The Prisoner(s) of Zenda

Ronald Colman (1937) and Stewart Granger (1952).

When is a movie a sequel or just another adaptation of the same literary source? That can be a complex question, but it's not in the case of 1952's The Prisoner of Zenda. MGM's lavish costume adventure is a remake in every sense of the word. It uses the same screenplay and the same music score as David O. Selznick's 1937 The Prisoner of Zenda.

Both films are based on Anthony Hope's popular 1894 novel. Its plot concerns an English gentleman named Rudolf Rassendyll who, while vacationing in the fictional country of Ruritania, discovers he bears a striking resemblance to a distant cousin: the soon-to-be crowned King Rudolf V. When the king is kidnapped by his treacherous half-brother on the eve of his coronation, Rassendyll is persuaded to impersonate the king to prevent political chaos. With the help of two of  loyal advisors, Rassendyll navigates the perilous court politics, tries to figure out how to rescue the king, and falls in love with Princess Flavia, the king's betrothed. 

The plot doesn’t hold up to much scrutiny, of course. It’s a fanciful tale that blends romance and swashbuckling effectively, though in uneven portions. Each film devotes about a third of its running time to the romance between Rudolf and Flavia. That subplot gets cast aside, though, when our hero hatches a scheme to save the king from Black Michael, the evil half-brother. A longer running time—to develop the love story and gallant adventure in equal measure—might have improved both versions of The Prisoner of Zenda. Still, considering their overall entertainment value, such criticism may seem a minor quibble.

Douglas Fairbanks, Jr. and James Mason play Rupert of Hentzau.

So, which movie is the better Prisoner of Zenda? I give the 1937 film the edge—but just barely. Ronald Colman is perfectly cast in the dual roles of king and cousin. He gets outstanding support from Raymond Massey as Michael and Douglas Fairbanks, Jr. as his opportunistic, rakish henchman. Madeleine Carroll makes a classy Flavia, but her scenes with Colman could use more passion.

Deborah Kerr as Flavia.

In contrast, Deborah Kerr shines brightly as Flavia in the 1952 movie and generates plenty of sparks with co-star Stewart Granger. The latter may lack Colman’s acting chops, but he makes a likable, charming hero. James Mason matches Fairbanks, Jr. as the henchman Rupert of Hentzau. However, instead of a rakish rogue, his Rupert is delightfully threatening and contemptible. The color photography is a bonus, too, adding some MGM glitter to the coronation and the royal ball scenes.

There have been numerous other adaptations of Anthony Hope’s novel, including a silent film with Ramon Novarro, a TV version starring Christopher Plummer, and a big screen comedy with Peter Sellers. The TV series Get Smart parodied Zenda in the episode “The King Lives.” It featured Don Adams doing a memorable impersonation of Ronald Colman and Johnny Carson in a cameo role as a footman.

The Five Best Ronald Colman Performances

Ronald Colman was certainly one of Hollywood's most versatile actors, being equally at home in romances, swashbucklers, comedies, and dramas. He even played a murderer once, though villainous roles were not really his forté. He is also one of my favorite actors and that made culling his impressive filmography to just five movies quite a challenge.

Ronald Colman and Greer Garson.

1. Random Harvest - Ronald Colman played dual roles in the same film on multiple occasions. In The Prisoner of Zenda, he starred as lookalikes: one being a Ruritanian king and the other an English gentleman. In A Double Life, he played a stage actor with a split personality, unable to separate his performance as Othello from his real life. But for me, his most brilliant "double role" performance was in the 1942 adaptation of James Hilton's Random Harvest. The film opens with Colman as "John Smith," a World War I veteran who has lost his memory and resides in a sanitarium. During a celebration of the war's end, Smith wanders into a nearby town and meets an entertainer named Paula (Greer Garson). Smithy (as she calls him) and Paula fall in love, marry, and have a child. They live blissfully in the English countryside until Smithy journeys alone to Liverpool and is struck by a taxi. When he awakes, he remembers his life as the affluent Charles Rainer--but he has forgotten his life as Smithy. Years later, he hires Paula--still not knowing who she is--to work for him. As Smithy and Charles, Colman plays two characters that reside in the same man. It's a brilliantly textured performance that also benefits from Colman's chemistry with Garson (I'd rank it as her best film, too). Those who quibble about the plot's happenstances are grumpy bears that should focus on the sublime cast and first-rate production.

With Art Linkletter on the show
"Masquerade for Money."

2. Champagne for Caesar - I'm always surprised that so few people have seen this smart 1950 comedy featuring delightful performances from Colman, Vincent Price, and Celeste Holm. Of course, it doesn't help that it's rarely shown on television, especially compared to other Colman classics. Ronald stars as an unemployed genius who is rejected for a menial job at Vincent Price's soap company ("Milady Soap--the soap that sanctifies!"). To gain revenge (and money), he appears on a quiz show sponsored by Price's company with the goal of eventually bankrupting the soap-maker. It's great fun watching Colman's confident intellect become befuddled when Price sends a beautiful "undercover agent" (Holm) to distract him. A funny film with a satirical edge, Champagne for Caesar also provides Price with one of his finest roles.

Colman and Madeleine Carroll.

3. The Prisoner of Zenda - Ronald Colman played noble characters numerous films (e.g., A Tale of Two Cities, Lost Horizon), but none compare to Rudolf Rassendyll. While vacationing in a small European country, this English gentleman agrees to pose as a kidnapped king to prevent a coup by the king's villainous half-brother at the coronation. It doesn't take long for Rudolf to realize his greatest enemy is not Duke Michael (Raymond Massey), but rather himself--for he has become loved by the people and he has fallen in love with Princess Flavia (Madeleine Carroll). Zenda affords Colman an opportunity to match wits with Massey while romancing Carroll and dueling with Douglas Fairbanks, Jr. As an added bonus, he plays the lookalike king with none of the flair and intelligence displayed by Rudolf.

Frances Dee and Colman.

4. If I Were King - Another under-appreciated Colman movie, this one casts him as 15th century French poet, thief, and all-around rascal Francois Villon. One night, while complaining loudly in a tavern about King Louis XI, Villon meets the king...who has donned a disguise while in search of a traitor. When the police try to arrest Villon for theft, a brawl ensues and Francois kills the treacherous traitor. Amused by the poet--and thankful that he disposed of an enemy--King Louis (Basil Rathbone) rewards Villon by making him the court's Grand Constable. What Villon doesn't know is that his new-found life will last only a week, as the king still intends to execute him. This lively historical yarn mixes romance, swashbuckling, and humor in equal amounts. Both Colman and Rathbone are excellent and their scenes together sparkle with wit (no surprise since Preston Sturges wrote the screenplay). It's too bad that Colman didn't make more films like this, though one suspects he was afraid of being pigeon-holed as a swashbuckler in the Errol Flynn mold.

Colman and Richard Haydn.

5. The Late George Apley - Based on John P. Marquand's 1937 novel and play, this appealing social satire takes aim at the Boston upper class circa 1912. Colman plays the family patriarch, who is determined to retain his blue-blooded values even as the world changes around him. Imagine his shock when his daughter falls in love with a "radical" young man from New York! The beauty of Colman's performance is watching George Apley evolve--somewhat painfully--from a stodgy, firm Bostonian to a man who recognizes his mistakes and becomes determined to correct them. Although I like Life With Father, I think The Late George Apley is a much better choice for a Father's Day movie.

Honorable Mentions:  A Double Life, A Tale of Two Cities, Lost Horizon, and Under Two Flags.

CMBA Classic Movies of 1939 Blogathon: The Light That Failed

A great actor who understood his limitations, Ronald Colman must have realized in 1939 that his days as a romantic lead were numbered. At age 48, he had just completed an incredible decade in which he drew critical and popular acclaim for classics such as A Tale of Two Cities (1935), Lost Horizon, and The Prisoner of Zenda (both 1937). He displayed his versatility by playing a swashbucker (Under Two Flags), a romantic poet (If I Were King), and a thinking man's hero (Sydney Carton in A Tale of Two Cities).

Although memorable roles still awaited--including a romance for the ages in Random Harvest and an Oscar for A Double Life--1939 marked a turning point in Colman's career. He made fewer films in the 1940s and appeared content to let other actors assume the mantle of romantic hero. What better way to make such a transition than as the melancholy artist hero of Rudyard Kipling's first novel The Light That Failed?

William Wellman's film version begins in England in 1865 with a sweet prologue in which childhood sweethearts Dick and Maisie decide to become artists when they grow up. When Dick learns of Maisie's pending departure, the two youngsters pledge to always love one another.

Years later, Dick (Colman) has become a war correspondent in the Sudan, drawing battle scenes for the newspapers back in England. He suffers a serious head injury when he saves the life of his friend, Torpenhow (Walter Huston). Months later, he learns from "Torp" that his drawings have garnered critical acclaim back home. Upon his return to England, Dick becomes a popular artist whose paintings of British soldiers in the Sudan fetch a handsome price.

While walking one Sunday afternoon, Dick encounters Maisie, who is struggling to achieve any kind of success as an artist. They gegin to meet weekly to discuss art and Dick quickly realizes he has never stopped loving her. However, when he expresses his feelings to Maisie, she decides to leave for Paris. Although she values their friendship (and his artistic advice), she is dedicated to her artistic career.

At the same time, Dick loses his zest for painting, sometimes altering his original artistic vision simply to make his work more commercially viable. He becomes interested in painting again when he meets Bessie, a barmaid romantically involved with Torp. With Bessie as his model, Dick begins to paint again, though his work still lacks passion. It's only when he learns of an impending tragedy that he is able to channel his loneliness--and grief over losing Maisie--into his artistic masterpiece.

Dick cradling Binky in his arms.

Though always interesting, The Light That Failed is a flawed film that works best as a portrait of an artist. Dick's ability to interpret and capture the emotions of others through his art contrasts sharply with his struggles to maintain his own relationships. Torp is his only close friend if one excludes the loyal Scottish Terrier, Mr. Binkles (aka Binky), that adopts him. Maisie values him as a friend and critic, but his love for her seems to be based on a memory of when they were young (he even mumbles her name while recovering from his head injury...long before meeting her again as an adult). As for Bessie, he calls her a "little piece of nothing" at one point, then tries to buy her help later when he needs it. The role is ideal for Colman, who doesn't hesitate to show Dick's cruel side, especially when he berates Bessie and destroys any chance of her having a long-term relationship (albiet slight) with Torp. But he also shows Dick's unselfishness, such as when he poignantly lets Maisie and Torp "off the hook" by sending them away when he needs them the most.

Ida Lupino as Bessie.

Walter Huston and Ida Lupino, as Bessie, deliver strong supporting roles in what is essentially a four-character play. Allegedly, Colman wanted Vivien Leigh to play Bessie, but it's hard to imagine anyone other than Lupino. She captures both the vulnerability and pettiness of the street-living Bessie. The one weak link, in terms of both performer and character, is Muriel Angelus as Maise. Her character's only endearing quality is her love for her art. She begs Dick for constructive criticism of her paintings, but then has trouble accepting it. When Dick needs her the most--and then offers her a way out--she takes it. There's no obvious selfishness to her actions; it's just that her total focus is on her work and that blinds her to the needs of others.

Director William Wellman once said: "The best director is the director whose handprints are not on the film." Indeed, Wellman always adapted his visual style to fit his films. In this case, The Light That Failed comes across as a rather stagy affair, with many scenes taking place in Dick's apartment/studio. That approach is certainly consistent with Dick's introspection, but leaves the viewer with the impression of having watched a stage play. Still, it works well in some scenes, such as when Dick receives bad news in a doctor's office, with a clock ticking loudly in the background, reminding Dick (and us) that time has already started running out.

Kipling's novel The Light That Failed was published in 1890 in installments in Lippincott's Monthly Magazine. It provides more backstory to Dick's character, tracing his upbringing as an orphan (which explains why making money on his paintings is important to him). The novel was filmed previously in 1916 and 1923.

The 1939 Colman version isn't a great film, but it's a very good one that provides an ideal opportunity to watch a wonderful actor in a juicy role. Yet, while The Light That Failed, as a whole, almost achieves classic status, it falls just short. Its flaws are encapsulated in the closing scene. On the surface, it's a moving display of gallantry and freedom. However, as one ponders the ending, it's also a depressing testament to one who has given up on life.


Click here to check out the the awesome reviews written by my fellow CMBA members as part of the Classic Movies of 1939 Blogathon!

Champagne for Caesar: Bubbling Over With Fun!

I don’t know what it is about bubbles but I like them. Glinda used a large bubble to transport herself in The Wizard of Oz. Doris Day sold Happy Soap in The Thrill of It All, which included a scene with a bubble-filled pool into which an unhappy James Garner drives his car. In Champagne for Caesar, bubbles are used on the set of the TV quiz show "Masquerade for Money” and fittingly call to mind the show’s sponsor, Milady Soap, which is advertised as “the soap that sanctifies.” But, bubbles are also reminiscent of champagne, so their use has a double meaning.

Champagne for Caesar is a fun, lesser-known film, in which neither champagne nor Caesar plays a critical role in the story. The latter is actually a parrot with some bad habits taught to him by college students. The former is one of the preferred habits of said bird.

The movie focuses on Beauregard Bottomley, a genius who has trouble finding work and shares a small bungalow with his sister Gwenn and the parrot. Beauregard is delightfully played by the versatile, silver-tongued Ronald Colman. The siblings observe a TV show aired on a small television in a store window around which a number of other people have gathered. The program is called “Masquerade for Money” where contestants dress up as a character about whom the host, Happy Hogan, then asks questions.

The following day, Beauregard is sent on a job interview to the Milady Soap Company. This company features a room with arms that hold various items, and reminded me a bit of La Belle et La Bete. Beauregard is introduced to the unforgettable company owner, Burnbridge Waters, who calls him a “dreamer,” doesn’t like his humor, and does not hire him.

Beauregard comes up with an idea. He knows that “Masquerade for Money” is sponsored by the Milady Soap Company and he figures the worth of the company to be approximately $40 million. He dresses as the Encyclopedia Brittanica and appears on the show. He welcomes any and all questions and answers them accurately and, often quite humorously, as well. Each time an answer is correct the amount won doubles. He then refuses to take the money and insists on coming back each week. Everyone loves him and the sales of Milady Soap soar. But then reality sets in: what if Beauregard never makes an error?

Milady Soap needs a secret weapon and they find one, in the beautiful and intellectual Flame O’Neill, who is presented to Beauregard as a gift from the Beauregard Bottomley Billings Montana Fan Club when he is sick with a cold. Flame arrives dressed as a saintly nurse and relieves neighbor Frosty (aren’t the names a hoot?) of her charge.

The story line is often predictable, but it is quite fun to see everything play out because of the talented, eclectic, and capable cast.

Vincent Price gives one of his best comedic performances as Burnbridge Waters, a character who occasionally leaves this plane of existence for a few moments at a time. When he is tempted to end his problems by pushing Beauregard into a vat making soap, Burnbridge’s devilish alter-ego appears on his shoulder to encourage him in the evil task.

Flame O’Neill is expertly performed by Celeste Holm, who offers a wicked little giggle when her ill charge is trying to sleep. She is the perfect temptation for Beauregard, but he does eventually cause her to have “Bottomley” trouble.

Gwenn Bottomley, the piano-teaching sister of Beauregard, is enchantingly portrayed by the gorgeous Barbara Britton, who may be best remembered for her twelve years as a Revlon Girl and for bringing Pamela North to TV in Mr. & Mrs. North.

Art Linkletter, who died this May at the age of 97, was quite good as the host of “Masquerade for Money” Happy Hogan.

The role of Frosty, the shapely neighbor who is ogled by all the men except Beauregard, was convincingly acted by Ellye Marshall, whose resume only includes five films.

Mel Blanc lent his remarkable voice to Caesar, the parrot.

Director Richard Whorf had a very successful career directing on TV including several episodes of Have Gun - Will Travel, Gunsmoke, My Three Sons, and The Beverly Hillbillies.

Champage for Caesar is available on DVD. Let the bubbles begin!