Les aventures de Quentin Durward

Mid-point in his career Robert Taylor was given Quo Vadis and was such a success in it that MGM then gave him Ivanhoe and Knights of the Round Table and finally Quentin Durward. Taylor did not like these films, he referred to them as his "iron jockstrap roles." He much preferred westerns and modern pictures. But he went with the flow so they say.

The stream flowed well for him in Quentin Durward. What Walter Scott was trying to do in the novel and succeeds on the screen is juxtapose the lives of noble knight Quentin Durward and the scheming spider king Louis XI of France played superbly by Robert Morley. Louis XI is modern man, stripped of all pretenses, surviving on his wits. Durward is a figure from antiquity even in the 15th century.

Louis XI is one of the most fascinating monarchs in history and we've seen him as a supporting character both in If I Were King and in The Hunchback of Notre Dame. He was a guy who if one scheme didn't work, he had a backup plan, in fact about 5 or 6 backups. Most of us are lucky if we have 2 in any situation. But he had to rule that way. When he took the throne of France in 1461 they had ended the Hundred Years War and France was a devastated country. He couldn't afford to be starting any wars or he wouldn't have a country left. He had to rule by wile and stratagem and he succeeded. Too bad Robert Morley didn't make a film just about Louis XI. Great story, hope someone does it some day.

One of the most exciting action sequences in film history is done here with Quentin Durward battling the villainous Walter DeLa Marck in a burning bell tower while they are both swinging on ropes holding bell clappers. You should see the film for that alone.

This is a film to be watched with a wide and affectionate grin. Outstanding are Robert Morley as Louis XI, the infamous and wily 'Spider' of France, and Robert Taylor as the eponymous Durward, a would-be chivalrous hero born out of his time who is none too sure of himself. The necessary, and highly satisfactory, heroics are spiced with a rich leavening of humour and some genuine moral questions - how much should a man sacrifice for his country's sake? His love? His life? His honour?

But above all it is a joyous and thrilling romp that doesn't take itself too seriously. Durward wants to be a knight in shining armour, but circumstances tend to conspire against him, and his lady is definitely the stronger-willed of the two; though like the audience, she cannot resist his puppydog charm. And ambiguous, cynical, cowardly Louis is often in danger of stealing the show outright, as he sits at the centre of his web and pulls the strings that manipulate all the other characters - a far-from-two-dimensional villain after my own heart!

Definitely a superior swashbuckler, with a saving vein of humour.

One of the best sword and pageantry epics of the 1950s is MGM's "Ivanhoe". It's exciting, well acted and simply fun. However, despite "Quentin Durward" also starring Robert Taylor in yet another Sir Walter Scott novel, the experience is not nearly as satisfying. In fact, while the film isn't bad, it is a bit long and tedious at times.

When the story begins in the late 15th century, Quentin's elderly uncle is planning on marrying. While he is far from a great catch when you see him, he is a minor nobleman whose title would make a decent match back in the day. But before this old goat marries, he wants Quentin to leave their beloved Scotland and go to see the woman in France. He wants to be assured she's beautiful AND rich! Unfortunately, she's both....and Durward himself is smitten with her. There's a lot more to the film, involving Quentin going into the service of the very duplicitous King Louis...but essentially all this is subserviant to the romance.

The film looks good and was filmed on location. The castles are real and the costumes very nice. But the story itself and dialog...sluggish and hard to love. I found myself feeling tired throughout the film...and that normally means the film is a bit of a bore.

By the way, the portrayal of the Gypsies/Romani in this film is far from being politically correct. Deal with it or just skip the film.

During the early 1950's Hollywood had a magnificent obsession with what they called historical films. ' Ivanhoe ' arguably started them, and they were set in a mythical ' Middle Ages ' which must have helped many children of that era with their history lessons. ' Quentin Durward ' appeared reasonably late in this cycle, and Robert Taylor who had appeared in a few of them was paired with Kay Kendall, and as far as I could see there was little chemistry between them. In my opinion Kay Kendall with her great sense of humour steals the film, and with her wonderful voice shows how absurd this whole genre is. The story begins in Scotland with Taylor being sent to a troubled France to get a bride for his very old uncle, and to keep the story going he lands himself in a mess of politics that must have baffled many who saw the film. No spoilers except to say that there is a unique fighting scene where two men have a sword fight hanging from bell ropes in a burning castle. It is well worth waiting for because it is a fantastically good bit of film making. I love these films because of their delusional freedom to play fast and loose with historical fantasies. ' Quentin Durward' is not in my opinion the best, but it is highly enjoyable and Kay Kendall is worth seeing in any film.

A peripheral pleasure was the sight of those great English character actors, the backbone of so many heroic films. Alec Clunes for example, whose son, Martin, is such a favourite today. Wilfred Hyde White, usually an elegant toff, was here a barber with a delightful wig shaving Robert Morley. He of course was in danger of stealing the show, a villain with a winning smile and wonderful accent. I relished the sight of a Kay Kendall in what appeared to be a white nightdress; but even more more striking was the speed with which she added a robe, whilst running round the castle with Taylor. We so easily take the music for granted; here it was expertly matched to the action, wonderfully orchestrated and brilliantly played and conducted - but by whom? The composer Bronislaw Kaper? Was it recorded in London or Hollywood? The professional skill that these musicians displayed deserves far more attention. Too often today the score is synthesised, or inanely repetitious regardless of the scene and the action.