Beau Geste

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.

After a fabulous gem is reported stolen from his adoptive Aunt's care, Michael "Beau" Geste (Ronald Colman) takes the blame and leaves England, enlisting in the French Foreign Legion and getting stationed in North Africa. His two brothers, Digby (Neil Hamilton) and John (Ralph Forbes), also enlist in an effort to get Beau to return home. They fall under the command of the sadistic Sgt. Lejaune (Noah Beery Sr.), and the troops can't decide if they'd rather kill him or the approaching hostile Arab army. Also featuring William Powell, Victor McLaglen, Alice Joyce, Mary Brian, Norman Trevor, George Regas,Donald Stuart, and Bernard Siegel.

I've seen, and enjoyed, the 1939 version starring Gary Cooper, and now I know that that later version closely followed this original. Director and screenwriter Herbert Brenon does a tremendous job with the Legion sections of the film, and it's surprisingly violent. The sections showing the Gestes as kids goes on a bit long, though. The opening segment of the film is revisited later, with the events shown from a different angle. I wonder how often that narrative device had been used by this point, if at all. The cast stand out for me was William Powell as Boldini, a shifty thief and scoundrel (someone calls him a "jibbering jackal" at one point) who is also in the Legion.

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.

If you're a fan of the 1939 William Wellman version of Beau Geste, then do yourself a BIG favor and rent the 1926 film starring Ronald Colman. I was shocked by the similarities in style and composition between both films; it almost seems as if Wellman was making an homage to the earlier film which, by the way, he was up for but didn't get the job to direct. In any case, there are some different twists to the story which make it very enjoyable to watch even if you're already familiar with the story. Fantastic locations and set designs.

Not a dull moment awaits the viewer in Beau Geste. Quite honestly, it's never boring. The great action scenes, great story telling, superb acting, fabulous art direction and amazing camerawork hold it up just as well today as in 1926.

Now, I'm not a fan of sweeping epics. I, for one, hate David Lean's work with a passion. But in the silent days, many a great epic film was made, and this in one of them.

Probably the most incredible thing is the sheer size of this movie. The opening scenes of the french troops advancing toward the fort, or later with the arabs doing the same thing, are astounding. Unlike in Lean's work, where crowds of chattering background players rush about in every direction, director Herbert Brennon skillfully weaves his literal army of extras over the sand dunes, obviously going to great lengths to ensure that he gets a breathtaking shot. And cinematographer Roy Hunt captures it impeccably, only as an artist would. I'd like to see more of his.

I saw this movie last night in a restored silent movie theater with live organ accompaniment. The organist, the incredible Dennis James, mentioned that some audience members might feel that they had seen this film before, only that they thought that it was with Gar Cooper. I haven't seen that version, but apparently it's almost a shot-for-shot remake. I'd love to see it if it's even half as good as this one.