knew who he was.

Ronald Coleman gets to play two parts Maj. Rudolf Rassendyll and King Rudolf V, two lookalike cousins from a family indiscretion several generations back. He does so admirably. Though Madeleine Carroll as Princess Flavia who loves one cousin but is tied to the other out of duty and patriotism is a hard act to follow as always, Mary Astor gives her a good run for the money as Black Michael's (Raymond Massey)lady love. The two ladies counterbalance each other well as stand by your man women but for different reasons. The always underrated and under-appreciated actor Raymond Massey makes the character of Michael come alive with jealousy and vainglory but with true love in his heart for his Antoinette. The grand old man of early cinema C. Aubrey Smith is around to make sure all is done correctly according to pomp and circumstance. David Niven in an early screen role gives his portrayal of Capt. Fritz Von Tarlenheim the easy touch, almost tongue in cheek at times, which lightens the heavy load for the viewers. He is a good counterbalance for the dour C. Aubrey Smith. Silent screen veteran actor Montagu Love is present to show them all how it's done. What a troupe of Thespians to savor!

John Cromwell directs with flair and makes the film move at a fast pace especially near the end. The action sequence when the castle is stormed following the lowering of the draw bridge is intense. The rapier fight between Coleman and Fairbanks is still exciting to watch. The crisp black and white photography makes one forget that the film is not in color. For excitement, adventure, and romance by all means see the 1937 version of "The Prisoner of Zenda."

Mixed identities, castles, swords, fancy uniforms, Ruritanian romance, royal intrigues -- it's all here. What a lot of fun.

I could never really figure out Ronald Coleman's appeal. He's likable enough but from what I gather women used to swoon over him. Is he really handsome? If so, the quality slips past my perceptive apparatus. I do like his voice, though, so theatrically nasal and so hard to take seriously. Raymond Massey is Black Michael, he of the monocle and the perpetual sneer. Mary Astor and Madeleine Carrol are decorative and provide the men with motives. Outstanding, though, is Douglas Fairbanks, Jr., as Rupert of Hentzau. It's often said that a movie is as good as its villain, and that's as true here as in any other film. He laughs, he oozes charm, he beats people over the head with iron pipes, he stabs unarmed noblemen, he seduces women, he drugs kings, seems to enjoy betrayal, smokes too much, lies as easily as the rest of us breathe, and instead of fighting to the end like a man he jumps out a window and runs away, or rather swims away. He quotes poetry: "Oh, woman, in our hour of ease/ uncertain, coy, and hard to please./ When pain and anguish wring the brow/ a ministering angel, thou." David Niven is a lighthearted friend of the hero. C. Aubrey Smith is -- well, C. Aubrey Smith.

Niven hadn't gotten very far in Hollywood until he landed this role, which he was able to do only through the influence of Hollywood's "British colony." He began the shoot by playing the part in the breezy manner we now see on screen. This displeased the director and the producer, who wanted it dramatic, but when they saw how it looked on film they were tickled pink. (Both Niven and Fairbanks were to go on to meritorious service in World War II.)

The movie is so undemanding and so rewarding that it was remade several times, twice as a spoof. The 1950s version with Stewart Granger and Deborah Kerr is about as good as this one, only of course splashier.

The climax involves a nicely done fight with sabres between Coleman and Fairbanks. Coleman wasn't a physical actor and Fairbanks not a fencer, so doubles are used extensively, but without doing much damage. And it's curious to note that this was released in the same year as "The Adventures of Robin Hood," and both films use some of the same conventions, fighting with furniture, trading wisecracks during the fight, and the use of shadows swashbuckling away on the castle walls. This despite the fact that different directors were in charge. Hard to tell whether this is an instance of independent invention or some historical adhesion left over from one of Fairbanks' dad's early silents.

And enjoyable tale, not meant to be taken seriously.

Traveling in a Middle European kingdom, an Englishman on a fishing vacation discovers to his astonishment that he is an identical look-alike for the country's king. When the dissipated monarch is unable to attend his own coronation, the Englishman is pressured to impersonate him temporarily. But when he falls in love with the new queen and the real king is kidnapped by an evil half-brother, the Englishman is swept into a world of intrigue & danger he scarcely knew existed. Can he rescue THE PRISONER OF ZENDA without losing his own life?

This is one of the great adventure films of the 1930's. Given lavish treatment by Selznick Studios, it is escapist cinema at its most enjoyable.

Silky-voiced Ronald Colman is perfectly cast as both the Englishman & the King. He was one of those rare, fortunate actors with great screen charisma - his every moment, every word, is interesting to the viewer. He almost meets his match, though, in Douglas Fairbanks Jr., here playing a charming & completely ruthless young villain. Their rapier fight stands out in a decade full of terrific swordplay.

The rest of the cast is equally impressive: lovely Madeleine Carroll, wicked Raymond Massey, frantic Mary Astor, stalwart David Niven and especially wonderful old Sir C. Aubrey Smith, a model of elderly devotion & courage.

Ronald Colman shines in the dual role of the dissipated Crown Prince Rudolph and the "simple Englishman", Rudolph Rassendyl. The crown prince's predilection for the bottle recalls Colman's earlier portrayal of the dark side of Sydney Carton from A Tale of Two Cities. In contrast, Rassendyll's reluctant gallantry and abiding integrity and honor epitomize the qualities for which matinée idol Colman had become known during his famous film career.

His scenes with the incandescent Madeleine Carroll are especially felicitous, both visually and aurally. The poignant, penultimate scene of the film left this reviewer with a wistful sense of regret that The Prisoner of Zenda was to be their only cinematic collaboration.

Raymond Massey was never better as the ambitious Duke Michael. The expressionistic qualities of his facial contortions make his lines almost superfluous.

The rakish Count Rupert, played by Douglas Fairbanks, Jr., represents the archetypal rogue. His perennial smile, abiding charm, and sardonic wit make him a curious composite of Don Juan and Mephistopheles. Like Massey, I have never seen the underrated son of the silent screen's most dashing hero in better form.

The film's remaining actors acquit themselves more than adequately. Mary Astor is the lovely Antoinette, Duke Michael's devoted, yet unfairly, neglected paramour. Her consistently dark raiment and shadowy movements are perhaps reflective of her lover's illegitimate origins, while at the same time belying her kind heart. Visually this is contrasted with the always radiant Princess Flavia.

The two royal bodyguards, Colonel Zapt and Captain von Tarlenheim, are a case study, to my mind, as to why films like The Prisoner of Zenda are consistently superior to today's mediocre fare. Although relatively lesser roles, they are capable of, and on more than one occasion, do dominate a given scene; moreover, in their own way they are as fully developed as any of the principals. The abiding sense of honor and loyalty expressed by C. Aubrey Smith's Colonel Zapt is so profoundly felt and reflective of a long-vanished ethos, that one laughs to think of any contemporary actor making such utterances. The paradox would be striking!

As for Zapt's protégé, Captain von Tarlenheim, given the camera's fondness for the handsome young star, it will come as no surprise to learn that this role was reputedly David Niven's first acting breakthrough. His gift for dry English understatement is the occasion for one especially humorous scene-stealing moment that I will generously leave to the curious viewer to enjoy for himself.

With such an outstanding, marquee cast that lives up to its advanced billing and then some, it is not difficult to understand why this film was such a rousing success when it premiered in 1937; so successful, in fact, that it was copied verbatim by MGM 15 years later after it purchased the rights from Selznick. With no slight intended to Stewart Granger et al., you cannot improve on perfection.