Beau Ideal

American adventurer Lester Vail (as Otis Madison) joins the French Foreign Legion to find boyhood pal Ralph Forbes (as John Geste). They face danger and fight Arabs. Although the men often seem like they'd be more interested in each other, they are rivals for beautiful Loretta Young (as Isobel Brandon). This sequel to "Beau Geste" (1926) features the same sort of story, but falls like sand through an hourglass. Reprising their parts in the earlier film are Mr. Forbes and director Herbert Brenon. After guiding several classics, Mr. Brenon was highly regarded. He seems to be having some trouble coordinating the new sound of motion pictures with his usual skill. The script is confusing and the performances histrionic.

**** Beau Ideal (1/19/31) Herbert Brenon ~ Lester Vail, Ralph Forbes, Loretta Young, Don Alvarado

This early version of Beau Geste deals with the youngest brother. It is still French Foreign Legion adventure, and looks more like a stage adaptation than a large budget movie.

Like any Beau Geste, it deals with childhood companions who grow up and join the legion, and find themselves in heroic circumstances which remind them of their childhood.

The Geste movies don't usually get into the grit and grim the way most modern movie makers like to. They generally speak in "larger than life" terms, which hold for a few minutes of a man's life.

The acting leaves something to be desired. The plot is coherent, but barely. As adventure yarns go, there is no more silliness than usual.

There is some grit and grind, which is theatrically done instead of graphically. The men in a prison pit languish from days of thirst and hunger. A few things that happen seem inconsistent, but we get the gist of the plot.

Each Geste film has something going for it. One had Cooper, Milland, and Preston well cast. One had an introspective reluctant Cool Hand Luke sort of Geste, who was seen as a "mover" who wrote a letter, although the letter was really written by Leslie Nielson as a legion commander.

This one has a historic novelty, an American who is gayer than the British characters. This apparently was not lost on the audience of the day, and was intentional, as we see from a bit of comic relief.

P.C. Wren wrote the story "Beau Geste" and several film versions have been made. However, few would know that he wrote two sequels, of sorts, and one of them was "Beau Ideal". I have not read the stories so I cannot say how close they are to this movie, but I felt completely underwhelmed by "Beau Ideal". It SHOULD have been a lot better, but the story just wasn't written very well--and perhaps that's the fault of the screen writer. So much of the story just didn't make any sense.

The story begins in a dank prison in the African desert--filled with starving and dying prisoners. Then, abruptly, it jumps back 15 years to England. A group of children are playing at some country estate and one of them is told that it's time for him and his mother to return to their home in America--and he bids them goodbye and his eternal friendship. Then, years later, John Geste (Ralph Forbes) returns from America to England--with the intention of asking the young girl from earlier in the film to marry him. I KNOW this made no sense--they don't seem to have seen each other in the many intervening years. How could a 10 year-old expect, when he grows, to marry a girl he never saw until over a decade later?! But what happens next REALLY makes no sense. He learns that the boys he adored on his previous trip to England had joined the French Foreign Legion (the film was VERY vague as to why). And, all but one of them had died....and the last surviving boy had been sent to a Legion prison!!! Okay...but Geste then tells the grown girl (Loretta Young) that he would take care of the problem. Huh?! Next, you see Geste joining the Foreign Legion. Wow. What a dummy. Friendship is one thing, but this is just dumb. But it gets a lot dumber! He's a good soldier but when there is a mutiny, he claims he was involved and gets himself sent to the same prison as his friend--who he couldn't even recognize because so many years have passed! Hmmmm. Might this be the dumbest character in film history?! Perhaps. I don't know about you, but entering a North African prison does NOT sound like something I'd do voluntarily!!!! Duh...

Soon the film is where it began--with another uprising in this work camp, he and the rest were thrown into a deep pit to rot. Days have passed since they received and food or drink. Eventually, a group of Bedouins arrive and let out Geste and his dying friend--the rest had long since died. It seems the men were left there because the camp had been wiped out--all were dead other than the two. Where all this goes next, you'll have to see for yourself. But understand that once again, some of what happens makes no sense--especially the woman who helps him late in the film AND Geste's apparent ability to dodge bullets! The bottom line is that the desert locale is great and the film has a bit of an epic feel to it. But the script is just bad--very bad. Geste seems idiotic and none of the film seemed the least bit possible. Not a brilliant triumph, my suggestion is to see one of the versions of "Beau Geste" instead.

By the way, the animals used in the films are Bactrian camels from Asia not the single-humped camels from North Africa and Arabia. Perhaps they had trouble getting the correct animals but they hid the second hump very well. But, the Bactrian is much shaggier and stockier and the ones in the movie are indeed Bactrians, not Dromedaries. Wow. I bet you biology professors out there are thrilled to hear this. Others, well...bear with me and my love of minute details!

The third film in the trilogy, this one may seem slow to viewers who haven't been able to watch the previous two (Beau Geste, Beau Sabreur). This story wraps up all the loose ends of the other two and throws in some new and interesting twists as well. The film follows the "Geste" saga from the perspective of two other characters originally introduced in Beau Geste and again featured in Beau Sabreur. Early black and white, kind of rough around the edges by today's standards but still well worth watching.

This needless sequel to 1926's "Beau Geste" suffers from that stiff, stagey quality common in early "talkies." The slightly-muffled nature of its sound recording merely emphasizes the lifeless quality of its dialog - perhaps its most dated feature. There are some good desert-scapes showing lines of Legionnaires crossing the Sahara, and the final reel has a rousing, if politically-incorrect, assault by rebellious tribesmen, but in general, "Beau Ideal" is little more than a mild curiosity for film historians. Loretta Young gets prime billing but has only a modest part.