I candelabri dello Zar

Perhaps because I was not very familiar with Luise Rainier performances (beyond "The Good Earth," which movie I didn't like), I was impressed by her in "The Emperor's Candlesticks." I use the conditional because of comments by others here.

Nevertheless, I found her charming, even entrancing.

William Powell gave his usual masterful best and all the other players were intriguing.

There were lots of "other players," too, and that each managed to be individualistic speaks of their own talents and of that of the director and script writer.

The movie was well directed, generally, and the script presented a view of a world long gone that we might otherwise never get to see.

It's a good yarn, with meshing stories of intrigue, and an adventure of an international race against the clock.

I recommend this as a must-see movie on many levels.

The beginning of The Emperor's Candlesticks shows Prince Robert Young and his manservant Frank Morgan at a masked ball. Bob gets distracted by a pretty face, Maureen O'Sullivan, and they enjoy a whirlwind romance that evening. Just when you think it's a cute movie, Maureen turns into a villainess and kidnaps him! This is an espionage thriller that shows you from the beginning you don't know who to trust and you don't know what to expect.

With a ransom note written to Bob's father tucked into a secret compartment of a pair of candlesticks, William Powell is supposed to smuggle the sticks out of the country so that the royal family can rescue the young prince without any scandal. There's another spy in pursuit of the candlesticks, and for a different reason: Luise Rainer. She and Bill don't know each other are spies, so there's quite a bit of tension as they try to get around each other while fighting for their own countries.

The plot of this movie can become a bit confusing if you're not fully paying attention, but if you're awake and alert, it's quite exciting. I liked the all-star cast, including Henry Stephenson, and the twists and turns along the way. It's refreshing to see Bill Powell without a martini in his hand, and this is a nice change of pace for him. Check it out if you're a fan.

The plot of "The Emperor's Candlesticks" is total nonsense in the 1930s Hollywood fantasies about benevolent despots, courteous kidnappers, and gallant spies. The story is only an excuse for a masquerade ball and a dash across Europe in pursuit of two candelabras that do not belong to the Russian czar or the Austro-Hungarian emperor, but are a gift from an Austrian nobleman to a Russian noblewomen. The carriers (the Polish Baron Wolensky and the Russian Countess Mironova, played by the stars, William Powell and Luise Rainer) lose and find and mistakenly switch the pair of candelabras.

Powell was unflappable in the midst of many ludicrous plots during the 1930s, often with Myrna Loy as a co-conspirator. Here, he is pitted against a lovely czarist secret agent, played, in a large wardrobe, by the great Luise Rainer. In the two immediately preceding films for which she won back-to-back Oscars ("The Great Ziegfeld" with Powell and "The Good Earth" with Paul Muni) and in her only other readily available film, "The Great Waltz," she suffered mightily. In "Candlesticks" she got a chance to play the kind of glamorous clothes horse role in which Marlene Dietrich specialized, with no occasion for jealousy at all. Dietrich and Greta Garbo both played spies in 1930s movies. Each appeared more sophisticated than Rainer's, but I find Rainer more credible as a spy with regrets about the consequences of her occupation than either Dietrich or Garbo. Rainer was also quite beautiful with high cheekbones and eyebrows as plucked as Dietrich, and received star keylighting from MGM.

Back in a gilded cage, Robert Young got a chance to be charming and gallant, impeded by the humorous bumbling minder played by Frank Morgan.

William Powell is always worth watching carefully for his inimitable understatements capable of turning any serious business into priceless comedy. There is no Myrna Loy here but instead we have Luise Rainer playing a Russian countess and spy and being absolutely irresistible, almost like Greta Garbo in her suavity, but Garbo was too serious for comedy. Luise Rainer is all comedy and almost outrageously charming. The couple is a perfect combination, William Powell playing a Polish baron in precarious standing with the Car and aware of it. Nevertheless he accepts the classified mission of delivering a petition to the Car, and to keep it safe he applies the secret mechanism of an 18th century silver candlestick of elaborate artistry. The problem is there are two candlesticks like this, and the other one is in the care of the Russian countess Luise Rainer, who also has a mission of smuggling a secret message in her sample. Naturally they are confused in the delivery, there are many additional threads to this mess leading more and more astray, compelling the protagonists to travel all over Europe to Vienna, Budapest, Paris and London chasing the candlesticks, and they finally end up in St. Petersburg facing the Car. It's a labyrinth of a crooked sieve involving also Roland Young as the Czar's son Peter and Maureen O'Sullivan as the only serious woman in the play - the film begins in Vienna with a great New Year's Eve ball at the opera in a obligatory masquerade, where Romeo (Roland Young) meets Julia (Maureen O'Sullivan) and they keep crossing each other's paths. It's a delightful espionage play and comedy and a feast for the eyes with many humorous and risky turns on the way, while for once in a spy thriller there is not one single casualty.

By the mid-1930s, the Poles and Russians had been feuding bitterly for nearly 1,000 years. The first two decades of the 20th century had been tumultuous for much of the world, culminating with WWI - the war to end all wars. Near the end of that war, France executed Mata Hari, an exotic dancer from the Netherlands. She was convicted of spying for Germany against the Allies. Espionage was now commonly known to exist between rival countries, especially the Soviet Union and Western Europe.

All of this provided a solid background for the plot in "The Emperor's Candlesticks." It is based on a novel by the same name written by Baroness Emmuska Orczy. The Hungarian-born British author was one of the early female writers of mystery and intrigue. Her best works were in historical fiction. The most famous of these were "The Scarlet Pimpernel" and its sequels. Two excellent adaptations of the Pimpernel have been made into movies - in 1934, and 1982 for TV.

While Orczy's book was published in 1899, the 19th century had much of the same political turmoil as the early 20th century. Orczy moved several times throughout Europe with her family before settling in London. No doubt, she had read or heard about suspected espionage between nations in that time. So, she wove a very nice tale of secrecy and intrigue into this story with a subdued but blooming romance.

For its part, Hollywood's MGM team added some wit and glamour to the story and made it an all-around appealing movie with top stars. Some other reviewers before the time of this writing (Oct. 2013) didn't see much in the plot, or thought it very silly. Certainly, the background for the plot was spot on for the time and geography of the film. The story is fiction in an historical setting. It has intrigue and adventure. It is a subtle romance. And with a nice dose of humor spread throughout, it might be considered a caper comedy. A very funny scene has the Baron (William Powell) and Countess (Luise Rainer) in their adjoining hotel rooms bouncing on their beds several times to make the springs squeak so that the other person will think he or she had retired for the night. Then each one sneaks out to catch the night train to Budapest.

That's just great entertainment, and I found this film very interesting and enjoyable. And, in the hands of William Powell, Luise Rainer, Robert Young, Frank Morgan and supporting cast, it's a superb movie.

There's one piece of trivia that might be of interest to viewers. A scene toward the end of the film has the Russian Czar in it, but we never see the actor's face. At the time of this movie, and well into the 1950s, Hollywood would not show on film the faces of actors in roles of key world figures - such as the U.S. President, or kings, queens or other prominent rulers. Today, of course, it would seem awkward not to show the faces of actors in any roles. Perhaps, in times past those offices were held in higher regard and public esteem than they are today?

Here are some favorite lines from the film.

Baron Stephan Wolensky, "Turn out the lights, turn out the candles and turn in."

Baron Stephan Wolensky, "Where's the best restaurant in town?" Hotel Clerk, "This one, sir." Baron Wolensky, "Are you sure?" Hotel Clerk, "Absolutely, sir. It's the only one."

Countess Olga Mironova, "Were you nice looking?" Baron Stephan Wolensky, "When?" Countess, "When you were young."

Countess Olga Mironova, "I thought you never read newspapers." Baron Stephan Wolensky, "I don't. I listen to what other people read."

Col. Baron Suroff, "Does your highness want me to be exiled to Siberia?" Grand Duke Peter, "I sometimes wonder."

Baron Wolensky, "What time is it, Albert?" Butler, "Half past two, sir." Baron Wolensky, "Ah, ah, good to get to bed early for a change. That enables me to get up early. Call me at eleven."

Mr. Korum, "I have some interesting news for you. The Countess Mironova is in Vienna. She leaves for Petersburg tonight." Baron Wolensky, "Tonight? Well that's interesting. I hear she's very beautiful." Mr. Korum, "And very dangerous." Baron, "Yeah, the words are synonymous."

Mr. Korum, "She's in the Russian Secret Service." Baron Wolensky, "How do you know that?" Mr. Korum, "We don't. We surmise. But you better be very careful. She may not be traveling through Vienna just by chance." Baron Wolensky, "Hmm, well still, there are always people traveling between here and Petersburg. That might be one reason they built the railroad."

Countess Olga Mironova, "You're Baron Wolensky?" Baron Wolensky, "And you're the Countess Mironova. Strange we've never known each other, isn't it?" Countess Mironova, "It is, isn't it? You're Polish, are you not?" Baron Wolensky, "Oh, yes indeed, and you're Russian. We're neighbors, so to speak." Countess, "So to speak."

Baron Wolensky, "Do allow me to look after your belongings. Those candlesticks, for instance, are more precious than you think." Countess Mironova, "Pardon me - they're more precious than YOU think."

Countess Mironova, "I read my newspaper." Baron Wolensky, "I never do." Countess, "Perhaps you're wise." Baron, "I wish I were. The wise are never lonely." Countess,, "Are you lonely?" Baron, "Yes... So are you". Countess, "Why do you say that?" Baron, "You are, aren't you?" Countess, "I've never thought of it."