The King's Vacation

In "The King's Vacation," George Arliss has lost all touch of any hammy acting carried over from silent films. This excellent British actor of stage and screen was in his 60s by the time of sound movies, and he had less than a decade left before his retirement. Still, we have more than a dozen very good films in which Arliss starred in the 1930s.

Cinephiles will know of Arliss from our love of all things to do with films, and study of the silver screen history. The only way most people today would know of Arliss would be to see him in his films. And this is a good one to introduce audiences to an actor who could emote better than all other actors to his time. What Arliss didn't have in physical appearance or handsome stature, he more than made up for in his acting talent. His looks, his facial expressions, and his gestures alone spoke countless lines better than those spoken with voice by many another actor.

This film has a simple, slower and more deliberate plot than is the usual fare for Hollywood. As such, it was an excellent vehicle just to showcase the outstanding talent of Arliss, as well as that of the other actors, including his wife, Florence Arliss who plays his queen, Margaret. Arliss is Phillip, king of a fictitious eastern European country. Marjorie Gateson plays Helen, the love of his early life and mother of their daughter Millicent who is played by Patricia Ellis. The other major players are Dudley Digges as Lord Chamberlain, a very young Dick Powell as John Kent who is in love with Millicent, Vernon Steels as Barstow who is in love with Lady Helen, and O.P. Heggie who plays Thorpe, Phillip's faithful and loyal attendant.

While a simple story, "The King's Vacation" packs of lot of lesson and morality. This is a tale of love, pride and sacrifice. Other reviews may comment on the plot, but I think the great enjoyment is in seeing it play out. Some critics panned Arliss's roles in some of the many biographical movies he played. He certainly comes across as very hammy in those silent and some early sound biopics. But to see and enjoy the real talent of this great actor, one should watch any of a handful of very good films we still have with us. Among these are many of the films he made in 1932 starting with "The Man Who Played God." Besides "The King's Vacation," other excellent Arliss films include "The Working Man" in 1932, "The House of Rothschild" in 1934, "The Last Gentleman" in 1934, "Cardinal Richelieu" in 1935, and "Mister Hobo" in 1935.

George Arliiss plays accidental monarch King Philip, ruler of an unnamed kingdom. He got the throne by a premature childless death here, an accident there, and 18 years prior he was called upon to be king when he was not even close enough in the the royal lineage to be prepared from childhood for the role. He had to give up not only his simple life but also his wife and child since they were not of royal blood. But in the 18 years since he has become dissatisfied. He has full days of meeting people he does not care to know and dedicating statues to nothingness while in full dress uniform. He has a marriage in name only to his second wife, Margaret, although they are cordial to one another. The kingdom is actually ruled by a congress of sorts, so the king has no power other than signing bills passed by that congress.

But the people are beginning to revolt, and Philip is on their side. Not just because he feels powerless and useless in his role, but he truly believes they are just in feeling that the legislature is picking the pockets of the people with taxes and providing nothing in return. Thus he signs an unjust law just because he knows it will precipitate revolution freeing both himself and his people.

So he abdicates his throne. But then a surprise. Queen Margaret wants to give him his freedom because she has a "Mr. X" from her time before their marriage, just as Philip wants to return to his first wife.

At home Philip finds another surprise. His first wife has become quite the elitist. Gone is the vine covered cottage of their youth, and he is back in the same kind of mansion and is bogged down in stiff appointments with stiff people (her friends) he was trying to get away from, with someone always waiting to open a door for him. His daughter is salvageable, but she is in love with an inventor (Dick Powell) that mom does not approve of because of his breeding!

So Philip manages to escape one day for a walking trip to the town auction and who does he meet but his former queen! Without her crown Margaret is quite a bit of fun, and has even taken to smoking! There are some other twists and turns, but I'll let you watch and find out how this all turns out.

I wish George Arliss had made more films. They are usually a delight even if they have a few ham fisted moments, probably courtesy of the times in which they were made. Arliss always tried to help young acting talent by asking for specific young players to be in his films, and he likewise (usually) played a champion of the underdog with an air of mischief. Highly recommended.

As another reviewer mentioned, I wonder if The Duke of Windsor ever saw this film and took his cue from George Arliss. The story revolves about a King who has lost his appetite for being one, and yearns for the woman he was forced to leave behind. It is 18 years later now and he tries to adjust to her lifestyle and to his daughter. He was forced to dissolve the marriage , leaving them both to become king.

The story is a lovely old antique of the kind no longer made, a gentle romantic comedy played to perfection by Arliss and his former wife, played by Marjorie Gateson. His wife as a king is played by his real life wife, Florence Arliss. It is very short at 61 minutes but gives the viewer a glimpse of the marvelous talent and magnificent stage presence that was George Arliss. His presence makes this pedestrian story a must for viewers who appreciate excellence in acting.

George Arliss again plays the gentle giant in this short -ish film from Warner Brothers. He starts out as the King Phillip, but after an assassination attempt, steps down to what he thinks will be a quiet, private life. This was a strategic move, to avoid much bloodshed in the revolution that he sees coming ahead. Arliss had made a few silent films, and of course won the Oscar for his "Disreali" role. Marjorie Gateson is Helen who has her own plans in the works. After Arliss abdicates, things don't go according to plan... or at least according to HIS plans. His former wife has things all mapped out for him... which is a little confusing. Phillip catches his new fiancée in a lie, and will have to sort things out. Florence Arliss, George's real life wife, plays Margaret. The royalty aspect plays a small role here, and Phillip actually could have had any occupation, but I guess the fact that he was king adds a sense of loyalty and duty to the profession. It's an okay story. No real issues, but nothing too exciting. Directed by John Adolfi. He and Arliss worked together on seven films, but sadly, Adolfi died quite young at 52.

The underrated George Arliss is the best thing in this somewhat stilted royal drama. Unfortunately much of the political sentimentalising will seem dated and unconvincing, although Arliss' performance is suitable regal and sensitive. If only we could be so moved by the King's political difficulties as we are ultimately by his private ones, then it would be much better film.

The revolutionary upheaval in his State (which occurs off-screen) is a distant, mainly abstract affair. The King's humanity and concern for his subjects is pure Hollywood puff: the idea that such a figure would really be so liberal and caring requires quite a suspension of disbelief. Most unbelievable of all is the incident with the would-be assassin. After making an attempt on the King's life, the man is likely to be executed. After a brief interview with the King ('why, you talk like one of us!' says the agitator after just a few words) he is reprieved. Later, upon the King's abdication, we glimpse him in the crowd, waving as enthusiastically to the monarch as any loyal subject. As an account of real political strife and dissent or of psychology indeed, this is pure nonsense.

In contrast, the quiet ending, in which Arliss dispenses his more private emotional judgement with dignity and grace, is humane, moving, and probably the best moment in the film. It shows a maturity of vision missing elsewhere.