O Prisioneiro de Zenda

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.

'The Prisoner of Zenda' is one of the most fondly-remembered films of the '30s, and for good reason. It offers Ronald Colman, one of Hollywood's most beloved British stars, in the dual role of Rudolf, crown prince of a small European kingdom, and Rudolf Rassendyll, his look-alike British cousin, end product of a brief affair of an ancestor (as the Englishman puts it, "Fishing in forbidden waters"); the radiant Madeleine Carroll, best-known as Robert Donat's leading lady in Hitchcock's classic 'The 39 Steps', as the royal betrothed, who falls in love with the pretender; Raymond Massey, Canadian star of H.G. Wells' SF masterpiece, 'Things to Come' (and, 3 years later, the quintessential Abraham Lincoln on stage and in film!), as Black Michael, Rudolf's scheming half-brother; and, best of all, a youthful Douglas Fairbanks, Jr., son of silent Hollywood's greatest swashbuckler (and a pretty fair swashbuckler, himself), as the suavely villainous ally of Michael.

The story is simple, and has been done many times before, but never with such elan; drugged monarch-to-be must be impersonated by look-alike for coronation, lest kingdom fall into hands of evil half-brother. In the hands of this PERFECT cast (with terrific support by C. Aubrey Smith, a young David Niven, and Mary Astor) the tale becomes a stylish tale of love, intrigue, and derring-do. High points include an astonishingly beautiful Royal Ball, where Colman and Carroll reveal their love; a very funny yet menacing meeting between Colman and Fairbanks, as they discuss the real King's potential fate; and best of all, a MAGNIFICENT climactic swordfight between the pair, as they lunge and parry furiously through the halls of a castle, while exchanging quips and one-liners.

This is swashbuckling at it's finest! If you are unfamiliar with Ronald Colman's work, you're in for a treat...Don't miss it!

Of the at least eight film versions of Anthony Hope's famous novel, this is the best. There is a fairly decent silent version starring Ramon Navarro and a flashier 1950's version with Stewart Granger but this one leads the pack as the most entertaining and the best directed. Dashing Douglas Fairbanks Jr. always in the shadow of his famous father gives the role of Rupert all he's got and that's a lot. He steals every scene he's in, even from the likes of Ronald Coleman and Raymond Massey. He gives treachery and deceit not to mention opportunism new meanings in his double dealings. Few today have even heard of Junior, though most movie buffs have heard of his father silent star Douglas Fairbanks and step mother for a time Mary Pickford. Senior divorced Junior's mother to marry Pickford. Junior gave other outstanding performances on the big screen especially in "Gunga Din" in 1939 opposite Cary Grant and Victor McLaglen. He went on to have a popular television show in the early days of that medium "Douglas Fairbanks, Jr., Presents." He gradually retired from films. Sadly when he passed away in the year 2000 very few knew who he was.

Ronald Coleman gets to play two parts Maj. Rudolf Rassendyll and King Rudolf V, two lookalike cousins from a family indiscretion several generations back. He does so admirably. Though Madeleine Carroll as Princess Flavia who loves one cousin but is tied to the other out of duty and patriotism is a hard act to follow as always, Mary Astor gives her a good run for the money as Black Michael's (Raymond Massey)lady love. The two ladies counterbalance each other well as stand by your man women but for different reasons. The always underrated and under-appreciated actor Raymond Massey makes the character of Michael come alive with jealousy and vainglory but with true love in his heart for his Antoinette. The grand old man of early cinema C. Aubrey Smith is around to make sure all is done correctly according to pomp and circumstance. David Niven in an early screen role gives his portrayal of Capt. Fritz Von Tarlenheim the easy touch, almost tongue in cheek at times, which lightens the heavy load for the viewers. He is a good counterbalance for the dour C. Aubrey Smith. Silent screen veteran actor Montagu Love is present to show them all how it's done. What a troupe of Thespians to savor!

John Cromwell directs with flair and makes the film move at a fast pace especially near the end. The action sequence when the castle is stormed following the lowering of the draw bridge is intense. The rapier fight between Coleman and Fairbanks is still exciting to watch. The crisp black and white photography makes one forget that the film is not in color. For excitement, adventure, and romance by all means see the 1937 version of "The Prisoner of Zenda."

Mixed identities, castles, swords, fancy uniforms, Ruritanian romance, royal intrigues -- it's all here. What a lot of fun.

I could never really figure out Ronald Coleman's appeal. He's likable enough but from what I gather women used to swoon over him. Is he really handsome? If so, the quality slips past my perceptive apparatus. I do like his voice, though, so theatrically nasal and so hard to take seriously. Raymond Massey is Black Michael, he of the monocle and the perpetual sneer. Mary Astor and Madeleine Carrol are decorative and provide the men with motives. Outstanding, though, is Douglas Fairbanks, Jr., as Rupert of Hentzau. It's often said that a movie is as good as its villain, and that's as true here as in any other film. He laughs, he oozes charm, he beats people over the head with iron pipes, he stabs unarmed noblemen, he seduces women, he drugs kings, seems to enjoy betrayal, smokes too much, lies as easily as the rest of us breathe, and instead of fighting to the end like a man he jumps out a window and runs away, or rather swims away. He quotes poetry: "Oh, woman, in our hour of ease/ uncertain, coy, and hard to please./ When pain and anguish wring the brow/ a ministering angel, thou." David Niven is a lighthearted friend of the hero. C. Aubrey Smith is -- well, C. Aubrey Smith.

Niven hadn't gotten very far in Hollywood until he landed this role, which he was able to do only through the influence of Hollywood's "British colony." He began the shoot by playing the part in the breezy manner we now see on screen. This displeased the director and the producer, who wanted it dramatic, but when they saw how it looked on film they were tickled pink. (Both Niven and Fairbanks were to go on to meritorious service in World War II.)

The movie is so undemanding and so rewarding that it was remade several times, twice as a spoof. The 1950s version with Stewart Granger and Deborah Kerr is about as good as this one, only of course splashier.

The climax involves a nicely done fight with sabres between Coleman and Fairbanks. Coleman wasn't a physical actor and Fairbanks not a fencer, so doubles are used extensively, but without doing much damage. And it's curious to note that this was released in the same year as "The Adventures of Robin Hood," and both films use some of the same conventions, fighting with furniture, trading wisecracks during the fight, and the use of shadows swashbuckling away on the castle walls. This despite the fact that different directors were in charge. Hard to tell whether this is an instance of independent invention or some historical adhesion left over from one of Fairbanks' dad's early silents.

And enjoyable tale, not meant to be taken seriously.

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.