The Prisoner of Zenda

Next to the 1937 version with Ronald Colman and Douglas Fairbanks, Jr., this version of The Prisoner Of Zenda is the one most fondly remembered by movie audiences. If it doesn't quite have the panache of the Colman film, it makes up for it with the introduction of some nice color cinematography.

The casting of Stewart Granger in the double role of Rudolph Rassendyll and his royal cousin, the Crown Prince Rudolph of Ruritania and James Mason as the villainous Rupert of Hentzau is hardly some stock company casting. If Granger doesn't quite have Colman's flair for the spoken word and very few ever have, he makes a fine and dashing hero which parts he played very well, too well in his opinion on his career. As for Mason, Douglas Fairbanks, Jr. took the Rupert part because he was advised it's one of the best villains ever created in drama. Mason who has also played some of the best villains on screen keeps up the fine tradition for that role.

The 1937 version benefited from having the world wide publicity of the constitutional crisis in the United Kingdom over Edward VIII choice of consort. I've wondered whether someone over at MGM after George VI died in early 1952 whether they thought it was now time to do another remake of The Prisoner Of Zenda in time to coincide with the publicity of Queen Elizabeth II's coronation. Which begs the question whether we'll get yet another version when Prince Charles eventually assumes the throne. We've seen over ten versions so far going back to the silent screen.

The women in the cast, Deborah Kerr and Jane Greer as Princess Flavia and Antoinette DeMauban respectively never come in for much discussion of their roles. The parts in relation to the hero are almost a carbon copy of the roles of Katharine DeVaucelles and Hugette from If I Were King. I've always thought that Greer as Antoinette plays one of the most tragic characters in popular literature. She loves a cold and forbidding man in Prince Michael, especially when played by Robert Douglas. But he's her man and when she does ever so slightly give in to the scheming Hentzau she regrets it when it means the death of her beloved. Personally why she falls for a cold fish that Michael is who can figure. But the heart does have its reasons.

As for Kerr her best scene is at the end when she realizes she has been hoodwinked, but in a scheme for the greater good of the kingdom. She knows what her obligations are and she too can't afford to follow her heart.

Something tells me we're far from done with The Prisoner Of Zenda. Try and figure out who could play these roles today with the flair of the players in this version, let alone the one from 1937.

Hollywood has always had a philosophy, that if a film makes money, either do a sequel, or remake it! While sequels are most common (offering original cast members, older and less believable in their roles, performing variations of the same plot that made the original film popular...usually less successfully...), remakes have a long history, as well, with some remakes an improvement over the original (John Huston's THE MALTESE FALCON far outshines both of the earlier sound versions), some just as good (1939's BEAU GESTE, with Gary Cooper, has as loyal an audience as Ronald Colman's silent version), and some truly disastrous (why anyone would even CONSIDER remaking Frank Capra's LOST HORIZON, much less turning it into a 70s MUSICAL, defies comprehension!)

MGM, in their 1952 remake of 1937's classic THE PRISONER OF ZENDA, tried to surpass the earlier version by creating a 'scene-for-scene' duplicate of the film, while utilizing some of their biggest stars in each role, reworking Alfred Newman's original score, and shooting it all in glorious Technicolor. The end result, however, was a mixed bag...

Stewart Granger, MGM's resident 50s swashbuckler, certainly was more athletic than Ronald Colman in the lead, but lacked the older actor's panache, and more importantly, 'The Voice', that distinctive, oft-imitated but never duplicated speaking voice that made Colman so unique. It still wins hearts, nearly 50 years after his death, and was the reason Colman made the transition from a star of silent pictures to sound so effortlessly. While Deborah Kerr was as regally beautiful as Madeleine Carroll, she lacked the fragile quality that made Carroll's doomed love of the commoner Colman so heartbreaking. Louis Calhern, in C. Aubrey Smith's role, as Col. Zapt? No way! Robert Coote replacing David Niven as Fritz had some novelty value, as both would costar, twelve years later, in the television series, THE ROGUES, but the younger Niven was far more appropriate in the role of a young but loyal assistant to Zapt. While Robert Douglas was every bit as sinister as Raymond Massey as Black Michael, the most disastrous miscasting came with the film's other major villain, Rupert of Hentzau. While James Mason was a truly gifted actor, he was too old, and actually too villainous in the role! While the character has to be truly jaded and unscrupulous, he also has to be such a young, likable scoundrel that his escape, after the climactic duel, disappoints no one, not even the hero he nearly defeats. The role ideally suited Douglas Fairbanks Jr., whose prowess with a sword was unmatched, and whose scenes with Colman were instant classics of sophisticated wit. When Granger and Mason repeated the same lines, their exchanges came across as typical 'good guy vs. bad guy' dialog, lacking the unique chemistry Colman and Fairbanks brought to the roles.

As for shooting the film in Technicolor...While the regal color photography certainly made the Palace scenes more impressive (don't forget, Great Britain was crowning Elizabeth as Queen when the remake was released, and American audiences were rabid Anglophiles, totally enthralled by all the Pomp and Circumstance), it also 'dated' the story, making the adventure seem quaint and old-fashioned in the Cold War era. The black-and-white photography of 1937, with it's masterful use of light and shadow, gave the earlier version a timeless quality it still carries to this day.

David Niven, in his autobiography ('The Moon's a Balloon'), said he thought MGM's remake was a ridiculous idea, and that he was pleased that the newer production, even as a scene-for-scene copy, failed. While I think he was, perhaps, too hard on the Granger film, I have to agree that no other version has ever even come close to the magic of Ronald Colman's 1937 classic!

Seems to me that if you're going to do a re-make of an earlier film, you need to have a better approach than just to refilm it, scene-by-scene, from its immediate predecessor.

Watching this 1952 version of "The Prisoner of Zenda," it emerges an astonishing "carbon copy" of its 15-year-old vintage model, only with different actors and in color.

What was most surprising was using Alfred Newman's 1937 music almost note-for-note. Conrad Salinger, MGM arranger-orchestrator-composer, seemed to have merely pulled out the old score, dusted off the parts, and passed them out to the MGM Orchestra to re-record.

Since this was also the music used for the now historic early December '39 sneak-preview of "Gone With the Wind" (outside of Los Angeles prior to its premiere before Max Steiner finished his work) it's even more strange to hear it here.

While the '52 cast was talented and the production values intact, there were no particularly fresh insights or viewpoints offered here, resulting in an efficiently "cloned" confection.

Less that an auspicious feather in MGM's cinematic folio, it still probably went over well with a new "generation" unfamiliar with either the '37 film or the original novel.

I can never watch too many of these movies. The story was beautiful, but not overdone. Stewart Granger gives a great performance, and we get the added bonus of another stellar performance by James Mason. Of course, the breathtaking (Dame) Deborah Kerr is the real reason to watch -- and wonder how an actress can be so beautiful *and* so talented. My only regret is that she wasn't more prominent in the story. And, as usual, she doesn't get the man. Oh well. The cinematography, the costumes, the action -- all blend perfectly with the compelling story and the great acting to make this a "must see" movie.

"He has the appearance and manner of the king, yet he's really a lookalike… and on his shoulders rests all hope of foiling a blackguard's plot to usurp the throne. Adventure, pageantry and royal intrigue are forged at sword point in the two finest screen versions of the beloved 1894 novel filmed many times," according to the Warner Home Video release, "Ronald Colman plays the double role in the resilient 1937 David O. Selznick production (Side A), making palpable the heartbreak of the royal stand-in whose gallantry is tested by his love for the real king's fiancée (Madeleine Carroll). Stewart Granger stars in the eye-filling 1952 color version (Side B), romancing Deborah Kerr and wielding bold steel in the film's bravura climactic duel."

Thanks to whoever at Warner/Turner decided to release these two versions of "The Prisoner of Zenda" together. Considering the way things are usually handled in Hollywood, the obvious has become inspired. Adding extra movies, for less than the price of two (or more), also encourages sales. They could have added "The Prisoner of Zenda" (1922) for even better measure, assuming the three "Metro" features are owned by Warner Bros. Of the two available here, the 1937 "black-and-white" version wins the sword fight, though the 1952 color version is inoffensive and beautifully photographed (by Joseph Ruttenberg).

Examined together, the three films support the widely held belief that the more villainous role in a drama is often the one to act. In this case, observe how the character "Rupert of Hentzau" supports this thesis. In the 1927 version, the role made Ramon Novarro a star. In the 1937 and 1952 versions, Douglas Fairbanks Jr. and James Mason are always above or equal to anyone else in the cast. The fact that Mr. Colman can his own against Mr. Fairbanks helps make their version a classic. Lewis Stone appears in two versions, and Louis Calhern played the lead on stage. In each case, "The Prisoner of Zenda" is an attractive production.

****** The Prisoner of Zenda (11/4/52) Richard Thorpe ~ Stewart Granger, Deborah Kerr, James Mason, Louis Calhern