Os Castiçais do Imperador

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.

Based on the Baroness Orczy tale of Russian Imperial espionage, this is actually quite a fun, if insubstantial, historical drama. It all centres around attempts to free a Polish dissident from prison. At the time, Poland was a vassal of the Czar, and so a group of influential Poles coerce the Grand Duke "Peter" (Robert Young) to write to his father imploring his intervention. What's this got to do with candlesticks, you might think? Well these clever little ornate gadgets have secret compartments - easy enough to smuggle a letter in. When they are inadvertently moved, then sold-on a few times it falls to Polish agent "Wolensky" (William Powell) to stay one step ahead of his Czarist protagonist "Countess Mironova" (Luise Rainer) and recover them before their secret is discovered and heads start to roll. Of course, you just know that these two are going to start to fall for each other, and sadly that is where the thriller element of this film starts to give way to the romantic one, and once we are in full slush mode, the whole thing rather falls away as we approach an ending that offers us little by way of jeopardy. It's a good looking film, though. Plenty of attractive people in attractive costumes; there is some chemistry between Powell and Rainer and Frank Morgan is quite fun as "Baron Suroff". Franz Waxman provides us with a rather unremarkably derivative score though - a sort of "Scarlet Empress" (1934) type affair that doesn't really help the rather uninspiring dialogue. It's my kind of genre and the Baroness did know how to conjure up a good intrigue, but this is all just a bit too join-the dots.

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.

The grand duke of Russia. Peter (Robert Young) is kidnapped by Polish nationalists using the oldest trick in the book. He believes that a beautiful woman (Maureen O'Sullivan) who is a complete stranger to him is in love with him at first sight. He is shocked! Shocked I say! To find out that rendezvousing with her is a trap and she does not find his physique and witty repartee irresistible. The Polish nationalists have Peter write his dad the Tsar a letter saying that he must release a member of the Polish resistance scheduled to be executed or Peter will be killed. They give Baron Stephan Wolensky (William Powell) the task of getting the letter to the tsar. Wolensky is a secret agent for the Poles and unknown to the Russians. That is until...

... the Russians uncover letters in Wolensky's handwriting that prove he is a spy. They give these papers to one of the agents of the Russian secret police, Countess Olga Mironova (Luise Ranier), and she is tasked with taking these papers to the authorities in Russia.

They both hide their papers in the secret compartment of one of two different candlesticks headed back to Russia from Vienna. Neither one knows about the other's mission although they are both aware of whom the other is secretly working for. And then on the way back to Russia the candlesticks are stolen by a common thief and they both are on the trail - all over Europe -to find those candlesticks. Rather Slavic complications and Eastern European sounding symphonic music ensues.

I was actually surprised I liked this one as much as I did, and that was mainly due to William Powell's great performance as the charming and sophisticated baron and the cleverness of the plot. As for what I did not like - I've never "gotten" the appeal of Luise Ranier. During her and Powell's cat and mouse game through most of the film, she simpers and whimpers annoyingly. But then I thought she did the same in "The Great Zeigfeld" and she won a Best Actress award for that role. Also, MGM's sappy happy ending department decided to make the Tsar of Russia have the disposition of Judge Hardy. Any history book will tell you that was not the case.

The handsome Prince (Robert Young) has been kidnapped and will be killed unless a Polish secret agent (William Powell) is able to sneak a ransom note to the Czar. Unfortunately, he chose a rather silly place to hide the note (inside a specially created candlestick) and it is lost. At the same time, a Russian spy (Luise Rainer) is trying to sneak in letters incriminating Powell as a spy--and also hides them inside the matching candlestick--which also is lost. Lots of intrigue follows--as well as some MGM style romance.

This film should have been better. After all, it starred the wonderful William Powell and had such supporting stars as Maureen O'Sullivan, Robert Young, Frank Morgan and Henry Stephenson--all fine actors. However, despite a decent script idea and such talent, the film was only okay. Much of this is because the script was rather tepid and talky--with too many scenes listening to the characters play verbal chess--trying to outfox each other. There was little 'zip' or excitement.

In addition, some of the blame probably resides with co-star Luise Rainer. While Ms. Rainer only made a small number of Hollywood films, she had the distinction of winning two straight Best Actress Oscars. However, when you see these two performances as well as her subsequent films you wonder why she received such accolades. The performances just didn't age well. In the last week or so I have seen six of her more famous films, I can't help but think that she was a terribly over-rated star. I'm sure she's a nice person and is still thriving today at 98 years-old. But her style of acting usually included staring wide-eyed into space and often reciting her lines in an over-eager fashion--more like a girl in a high school play than someone trying to play a realistic performance. While Ms. Rainer was better in THE EMPEROR'S CANDLESTICKS than in some of her other films (particularly DRAMATIC SCHOOL and BIG CITY), she still was not up to starring against Powell.

Now all this is NOT to say that this is a bad film--it's enjoyable enough. But there just isn't much spark or energy and could have been a lot more interesting. A decent time-passer and that's about it.