With no slight intended to Stewart Granger et al., you cannot improve on perfection. 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. At the end a The Prisoner of Zenda, The King being out of danger, Stewart Granger (As Rudolph Rassendyll) Must swallow a bitter pill By renouncing his. 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. 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. 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 abiding sense of honor and loyalty expressed by C. 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 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. Visually this is contrasted with the always radiant Princess Flavia. 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. Mary Astor is the lovely Antoinette, Duke Michael's devoted, yet unfairly, neglected paramour. The film's remaining actors acquit themselves more than adequately. Like Massey, I have never seen the underrated son of the silent screen's most dashing hero in better form. His perennial smile, abiding charm, and sardonic wit make him a curious composite of Don Juan and Mephistopheles. The rakish Count Rupert, played by Douglas Fairbanks, Jr., represents the archetypal rogue. The expressionistic qualities of his facial contortions make his lines almost superfluous.
Raymond Massey was never better as the ambitious Duke Michael.
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. His scenes with the incandescent Madeleine Carroll are especially felicitous, both visually and aurally. 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. 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. Ronald Colman shines in the dual role of the dissipated Crown Prince Rudolph and the "simple Englishman", Rudolph Rassendyl.
0 kommentar(er)
