Un vagabondo alla corte di Francia

A cunning king of France allows a rapscallion poet to become Lord High Chancellor - for the space of only one week...

IF I WERE KING is a fascinating film based on the fictionalized lives of two very real personages, Louis XI and François Villon. The performances are impeccable, Preston Sturges' script is literate and Paramount Studios provided excellent production values.

As Villon, Ronald Colman makes full use of his most magnificent talent - his beautiful speaking voice. Like honey flowing over velvet, it caresses the dialogue & adds emotional heft to the lines of Villon's poetry used in the film. While perhaps a bit mature to swashbuckle altogether convincingly, he plays the lover very creditably in the romantic scenes.

Obviously determined not to acquiesce the entire film to Colman, Basil Rathbone is hilarious as King Louis. Gaunt, wizened & cackling like a crone, he effortlessly steals his every scene. Eschewing the use of his own superb speaking voice, Rathbone plays a character that will remind some viewers of the disguises the actor would use shortly as Sherlock Holmes. The sequences between Rathbone & Colman are very enjoyable, especially since in their only other joint appearance, A TALE OF TWO CITIES (1935), they had no scenes together.

The two women involved in Villon's life are portrayed by Frances Dee & Ellen Drew, one an aristocrat, the other a wench - lovely ladies both. Smaller roles are filled by fine character actors Henry Wilcoxon, Walter Kingsford, Sidney Toler, John Miljan & Montague Love. Way down the cast list is the always reliable Ralph Forbes, playing the king's toady.

Movie mavens will spot an uncredited Lionel Belmore playing the Chief Steward of the royal palace.

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Fat & ugly, Louis XI (1423-1483) was nicknamed 'the Spider' as a grudging tribute to his remarkable skills at plotting & scheming. Although he showed talent in administration from an early age, he also was quite adept at angering his father, Charles VII, and ultimately had to take refuge at the Burgundian court until the time of his succession to the throne. Almost universally unpopular, he set up an elaborate spy network which kept him informed as to nearly all that went on in his kingdom. His overriding mission was to crush the power of the great nobles, especially Burgundy - now ruled by the successor to Louis' former protector - and this he was largely able to do, thanks to his policy of encouraging the minor nobles and the middle class. The might of the French crown was significantly strengthened during his despotic reign.

François Villon (1431-1463?) was both France's greatest lyric poet and a complete scoundrel & ruffian. Raised by a chaplain, Villon absorbed none of the virtues of the Church, consorting with the basest of companions and involving himself in numerous scrapes, misdeeds & robberies. His murder of a priest during a street brawl was but one of several outrages. Imprisoned many times both in Paris and other French municipalities, Villon was almost preternaturally fortunate in being able to take advantage of various pardons & amnesties - all undeserved. After one final clemency, he was banished from Paris for life - whereupon he completely disappears from the historical record.

Although stained by a most unsavory reputation, critics have long admired Villon's poetry and have extolled both the exquisite imagery of his tender verses and the unremitting detail in the poems describing his coarser experiences.

The bulk of the tale told in IF I WERE KING is a complete fantasy. There is no indication that Louis XI & Villon ever even met.

If English Medieval history is unevenly shown in Hollywood films (see my comment on YOUNG BESS), French Medieval history is non-existant. The sole real centers of films on France from 1000 to 1500 are those dealing with Joan of Arc and those dealing with that contemporary pair of Louis XI (the "Spider King") and Francois Villon, the great vagabond poet. In short, the period of roughly 1429-1431 (with a brief look into the future, via George Bernard Shaw, into the 1450s), and 1471 - 1477). The rest of the fifteenth century is ignored. As for preceeding eras, BECKET, THE LION IN WINTER, and THE CRUSADES all deal with the tangle of French and English politics in the years 1160 - 1199, and the two films of HENRY V do deal with the invasion of France in 1415, and the battle of Agincourt (but no films about Crecy or Poitiers).

Louis XI was one of the most astute, crafty monarchs of France or any other nation in history. He is not a loveable figure (as his nickname of "Spider King" shows). But loveability was not a viable policy for any French monarch. England was a constant threat, even after the final defeat of the English in the Hundred Years War in the 1450s (long after Joan of Arc was burned). The monarchs would insist on keeping the Kingdom of France among their titles (after England, Ireland, Wales, and Scotland) into the 18th Century. There were dynastic marriages between the Burgundian royal house (modern day Belgium and Holland and the Rhineland make up what was Burgundy) and the British. Louis had to constantly balance friendly relations with realism about British aims (and Burgundian aims for that matter). Things came to a head in 1470 when Phillip of Burgundy, a wise leader, died and his son Charles the Bold (more accurately "the Rash") became Prince of Burgundy. Because of certain French lands near Paris owned by the Burgundians, Charles was a subject of Louis. But Louis's government was poorer than Charles's and he kept toying with either breaking his liege position with Louis or seizing the French throne. This latter policy led to a series of wars, including a siege of Paris. Remarkably, due to superior leadership qualities, Louis beat Charles - or rather Charles beat himself. In 1477 Charles died in a battle against another target - the Swiss republics. Louis died in 1483, the first really great modern French monarch or leader.

He was suspicious, and ever ready to use torture. But given the general standards of his period (the same time as the Wars of the Roses, and of the likes of Cesare Borgia) his use of torture was actually consistant with his contemporaries. Louis popped up in other stories aside from IF I WERE KING - he was the king in THE HUNCHBACK OF NOTRE DAME (in the 1939 film played, more kindly, by Walter Hampden). In a silent version of IF I WERE KING, BELOVED ROGUE (with John Barrymore as Villon)Conrad Veidt played him as more crafty and dangerous - and superstitious. He would also show up as the monarch fighting Charles the Rash in the film of QUENTIN DURWARD (after the novel of Sir Walter Scott) that starred Robert Taylor. In the present film he is played by Basil Rathbone, for once not tied down to sleuthing or to using a sword against Tyrone Power or Errol Flynn. He is able to demonstrate the frustration of a wise monarch, hampered by traitors and by a lack of popular support. The screenplay by Preston Sturges gives him some good lines of humor as well (he was a capable comic actor - see his pompous dried-out composer in RHTHYM ON THE RIVER, or even his greedy relative in WE'RE NO ANGELS). The make-up on his face makes his eyes look constantly rhumey and nearly unrecognizeable.

Villon is a great poet, of whom we know much but not enough. We don't know when he was born or when he died. We know he was a criminal (a thief and a murderer) but was able to avoid the scaffold - at least in known recorded history. In this film and BELOVED ROGUE he is forced to come to the aid of France, taking over the key job of High Constable (the previous High Constable, whom he killed, was a traitor to Louis). As this is a fiction, we are led to believe Villon manages within a week to instill spririt into the people of Paris, and to lead them to defeat the Burgundian army. Actually it was Louis who did that, with Charles's incomparably bad choices helping him. Still it makes a good story, and an enjoyable historical fantasy. The only thing missing is the Rudolph Friml score from Friml's operetta version, THE VAGABOND KING which did not appear until 1954 on screen. But even without that music it was enjoyable.

This is a legendary story about François Villon, the mediaeval French poet and adventurer probably best known in English for his line, « Mais où sont les neiges d'antan? » / "But where are the snows of yesteryear?" Some may recognize the line from Joseph Heller's Catch-22 take-off, "Where are the Snowdens of yesteryear?"

As I first began watching this, my immediate reaction was, "What an obvious attempt to cash in on The Hunchback of Notre Dame!", the film whose look and feel most closely resemble this one. But my chronology was backwards. The Laughton Hunchback is 1939. If you have ever seen the Chaney Hunchback from 1923, you may have been struck by how different many of the characterizations are from the more familiar version, especially that of the King. The 1923 French King is a nasty piece of work, just the sort of thinly disguised Napoleon III that Victor Hugo would conceive of. So where did the doddering but dear-hearted 1939 King played by sweet old Harry Davenport come from then? Well, that's easy. From Basil Rathbone's King in this film. They even look the same!

Rathbone, by the way, is completely unrecognizable. If he's played an impish character elsewhere, I've never seen it. He gets most of Preston Sturges's best and most typical lines of dialogue.

Sturges is the reason I was watching the film in the first place. Telltale signs are everywhere in the script, but we definitely do not get effervescent dialogue issuing forth from every mouth the way we expect from the later, classic Sturges films.

I am not a great fan of Ronald Colman ordinarily but he brings a lot of spirit to his part, even if he doesn't have quite the dash of an Errol Flynn. But he does have a lot to do with this film's overall success.

Frances Dee demonstrates once again that she is quite probably the best-looking American actress of the 1930's, although she has all the acting prowess of an Andie MacDowell. (If you insist on talent with your set decoration, then you probably would have preferred to see Paulette Goddard playing the part of the lady-in-waiting who catches Villon's eye.)

"If I Were King" has a lot going for it. Based upon a 1901 play by Justin Huntly McCarthy that was subsequently transformed into a successful operetta by Rudolph Friml, the screenplay for this version was written by Preston Sturges. That means it includes a significant amount of Sturges' unique brand of sophisticated and sly wit. This was early in Sturges' career, before he emerged as a successful combination writer and director. Sturges' later films included such classics as "The Great McGinty", "Sullivan's Travels", "The Lady Eve", "The Palm Beach Story", "The Miracle of Morgan's Creek" and "Unfaithfully Yours".

"If I Were King" also included superior performances by two great actors at the top of their game. Ronald Coleman was the perfect choice to play the swashbuckling poet-rogue, Francois Villon. For the benefit of those not familiar with French literature, Francois Villon really was a 15th Century French poet, he really did graduate from the Sorbonne and he really was a petty criminal who seems to have been constantly in trouble with the law. Born in Paris in 1431, Villon is described as having "disappeared from view" in 1463. To this day nobody really knows for sure what became of him, although the presumption is that he came to no good end. However, there is absolutely no evidence that he ever did anything even remotely heroic. Ronald Coleman possessed more than enough swashbuckling charm to carry the role, as well as the mellifluous voice to make the poetry work as few other actors, even in his day, could have done.

Usually known for playing either villains or Sherlock Holmes, Basil Rathbone, was given a rare opportunity to demonstrate his acting virtuosity by playing an aging King Louis IX; the clever, conniving and cynical French monarch who has become known to history as "Louis the Spider". At one point in the movie Preston Sturges has the King self-deprecatingly remark that, "The people of France already have one 'Saint Louis', another would only confuse them".

Ronald Colman gets his wish in "If I Were King," a 1938 film also starring Basil Rathbone and Francis Dee. Colman plays the vagabond poet Francois Villon, who is overheard by the disguised King (Basil Rathbone) criticizing His Highness and talking about what he would do if given the chance. He and his entire party are arrested, and Louis makes Villon the Lord High Chancellor. Villon gets to work immediately and elevates the king's reputation among the people. He opens up the stores of food at the palace and gives it to the citizens - they have no food because the city is being held by the Burgundians. The sentences he passes out to anyone arrested are merciful and fair. It seems as if he has succeeded. But what the King has failed to inform Villon is that he is only Chancellor for a week - and he has that week to convince the French army, who are refusing to fight the Burgundian army, to do so and win.

"If I Were King" is a great deal of fun, and Ronald Colman is delightful as Villon. But first, in response to a previous post, a word about accents. The previous poster asks if there was a vocal coach available, as there were people speaking in British and American accents - no French accents. Hollywood often confuses the accent issue of films set in foreign lands by casting one or two people who have some type of accent while the rest do not. The rule in acting is that no accent is necessary when doing a film or a play set in a foreign country. Why? Because the people of that country are not speaking English. They are speaking their own language. They are NOT walking around France speaking English with a French accent. This is why when actors perform Russian plays, or Hollywood did films set in Nazi Germany, Budapest, Spain or anywhere else, the actors did not have to use an accent of that country. An accent would only be necessary if a German were in America speaking English, for instance.

To get back to the cast, led by the wonderful Colman, Basil Rathbone is excellent as the hated Louis, and Frances Dee is lovely as Katherine de Vaucelles, who falls in love with the Lord High Chancellor.

Someone complained because Errol Flynn did not play this role. Flynn would have been marvelous, as he was a very charismatic actor, but I think Colman is marvelous. His Louis is not only energetic and charming, but highly intelligent, and Colman is able to shade the role in a way that Flynn, who tended to be much more superficial in his characterizations, could not.

An enchanting film, highly recommended.