O Prisioneiro de Zenda

If I were to be left on a deserted island and had but one film to watch while I passed the time of day, "Prisoner of Zenda" would be that movie.

Of course it is not perfect. Some of the dialog and scenes seem dated by today's more cynical standards, and perhaps the characters lack the complexity seen in more contemporary films.

But I know of no other movie that tells its rousing story with such dash and style, while at the same time glorifying nobility of character, loyalty, honor, decency, tradition and self-sacrifice. Altogether, this is the film that shows the Old Hollywood skill of story telling at its very best, and leaves you feeling better for the opportunity to watch the great adventure and romance unfold before your very eyes.

Ronald Colman is virtually unknown today----and his presentation of the gentleman hero is decidedly old fashioned. But you believed in him and the innate integrity he brought to all his characterizations. Madeleine Carroll is a classic blond beauty perfectly cast as the princess destined to marry a king but who gives her heart to his look alike commoner cousin.

The rest of the stellar cast is outstanding. Many have pointed out how Douglas Fairbanks, Jr. as Rupert of Hentzau stole the picture as the charming villain, and they may well be right. Too bad that he got so few opportunities to show the full range of his acting ability. This is probably his best role.

Many---perhaps most of the values demonstrated in "Prisoner of Zenda" may appear rather quaint to us today. This is not because they are irrelevant. Our present society has significantly lowered the bar for what constitutes good behavior and more readily accepts and forgives what amounts to bad behavior. So-----be transported in time to a world where chivalry was still in style and honor was a virtue to be cherished. You will not be disappointed!

This is one of the truly great films to come out of the Golden Age of Hollywood.

If anyone wants to see an excellent movie made before the banner cinematic year of 1939, this would be a film to watch. It could hardly have gone wrong, with David O. Selznick as producer and John Cromwell as director. And a superlative cast of popular stalwarts, mostly from Hollywood's British colony. Ronald Colman is his usual smooth and accomplished self in a dual role, King Rupert (of some fictitious country) and look-alike Englishman Rudolph Rassendyll, very distant cousins. The scenes in which he faces himself onscreen – called `trick photography' then – are remarkable for the period. Lovely Madeleine Carroll plays a princess, betrothed to the king. Her equal in elegance and beauty wasn't seen on the screen again until Audrey Hepburn and Julie Andrews. Many critics have praised Douglas Fairbanks, jr, as a likeable rogue. He's very good, in an easy role. My applause goes to the two stars. The film is a glamorous combination of romance, spectacle and adventure. Don't even dream of realism; there was too much realism in ordinary life during most of the Thirties. This is a grand escape to a time and place that never were. If I had to pick a favorite scene in the film, it would be the famous entrance of Colman and Carroll into the coronation ball. The shot opens on the couple, walking fast, arm in arm, directly toward us. The camera pulls back and back and BACK until the grand staircase of the palace and the entire ballroom, filled with people, are revealed. Visually and technically, this single fluid shot is a stunning achievement. It shows us the creative work that could be done at the time, by hugely talented artists, long before the advent of zoom lenses and computer graphics. Elegance and class are not hallmarks of most current movies. `The Prisoner of Zenda' (1937) is a stylish and very satisfying example – a symbol, perhaps – of what escapist entertainment can be. And of what it could and should be, now and then, even today.

As my summary line might suggest, this is a movie that I have tremendous affection for and is one of the few movies I can watch again and again without a twinge of boredom.

This particular version of Hope's novel has to be the most supremely romantic film of all time. The combination of seven fantastic lead actors, a very witty script, excellent production values, tight direction, and good taste from all concerned make this a film that *must* be seen, and can be enjoyed by anyone of any age. It is, simply, a timeless masterpiece.

It must be said that the monumental achievement is Colman's for his brilliant portrayal of King and commoner. It is true that there are some parts of this film that have not aged well, and the story itself is only a thin (though classic!) adventure yarn, but out of this Colman has created a masterful portrait of a humane and dutiful hero and his flawed but equally interesting counterpart. It is Colman's quiet and absolutely accurate acting that stirs me most, although one cannot ignore the talents of his superlative co-stars. All in all, it is an ensemble acting film with Colman at the top--as it should be.

I envy anyone their first viewing of this remarkable film. It will not soon be forgotten even as flashier and louder thrillers invade our filmgoing consciousness.

Sir Anthony Hope Hawkins was a successful London barrister, who got his measure of permanent fame as the author of several novels. Some were quite popular in their day, like "The Dolly Dialogues" and "The Man In The Car" (which bases it's central figure on Cecil Rhodes). But it is his two "Ruritanian" Romances, "The Prisoner Of Zenda" and "Rupert Of Hentzau" that are the main novels he is recalled for, especially "The Prisoner Of Zenda". Set in a middle European kingdom, it was (for it's day in the last decades of the 19th Century) an updating of the swashbuckling novels of Alexandre Dumas. Dumas had some stories set in "modern Europe" ("The Count Of Monte Cristo" is set in the period of 1815 - 1830, and was written in 1844 - 1845), but most were in earlier periods, such as the 16th, 17th, and 18th Centuries. Hope Hawkins (who wrote under the name Anthony Hope) figured that there was sufficient intrigue and deviltry in modern Europe to transplant the plot style to the 1870s - 1890s.

And there was considerable intrigue, especially in Eastern Europe. In the 1880s Prince Alexander of Battenberg seemed set to become first Prince or King of Bulgaria. He had won admiration in Europe for his stunning victories over the armies of the Kingdom of Serbia in a war of 1885 (the war that was the background to Shaw's ARMS AND THE MAN), and was poised to get his crown, when the Russian Empire balked. They thought Alexander was too pro-German, and too close (due to family relationships) to Great Britain. So Alexander was toppled, and forced to leave Bulgaria under very humiliating circumstances. Eventually Prince Ferdinand of Saxe-Coburg got the Bulgarian throne.

"The Prisoner Of Zenda" is not based on the story of Alexander of Battenberg, but it shows the type of conspiracy atmosphere that pervaded the area. Basically the plot is an old one of substitutions concerning political figures. Dumas had used one in "The Vicomte De Bragalone", a huge multi-volume novel that included "The Man In The Iron Mask". One of the theories about the Iron Mask (the one that Dumas used)was that it was the twin brother of King Louis XIV. In that novel D'Artagnan has to thwart a plot to replace the Sun King with his brother - a plot that almost succeeds. Hope changed this slightly. Here the King is threatened by his ambitious half-brother, and the King's distant twin cousin replaces him to save the throne.

The 1937 film version of the novel is usually considered the best of several (including the 1951 version with Stewart Granger and Deborah Kerr, and a comic version with Peter Sellers and Lionel Jeffries in 1978). David Selznick was the producer, this being part of his series of movies-based-on-famous-novels that included "A Tale Of Two Cities" (also with Colman), "David Copperfield" (with W.C.Fields), and finally "Gone With The Wind". His casting was top notch, with Colman supported by Madeleine Carroll, Douglas Fairbanks Jr., Raymond Massey, Mary Astor, C. Aubrey Smith, and David Niven. It is an exciting and well made film, and definitely worth watching.

Selznick hoped to do the sequel "Rupert Of Hentzau", but that book is a comparative downer. Several of the main characters from the first novel are killed, and one of them shows a less likable side to his personality than in the first story. He toyed with a total rewrite of the story, to try to make Fairbanks a hero instead of a villain. The project never reached fruition. Probably just as well. It is rare for a successful film production to be replicated in a sequel.

This film is based on Anthony Hope's novel and directed by John Cromwell. Over the years, the story has been imitated with many versions. This Black and white offering is so well directed it plays as well in 1937 as in 2011. The lead is played most admirably by Ronald Colman who with his distinctive voice is both Major Rudolf Rassendyll and " The Prisoner of Zenda. " The plot is lead by Black Michael (Raymond Massey) who's facial features are suited for the part of a jealous villain. It is surprising however to see David Niven and Douglas Faitbanks Jr. on opposites sides, but each performs superbly even if Douglas does play a heavy. The inner story is that of a King who is slated for removal by duping the populace that because the king has been killed, Black Michael will assume the thrown in his absence. A later version will have Steward Granger in the title role and in color, but for me, Ronald Coleman will always be the Prisoner of Zenda in this Classic movie. Excellent rendition and highly recommended! ****