Il principe e il povero

The reign of Edward VI of England would be little remembered if it not were for the writing of this story by an American of all people, Mark Twain. In point of fact Edward Tudor ascended the English throne in 1547, the son of Henry VIII and died six years later, not even reaching his maturity. His reign, such as it was, was marked by a struggle for power by several factions of nobles. That story can be seen in the films Young Bess and also in Lady Jane. There was no happily ever after endings for young Tudor.

At first glance it wouldn't seem possible that Samuel Langhorne Clemens of Hannibal, Missouri could write a classic tale about medieval England. But thinking about it, is the poverty and young Tom Canty's dealing with it in Offal Court all that different from Huckleberry Finn? Is his father, a coarse and brutal man beautifully played by Barton MacLane, all that different from Huck Finn's pap?

Twain knew his characters well and it he had any trouble with getting the idiom just right he need only have looked to Charles Dickens who was writing about just such people a generation before.

The story is simply that Tom Canty, a beggar boy from Offal Court in London gets into the palace of the king and meets up with young Prince Edward. They look alike enough to be twins and in fact they are played by twin brothers Billy and Bobby Mauch. They exchange places and the switch works only too well.

Top billed in the film is Errol Flynn who plays the fictional Miles Hendon, soldier of fortune just returned from the continent. Flynn was the biggest name in the cast, but the film is half over before he makes his appearance. In point of fact, he's really in support of the Mauch twins. It's Flynn's third appearance with sword in hand for Warner Brothers after Captain Blood and Charge of the Light Brigade.

This film also marks Flynn's first film with Alan Hale who appeared in eleven films with Errol. A film wasn't official at Warner Brothers unless either Alan Hale or Frank McHugh was in it. Jack Warner kept both those guys real busy.

Also in the film are Henry Stephenson and Claude Rains who play competing nobles vying to be top man in their minority monarch's reign. As I said unfortunately that marked Edward VI's entire time on England's throne.

But we have Mark Twain in his classic story and the brothers Warner to thank for bringing Edward VI's story to life for generations to come. I wonder if during his short life, young Edward might really have wished to escape what he had, even if it meant a place like Offal Court.

The family movie in all its splendor !although it's basically" an Errol Flynn movie," it's a long time before the famous handsome actor appears and anyway the real stars of the movie are the sensational Mauch Twins.

Based on a novel which tells an implausible story (but didn't Alexandre Dumas do the same in the "vicomte de Bragelonne " in which the Sun King had a twin too?), with a moral full of wisdom : the taxes on the windows is a theft,says the would be king,because the air and the sun do not belong to us; the royal seal ,which can send people to the scaffold is ridiculed and used as nutcracker; when he visits the dregs of the society ,the would be beggar discovers the sufferings of his people . His protector is foot loose and fancy free and does not care a little bit for the honors or the mountain of things the young king wants to offer .

Billy Mauch,dressed in royal clothings , is at first completely lost in this unknown world of luxury , but he regains strength when he discovers his court's greed (of which the old king Henry- colorful Montagu Love - was aware )Robert is particularly moving when he says her "our father " prayer before a traitor who wants to do away with him .

Fleischer 's color remake (1977) is fine ,but the black and white Twain adaptation was not surpassed.

The Prince and the Pauper is a charming and witty film. Errol Flynn, although appearing a little late in the film, gives a great performance as an adventurer who protects what he believes is a delusional boy. The Mauch twins, Billy and Bobby, are perfect foils for Flynn, who's interaction with the Prince of England is touching, warm and comedic. As usual with Flynn's films Erich Wolfgang Korngold's music is brilliant, weaving a childlike main theme with an undercurrent of adventure. Every time you hear the score one almost picture a child giggling, while playing hide-and seek. It is one of Korngold's least known scores, but it is a gem. Flynn was a tragic figure, a larger then life adventurer and lover who 's reputation, after death, naturally, was smeared by a several books, now proved to be false. Truly, a man born in the wrong century. There is no actor capable of pulling off what Flynn did in his hay day. He has been largely ignored by Hollywood. Hypocrites, I think might be an appropriate term to attach to today's Academy moguls. A rake, drunk and scalawag? Yes. But he was the guy who has a least a half dozen classics that have stood the test of time. Unfortunately, the Prince and the Pauper is rarely seen on TV nowadays. A shame. Where would we Walter Mitty's be without the last of the true swashbucklers?

Those who hope to see a lot of Errol Flynn in this movie will be disappointed ... it is a good hour before he makes his appearance as Miles Hendon.

The novel by Mark Twain looked at what might have happened if the future Edward VI was swapped for a beggar boy who looked identical, and what that might mean for the (simplified) political situation on the death of his father, Henry VIII.

As Edward and the beggar, Tom Canty, identical twins Billy and Bobby Mauch are charming. Much better than the split screen versions in later remakes of the 60s and 70s. They were both good little actors as well, which helps in this story.

Claude Rains excels as the villain of the piece, while Alan Hale, Eric Portman, and others make up the cast. Flynn himself is fun as Hendon, swashbuckling with the best.

After 70 years this film has not dated one jot - highly enjoyable.

Mark Twain was a man who sometimes could not get a notion out of his head. He loved the issue of twins and switching births. It pervades much of his fiction, and few seem to comment on it. In one of his early sketches he tells an inquisitive reporter that the tragedy of his life was the strange death of his twin - the boy had one only one mark on his body that differs him from his brother - Twain shows it to the reporter on his own person, and says that was the boy who supposedly died mysteriously and was buried. The reporter leaves after that tidbit.

Of course the novel (which became the subject of this film and several others) is the one that people think of as Twain's "twins switching" story. It isn't. He would write (in the 1880s) a piece called "Those Amazing Twins" about a pair of Italian Siamese twins. The piece (which is not one of his best) became part of the germination that led to his last great Mississippi novel "Pudd'nhead Wilson". He separates the twin Italians into two twin brother Italian counts who turn up in the Mississippi town where the action goes. He also takes the "switched at birth" motif and uses it in the main story of Chambers the slave switched by his mother Roxey with young Tom Driscoll the wealthy heir.

Twins pop up too in "Tom Sawyer Detective" - which was based on an old 17th Century Danish murder case involving twins.

But it's "The Prince And The Pauper" (1876) that is recalled as Twain's "twin story". I think it's because the other pieces are minor or (like Wilson) full of other interesting small matters - like the business of the use of fingerprints to settle the mysteries of the plot (a first in 1894). Here it is central to Twain's looking at an appalling, inequitable social system in Tudor England.

Henry VIII is dying and his son Edward, Prince of Wales is aware that he is going to soon lose his wise father and take over the reins of government. Of course the truth is he is still too young (in 1547 he is only 11) and he really can only rule in his own right when he reaches adult age (presumably 21). He will need a "Protector" and the Duke of Norfolk and the Earl of Herford are the leading contenders.

In the film wise old Henry Stephenson is Norfolk and crafty, power-seeking Claude Rains is Hertford. Henry (Montague Love) appoints both to the governing counsel, but does not name Norfolk over Hertford (or the reverse). So Rains starts jockeying for position in a confrontation with England's premier Duke.

In reality it was more complicated. Norfolk was on the outs with Henry in 1547 (he was facing execution - his son the Earl of Surrey was executed the year before - but Henry's own death saved Norfolk). The two contenders were the Duke of Somerset (Edward Seymour), blood uncle to Edward VI through his mother, and John Dudley, Duke of Northumberland, who dreamed of placing the Dudley family and the Tudors permanently together by marrying the three Tudor heiresses, Princesses Mary and Elizabeth, and Lady Jane Grey, to his sons. One day this plan would blow up in his face (see TUDOR ROSE). Somerset's doom was tied to a similar hair-brained scheme of his brother Admiral Sir Thomas Seymour regarding marrying Princess Elizabeth (see YOUNG BESS).

Edward, in Twain's story, while waiting for the sad news, meets Tom Canty, a boy who looks almost exactly like him (here played - for a change - by the Mauch Twins). As a lark they change clothes so each can see how the other half live. Tom is soon over his head, causing his cousin Jane to question his sanity, and revealing enough to Hertford to realize that the false-King is his own key to power. Edward is unfortunately forced to endure the poverty of Tom's social class, but also the brutality of Tom's father John Canty (Barton McLaine) who is a professional thief. But Edward is soon helped by a young squire, Miles Herndon (Errol Flynn) who is trying to return to his ancestral home to regain his possessions from a greedy brother.

The twisty plot did show much of the underside of English Tudor living that many of the other early Tudor history films barely touched on (except to show the intrigues at court). It also had plenty of humor - look at the business about the usefulness of "the Great Seal of England", which is typical Twain humor. I feel this version of the story is quite good - possibly the best of the different versions of the novel that have reached the screen.