Le prisonnier 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.

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."

Ronald Colman shines in the dual role of the dissipated Crown Prince Rudolph and the "simple Englishman", Rudolph Rassendyl. The crown prince's predilection for the bottle recalls Colman's earlier portrayal of the dark side of Sydney Carton from A Tale of Two Cities. In contrast, Rassendyll's reluctant gallantry and abiding integrity and honor epitomize the qualities for which matinée idol Colman had become known during his famous film career.

His scenes with the incandescent Madeleine Carroll are especially felicitous, both visually and aurally. The poignant, penultimate scene of the film left this reviewer with a wistful sense of regret that The Prisoner of Zenda was to be their only cinematic collaboration.

Raymond Massey was never better as the ambitious Duke Michael. The expressionistic qualities of his facial contortions make his lines almost superfluous.

The rakish Count Rupert, played by Douglas Fairbanks, Jr., represents the archetypal rogue. His perennial smile, abiding charm, and sardonic wit make him a curious composite of Don Juan and Mephistopheles. Like Massey, I have never seen the underrated son of the silent screen's most dashing hero in better form.

The film's remaining actors acquit themselves more than adequately. Mary Astor is the lovely Antoinette, Duke Michael's devoted, yet unfairly, neglected paramour. Her consistently dark raiment and shadowy movements are perhaps reflective of her lover's illegitimate origins, while at the same time belying her kind heart. Visually this is contrasted with the always radiant Princess Flavia.

The two royal bodyguards, Colonel Zapt and Captain von Tarlenheim, are a case study, to my mind, as to why films like The Prisoner of Zenda are consistently superior to today's mediocre fare. Although relatively lesser roles, they are capable of, and on more than one occasion, do dominate a given scene; moreover, in their own way they are as fully developed as any of the principals. The abiding sense of honor and loyalty expressed by C. Aubrey Smith's Colonel Zapt is so profoundly felt and reflective of a long-vanished ethos, that one laughs to think of any contemporary actor making such utterances. The paradox would be striking!

As for Zapt's protégé, Captain von Tarlenheim, given the camera's fondness for the handsome young star, it will come as no surprise to learn that this role was reputedly David Niven's first acting breakthrough. His gift for dry English understatement is the occasion for one especially humorous scene-stealing moment that I will generously leave to the curious viewer to enjoy for himself.

With such an outstanding, marquee cast that lives up to its advanced billing and then some, it is not difficult to understand why this film was such a rousing success when it premiered in 1937; so successful, in fact, that it was copied verbatim by MGM 15 years later after it purchased the rights from Selznick. With no slight intended to Stewart Granger et al., you cannot improve on perfection.

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.

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! ****