The Prisoner of Zenda

I've seen both Rex Ingram's "Scaramouche" and "The Prisoner of Zenda" and by far "Scaramouche" the more entertaining film. This film though, was very fascinating. Lewis Stone acquits himself well as the hero/drukand king and swordfights quite well. Alice Terry made a very beautiful princess. Ramon Novarro played the monocled villain, somewhat unintentionally funny. Barbara La Marr, the closeups of her face, wow! Seeing Valentino's "cousins" from "The Four Horseman of the Acapolyse" in supporting roles was really cool.

However, the Colman/Fairbanks Jr. version is far superior.

As with "Scaramouche", I found this film rather stodgy, with a lacklustre score. Lewis Stone is too old in his dual role and Alice Terry lacked any real charm. This picture belongs to its supporting cast- Barbara LaMarr ("too beautiful for her own good") as Antoinette de Mauban, Colonel Zapt, Captain von Tarlenheim and,of course, Rupert of Hentzau, played with relish and humour by Ramon Novarro. I think I prefer him in this role to any other I have seen him portray; perhaps his popularity with the female audience meant he became stuck in the part of gentle romancer (long after he had become too mature for this) rather than developing his abilities as an actor.

English traveler and sportsman Lewis Stone (as Rudolf Rassendyll) decides to attend the coronation of distant relative "Rudolf V." of Ruritania (also Lewis Stone, in a dual role), after the recent death of the foreign land's King. But proposed King Stone has a wicked half-brother, who covets the title. Receiving most of his help from charismatic Ramon Novarro (as Rupert of Hentzau), treacherous brother Stuart Holmes (as Grand Duke Michael) plots to poison Mr. Stone and take his place on the throne. But, due to the royal Rudolf's fondness for alcohol, a switch is made. One who senses something rotten in Ruritania is beautiful Alice Terry (as Princess Flavia), who is expected to marry one, but falls in love with another...

"Towards the end of the day, when the soul is weary and the heart longs for its beloved"...

Anthony Hope's classic adventure story gets the MGM treatment, even though the studio mostly called "Metro" by insiders was only M-G- (no Mayer, yet) at the time. Metro's mega-hit "The Four Horsemen of the Apocalypse" (1921) director Rex Ingram and the principle players gathered here stuck with the company; helping set the standard for MGM productions, Metro/MGM competed successfully with older studios. This film advanced careers, most notably helping propel Mr. Novarro to "superstar" status. There are also fine impressions made by veteran Robert Edeson (as Colonel Sapt), bewitching Barbara La Marr (as Antoinette de Mauban) and debuting Malcolm McGregor (as Fritz von Tarlenheim)...

Notable re-makes in 1937 (all talking, with Ronald Colman) and 1952 (in color, with Stewart Granger) are worth seeking out in a "twofer" package from Warner/Turner. They should have added this 1922 version. It's still entertaining, due to swaggering action, good production values and captivating performances. This non-speaking "The Prisoner of Zenda" was the standard silent film era version. It was the #4 "Best Picture" of 1922 according to the annual "Film Daily" poll of critics. Rex Ingram, Lewis Stone, Alice Terry and Ramon Novarro received director and acting accolades. Stone, at his silent best here, essays a small part in the 1952 version; it was one of the last roles for the perennial Metro-contracted actor.

******** The Prisoner of Zenda (7/31/22) Rex Ingram ~ Lewis Stone, Alice Terry, Ramon Novarro, Malcolm McGregor

Rudolf V, the King of Ruritania, has been kidnapped by Black Michael, his evil half-brother, and locked in the dungeon of the fortress of Zenda on the eve of his coronation. By a wild twist of fate, it falls upon a look alike distant cousin, the Englishman Rassendyll, to impersonate the king and effect his rescue before either one or both of them are killed by Black Michael or his henchman, Rupert of Hentzau. With two beautiful women complicating matters, and danger lurking at every turn, how can THE PRISONER OF ZENDA possibly be saved?

It is unfortunate that this fine silent film is completely overshadowed by its 1937 talkie remake starring Ronald Colman. It is also unfair. Silent films & talkies are two different art forms and should not be put into competition against each other. Each art form is perfect in its own way. And so it is with the 1922 PRISONER OF ZENDA. Excitingly produced, with excellent production values & good acting, this movie stands on its own merits and on its own feet.

Those familiar with Lewis Stone only as a fine character actor during his talkie career at MGM may be surprised to see him here as a romantic lead, and in a swashbuckler no less. But he is very good in his dual roles of Rudolf & Rassendyll. Strangely, at times he closely resembles Colman, but this is a coincidence no one could anticipate.

This was also the breakout picture for Ramon Novarro. Born to a large wealthy family in Mexico, he had arrived in California as a 15-year old looking to become a singer. That led him into dancing & finally to acting and the movies. Working incredibly hard for years, and largely supporting his family (driven North by Revolution) he finally caught the eye of director Rex Ingram. In ZENDA, the 22-year old Novarro plays rascally Rupert, who, with his little beard & moustache & face wreathed in constant cigarette smoke, looks quite sardonic. He does very well with the unsympathetic character. Playing a mid-European, Novarro begins a career which would have him acting every sort of ethnic role, from Hebrew, to Polynesian, to Chinese.

The rest of the cast all lend able support: Stuart Holmes as the wicked Black Michael; Alice Terry as the beautiful Princess Flavia; Barbara La Marr as the lovely Antoinette de Mauban, desperately in love with Michael; and Robert Edeson & Malcolm McGregor as two staunchly loyal officers of the king. Little comedian Snitz Edwards has a small role as a funny butler.

A retiring English country gentleman, Rassendyll, is mistaken for his distant cousin, King Rudolph of Ruritania. When the king is taken hostage by his jealous brother, Black Michael, Rassendyll agrees to act as the king in the coronation ceremony.

It takes a long time for this version of 'The Prisoner of Zenda' to get moving. The first hour or so is stodgy and less than riveting film-making, and then it gradually picks up momentum, and the last half hour packs a decent punch, especially action-wise. But all in all, a rather more lackluster, even crude entertainment than I had expected after the exhilarating 'Four Horsemen of the Apocalypse', also by Rex Ingram.

The script is largely at fault, with the scenes so disjointedly put together that it does not in long stretches make a lot of sense. It has the makings of some interesting psychological insights, but does not explore them. I would have made more - MUCH more - out of the fact that for a long while Black Michael seems a pretty decent fellow, genuinely in love with Antoinette and understandably preoccupied about leaving the fate of his country to his feeble-minded brother. But Ingram makes nothing of it and seems curiously uninspired.

The youngish Lewis Stone is an earnest Rassendyll/Rudolph, and sort of holds his own in the climactic sword-fight with, among others, Ramon Novarro. And now we are getting somewhere. This is Novarro's film. He was hardly a star when it was made, and his role does not take up a lot of screen time, but Novarro eats up the scenery with his monocled, slick diabolism. "While you're unhung, Rentzau, hell lacks its master!", Stone says, and right he is. Novarro is pure evil, and a delight to watch.