Beau Geste

First, the original novel by P.C. Wren is about the most exciting book I've ever read. Though it's generally considered adventure fantasy for adolescent boys, and I was a thirtysomething woman when I got around to reading it, I really couldn't put it down. HOW did all those Legionnaires stand at Fort Zinderneuf? Who stole the Blue Water? And of course I have had a major crush on Ronald Colman since my teens, so I had to buy the movie (on VHS, alas). But I love Gary Cooper, too. Which version to choose? Well, anybody but a Frenchman can join the Foreign Legion, but seeing Cooper and Robert Preston (love him, too) in this very English story just doesn't seem to work. Maybe Cary Grant should have done it.

The lesser known silent original Beau Geste footprint is a near match of its 39 carbon copy save for a few changes. Not exactly a shot for shot reproduction but filmed on the same locale (Yuma, AZ) with an outstanding cast conveying both high desert adventure along with a sense of desperation within the walls of Fort Zindernuff where a sadistic sergeant fends off a massive Arab assault.

Even without his sonorous voice Colman as Beau exudes a dashing nobility while Noah Beery as the sergeant holding down the fort is the silent equal of the magnificent Donlevy performance in the 39. William Powell as the craven Boldini is surprising effective playing against his usual urbane self.

As silent epic Beau Geste succeeds in nearly every facet with immense production values and fine performances in the key roles. But with a pristine print non-existent and the specter of the more popular sound version where Alfred Newman's score gives even more voice to the desert.

Beau Geste (BG) is a Classic of the Silent Screen honored in its own time as a movie great. It was remade successfully in one particular sound version that also resulted in similar acclaim. Most (but not all) such silent films involved epic stories that benefitted in their re-telling because of Hollywood's technological advances in better cameras, improvements in the use of color and modern achievements in sound fidelity. In the case of BG, the subsequent sound remake directed by William A. Wellman in 1939 is fondly remembered today by many people. However, it closely follows BG in its unique narrative presentation, and does not surpass the acting and set design accomplishments of the original version.

The list is long of such silent movie classics that were followed by acclaimed remakes. It includes, among others, Ben-Hur (original 1925, remake 1959); Stella Dallas (original also with Ronald Colman 1925, remake 1937); The Ten Commandments (original 1923, remake 1956); The Prisoner of Zenda (original 1913 and 1922, remake also with Ronald Colman 1937); The Man in the Iron Mask (originally titled The Iron Mask 1929, remake 1939); The Thief of Bagdad (original 1924, remake 1940); The Three Musketeers (original 1921, remake 1948); and Disraeli (original 1921 and remake 1929 both with George Arliss). There were other remake versions of these silent film classics, but the ones cited here are the most famous.

As for BG, it was an achievement then praised by the novel's author, Percival Christopher Wren, when he said that "it couldn't have been cast better." The film cost over one million dollars to make in 1926, which was a phenomenal amount of money at that time. Oscars were not first given out until the following year, but BG did win a Photoplay Gold Medal----then Hollywood's most honored competitive award. Shot on location in the Arizona desert outside Yuma (exactly like the 1939 remake), the filming presented a difficult and challenging experience for all concerned. But the final result produced a bona fide timeless classic that thrills us to this very day. It is one of the greatest action films of all time.

BG was also a seminal event in the career of Ronald Colman. In it, he perfected his image of the decent, brave and honorable man of valor, whose code of personal behavior allowed him to reach heights of greatness and nobility of character. He would go on to hone this image in numerous subsequent movies, and do so with considerable charm and charisma. While Leslie Howard also developed somewhat similar qualities in many of his own screen roles, Colman could project more physicality in his performances and therefore was probably the more versatile actor of the two.

Audiences watching BG cannot help but be moved by the power of this film and its rousing narrative. It is not to be missed.

I was delighted to see Ronald Colman in the first silent that I've had the pleasure to watch him in! The cast is excellent, and the plot device of starting the movie at almost the end of the story, and going back in time to solve the mystery is unusual for the time and well conceived.

The plot revolves around three brothers, their love for each other, and a missing family jewel called "The Blue Water." The jewel is taken at the beginning of the movie, and Colman's character, the eldest Geste brother, Michael (Beau), is believed to be the culprit. The mystery of who took the priceless jewel and why, is solved as the story slowly unfolds with each brother joining the French Foreign Legion.

The desert shooting in this film is supposed to be some of the best ever photographed and the director, Herbert Brenon manages the Legionaries and Arabs treks across the desert splendidly! A fine cast with Neil Hamilton (Digby Geste), Ralph Forbes (John Geste), Alice Joyce (Lady Patricia Brandon), Noah Berry (Sgt. Lejaune), and William Powell (Boldini) go all out! This film is silent film making at it's best and rarely misses a beat! It will keep your attention from start to finish and is one of those films that must be watched closely in order not to miss out on the plot development and fine nuances of the characters.

I haven't yet viewed the remake with Gary Cooper, but it apparently follows almost verbatim with the original, which is the greatest of compliments!

Both this original and the Wellman remake are marvellous Golden Age films - it's difficult to compare silents with talkies, or either to the book. In the book you use your imagination, this 1926 original had a cast of thousands, '39 was a populist version with identical screenplay, full orchestra and name changes, '66 only had 2 brothers and muzak, whilst if made today would probably have nothing real in it at all.

Three English brothers - Ronald Colman, Ralph Forbes and Neil Hamilton - join the French Foreign Legion to escape one of them being accused of stealing a large diamond. They find a hard life awaiting them, coming from the hordes of seething Arabs but more especially their own intense Sergeant Lejaune (Noah Beery). The greasy rat Boldini as played by William Powell jarred a little, but only because you know how urbane he really was in retrospect, while you can almost hear Colman uttering his lines in his own inimitable way. The acting was believable, the direction appeared faultless and generally production values were Paramount-high.

Although I've seen the '39 film many more times I'm finding every time I watch this one (definitely unremastered too) it grows on me more and more, so heartily recommend it as the next best thing to Wren's novel.