Aggiungi una trama nella tua linguaFrançois Villon, in his lifetime the most renowned poet in France, is also a prankster, an occasional criminal, and an ardent patriot.François Villon, in his lifetime the most renowned poet in France, is also a prankster, an occasional criminal, and an ardent patriot.François Villon, in his lifetime the most renowned poet in France, is also a prankster, an occasional criminal, and an ardent patriot.
- Regia
- Sceneggiatura
- Star
Nigel De Brulier
- Astrologer
- (as Nigel de Brulier)
Otto Matieson
- Olivier
- (as Otto Mattiesen)
Tom Amandares
- Man in Crowd
- (non citato nei titoli originali)
Louise Emmons
- Beggar
- (non citato nei titoli originali)
Martha Franklin
- Maid
- (non citato nei titoli originali)
Recensioni in evidenza
This film is a good start for novices that have never watched a 'Silent Film' and for those who believe that quality Cinema started with their generations efforts. They are doing a disservice to themselves by not expanding their horizons. The 'Silent Film' is a art-form of acting in pantomime that is different from the sound film and the stage, it can stands on it's own merits.
THE BELOVED ROGUE (1927) United Artists is a fictionalized history of the relationship of French Poet 'Francois Villon' and 'King Louis XI'. Through 'Villons' prodding 'King Louis' will defeat his nemesis 'Duke of Burgandy' minimize the Feudal System and establish the KING as head of the State and the beginnings of modern France.
The cast is exceptional, lead by JOHN BARRYMORE (yes, Drew's GrandFather). For those who only remember him for the decaying actor 'Larry Renault' in DINNER AT EIGHT (1933) or the ham in THE INVISABLE WOMEN (1940) this will be a revelation. Fit, trim with the 'Great Profile' still in evidence he commands the screen. Co-Starring in his first American film is CONRAD VEIDT with his 'cadaverous spider' interpretation of 'Louis XI'. This is a duel of acting titans, each not giving the other a inch. On a trivia note is Character Actor and Dwarf ANGELO ROSSITTO in his first film, his last, MAD MAX BEYOND THUNDERDOME (1985). There are other character actors who would continue in sound that are easily picked up on.
United Artists spared no expense in this handsome production supervised by WILLIAM CAMERON MENZIES. Costumes, Props and Sets are well done and not exaggerated like in a DOUGLAS FAIRBANKS productions. There is a touch of reality here. The copy on DVD that we watched from 'Delta Entertainment' came from a good master. Though not 'restored' its musical soundtrack was clear and the print only suffered from nuisance black-spots (dirt) and drop-outs. The only major damage at the end of the last reel from water. 'Kino' also has a edition which may be of a better quality since they do major restorations on their prints. Best check with them. In our opinion this is a 'must have' particularly if you have no 'silents' in your collection. This is a good place to start.
THE BELOVED ROGUE (1927) United Artists is a fictionalized history of the relationship of French Poet 'Francois Villon' and 'King Louis XI'. Through 'Villons' prodding 'King Louis' will defeat his nemesis 'Duke of Burgandy' minimize the Feudal System and establish the KING as head of the State and the beginnings of modern France.
The cast is exceptional, lead by JOHN BARRYMORE (yes, Drew's GrandFather). For those who only remember him for the decaying actor 'Larry Renault' in DINNER AT EIGHT (1933) or the ham in THE INVISABLE WOMEN (1940) this will be a revelation. Fit, trim with the 'Great Profile' still in evidence he commands the screen. Co-Starring in his first American film is CONRAD VEIDT with his 'cadaverous spider' interpretation of 'Louis XI'. This is a duel of acting titans, each not giving the other a inch. On a trivia note is Character Actor and Dwarf ANGELO ROSSITTO in his first film, his last, MAD MAX BEYOND THUNDERDOME (1985). There are other character actors who would continue in sound that are easily picked up on.
United Artists spared no expense in this handsome production supervised by WILLIAM CAMERON MENZIES. Costumes, Props and Sets are well done and not exaggerated like in a DOUGLAS FAIRBANKS productions. There is a touch of reality here. The copy on DVD that we watched from 'Delta Entertainment' came from a good master. Though not 'restored' its musical soundtrack was clear and the print only suffered from nuisance black-spots (dirt) and drop-outs. The only major damage at the end of the last reel from water. 'Kino' also has a edition which may be of a better quality since they do major restorations on their prints. Best check with them. In our opinion this is a 'must have' particularly if you have no 'silents' in your collection. This is a good place to start.
Besides being entertaining in itself, with plenty of action, wit, and more, this feature gives John Barrymore an excellent role that plays to his strengths and that gives him a lot of good material to work with. Barrymore's vigorous style works well in the role, and he has many opportunities for drama, humor, and romance.
The story is based very loosely on the life of the 15th century French poet François Villon, but it really only uses the character and the basics of the historical setting. The character that the script creates, though, is not only a great role for Barrymore, but is well-conceived as a movie character. And if Barrymore's entertaining portrayal of Villon, fanciful though it is, encourages anyone to find out more about the historical Villon, so much the better.
(The real Villon was both a worse criminal and a better poet than the movie suggests. A number of his crimes were truly harmful offenses, rather than the impish pranks that he plays in the movie. At the same time, his poetry was quite a bit deeper than is suggested by the occasional light verses in the inter-titles.)
Conrad Veidt is cast as King Louis XI, Villon's sometime friend and sometimes persecutor. Veidt gives a really good turn to the character, using his physical posture and mannerisms to suggest the king's complex character.
There are a number of good sequences that are sheer entertainment, such as the catapult scene and Villon's first visit to Charlotte's palace, and that are rather impressive on the production end too. The story as a whole is the best kind of historical melodrama, with numerous turns of fortune and plenty going on.
The story is based very loosely on the life of the 15th century French poet François Villon, but it really only uses the character and the basics of the historical setting. The character that the script creates, though, is not only a great role for Barrymore, but is well-conceived as a movie character. And if Barrymore's entertaining portrayal of Villon, fanciful though it is, encourages anyone to find out more about the historical Villon, so much the better.
(The real Villon was both a worse criminal and a better poet than the movie suggests. A number of his crimes were truly harmful offenses, rather than the impish pranks that he plays in the movie. At the same time, his poetry was quite a bit deeper than is suggested by the occasional light verses in the inter-titles.)
Conrad Veidt is cast as King Louis XI, Villon's sometime friend and sometimes persecutor. Veidt gives a really good turn to the character, using his physical posture and mannerisms to suggest the king's complex character.
There are a number of good sequences that are sheer entertainment, such as the catapult scene and Villon's first visit to Charlotte's palace, and that are rather impressive on the production end too. The story as a whole is the best kind of historical melodrama, with numerous turns of fortune and plenty going on.
Along with DR JEKYLL & MR HYDE, this 1927 action/adventure flick remains one of the best John Barrymore silent vehicles currently available to us. Here "The Great Profile" invades Douglas Fairbanks territory and more than holds his own. There is so much to like about this film that it's hard to know where to begin. Aside from Barrymore's charismatic performance there is the American debut of Conrad Veidt. Just observe his body posture as Louis XI and you'll see what silent screen acting is all about.
Then there is the opportunity to see Mack Swain away from Chaplin and Sennett. The sets by William Cameron Menzies are staggering and the camera work by Joseph August is among the finest in silent film. It was all brought together by Alan Crosland who is best remembered for directing THE JAZZ SINGER although this picture was much more typical of his style.
The print utilized for this DVD is taken from the Killiam Collection and is the same as the one issued by Image Entertainment in 2002. Although it's a little worn in places, the new transfer has better picture quality with the tinted scenes toned down compared to the old Image version.
The William Perry piano score, while not in state of the art sound, has been enhanced and is a great improvement over the previous release. It remains a good example of what a silent piano score should be. A rare opportunity to see John Barrymore in his prime with many other things to savor. It still excites the senses after all these years...For more reviews visit The Capsule Critic.
UPDATE 2024: A 35mm print was recently discovered in the Library of Congress. It has been restored and is a significant improvement over the old Killiam print which had numerous issues. The orchestral score by Robert Israel easily supplants the old William Perry piano score. It's currently available on Blu-ray from Kino.
Then there is the opportunity to see Mack Swain away from Chaplin and Sennett. The sets by William Cameron Menzies are staggering and the camera work by Joseph August is among the finest in silent film. It was all brought together by Alan Crosland who is best remembered for directing THE JAZZ SINGER although this picture was much more typical of his style.
The print utilized for this DVD is taken from the Killiam Collection and is the same as the one issued by Image Entertainment in 2002. Although it's a little worn in places, the new transfer has better picture quality with the tinted scenes toned down compared to the old Image version.
The William Perry piano score, while not in state of the art sound, has been enhanced and is a great improvement over the previous release. It remains a good example of what a silent piano score should be. A rare opportunity to see John Barrymore in his prime with many other things to savor. It still excites the senses after all these years...For more reviews visit The Capsule Critic.
UPDATE 2024: A 35mm print was recently discovered in the Library of Congress. It has been restored and is a significant improvement over the old Killiam print which had numerous issues. The orchestral score by Robert Israel easily supplants the old William Perry piano score. It's currently available on Blu-ray from Kino.
François Villon was a real-life poet and rogue who lived in Paris in the 15th century. However, most of what is portrayed in this historical film is actually fiction--from a play created at the beginning of the 20th century. Whereas in the film he met and became friends with Louis XI, in reality he died in his 30s and was never involved in all the intrigues like he was in this film. In reality, he wrote some lovely verse and was frequently on the wrong side of the law--not the combination of a patriot and Robin Hood-like character like he is in the film. Provided you know that the film is nearly 100% fiction, then it's well worth seeing--just don't assume it's a good history lesson.
In THE BELOVED ROGUE, Villon is played with wild abandon by John Barrymore. I was also pretty excited to see that his three friends were all played by very familiar faces. Angelo Rossitto, who was the plucky dwarf, played in tons of films over the years and had a very long career. Slim Summerville was a character actor known for adding a touch of comedy to films. Mack Swain is best known as the silent film foil in many of Chaplin's short films and played his partner in THE GOLD RUSH. All four of these men did a nice job and have no complaints---even with Barrymore's rather over-the-top treatment that was rather reminiscent of a Douglas Fairbanks performance. However, the performance I had a serious problem with was Conrad Veidt as King Louis XI. To call this "unsubtle" would be a gross understatement. He played the role like a high schooler who thought he was supposed to be the stereotypical Richard III--skulking about and acting like a demoniacal caricature. While Veidt was wonderful in many, many films (both silent and sound) but here he is just ridiculous.
As for the story, it's full of lusty adventure and action--like a swashbuckling film minus the sailing ships. The sets worked out well for all this, as they'd been used the previous year for THE HUNCHBACK OF NOTRE DAME. Both films were set around the same time period.
Overall, it's one of the last great silent films. There's a lot to like and the film is a lovely combination of romance, comedy and action. Well worth seeing, though it loses a couple of points for Veidt's overacting as well as the way the film plays fast and loose with history.
By the way, this film was also made twice as IF I WERE KING (1920 and 1938) and apparently these two films are closest to the original play. However, in total, six films have been about Villon and tell, more or less, variations on the same tale!
In THE BELOVED ROGUE, Villon is played with wild abandon by John Barrymore. I was also pretty excited to see that his three friends were all played by very familiar faces. Angelo Rossitto, who was the plucky dwarf, played in tons of films over the years and had a very long career. Slim Summerville was a character actor known for adding a touch of comedy to films. Mack Swain is best known as the silent film foil in many of Chaplin's short films and played his partner in THE GOLD RUSH. All four of these men did a nice job and have no complaints---even with Barrymore's rather over-the-top treatment that was rather reminiscent of a Douglas Fairbanks performance. However, the performance I had a serious problem with was Conrad Veidt as King Louis XI. To call this "unsubtle" would be a gross understatement. He played the role like a high schooler who thought he was supposed to be the stereotypical Richard III--skulking about and acting like a demoniacal caricature. While Veidt was wonderful in many, many films (both silent and sound) but here he is just ridiculous.
As for the story, it's full of lusty adventure and action--like a swashbuckling film minus the sailing ships. The sets worked out well for all this, as they'd been used the previous year for THE HUNCHBACK OF NOTRE DAME. Both films were set around the same time period.
Overall, it's one of the last great silent films. There's a lot to like and the film is a lovely combination of romance, comedy and action. Well worth seeing, though it loses a couple of points for Veidt's overacting as well as the way the film plays fast and loose with history.
By the way, this film was also made twice as IF I WERE KING (1920 and 1938) and apparently these two films are closest to the original play. However, in total, six films have been about Villon and tell, more or less, variations on the same tale!
In 15th century Paris, poetic lover John Barrymore (as Francois Villon) leads crowds in an extended celebration of "All Fools' Day" which irks King Conrad Veidt (as Louis XI). Consequently, Mr. Barrymore is banished to the outskirts. After Barrymore is caught sneaking back to the city, Mr. Veidt sentences him to death. Barrymore proves himself cleverer than your usual connoisseur of wine, women, and song. He convinces the superstitions Mr. Veidt their deaths are destined to occur within the same day, and becomes a pampered member of the court. Soon, Barrymore risks his life to rescue beautifully figured Marceline Day (as Charlotte), and save France...
This version of "If I Were King" is obviously tailor-made for Barrymore. The United Artists production values are very high.
Barrymore was one of the best actors around through the 1920s. He appeared in relatively few films, but they were carefully selected. Here, he is probably at his "hammiest" - which he admitted upon seeing the film at a crowded premiere. Not to be outdone, Veidt chews a fair share of the scenery. Lucy Beaumont leads an accomplished supporting cast. However hammy, Barrymore is highly appealing. He is also, despite reports to the contrary, still in peak physical form. Not only does Barrymore display boundless energy, he plays the last act in a loincloth. Barrymore was now in his mid-forties. His famed "Great Profile" is also very much in evidence.
******* The Beloved Rogue (3/12/27) Alan Crosland ~ John Barrymore, Conrad Veidt, Marceline Day, Lucy Beaumont
This version of "If I Were King" is obviously tailor-made for Barrymore. The United Artists production values are very high.
Barrymore was one of the best actors around through the 1920s. He appeared in relatively few films, but they were carefully selected. Here, he is probably at his "hammiest" - which he admitted upon seeing the film at a crowded premiere. Not to be outdone, Veidt chews a fair share of the scenery. Lucy Beaumont leads an accomplished supporting cast. However hammy, Barrymore is highly appealing. He is also, despite reports to the contrary, still in peak physical form. Not only does Barrymore display boundless energy, he plays the last act in a loincloth. Barrymore was now in his mid-forties. His famed "Great Profile" is also very much in evidence.
******* The Beloved Rogue (3/12/27) Alan Crosland ~ John Barrymore, Conrad Veidt, Marceline Day, Lucy Beaumont
Lo sapevi?
- QuizThis film was considered lost for many years until a copy, with the original tinting, was found in the late 1960s in the personal archive of Mary Pickford.
- BlooperWhen François and others leave the King's presence, they turn and walk away. It was forbidden for any to show their back to the King; they should have departed by backing away until they were out of his sight.
- Citazioni
François Villon: Happy is Paris, where fools reign once a year - while everywhere else the fools reign all the time!
- ConnessioniFeatured in Hollywood (1980)
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Dettagli
- Tempo di esecuzione1 ora 39 minuti
- Proporzioni
- 1.33 : 1
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