"THE PRISONER OF ZENDA" (1952) Review

 

"THE PRISONER OF ZENDA" (1952) Review

Back in the early 1950s, the Metro-Goldwyn-Mayer (MGM) Studios had purchased the screen rights to "The Prisoner of Zenda", Anthony Hope's 1894 novel. Only the studio had purchased these rights from producer David O. Selznick, who had produced his own adaptation of the film back in 1937. This new adaptation proved to be very surprising not only to moviegoers familiar with the 1937 version, but to film critics as well.

Let me start from the beginning. Anyone familiar with Hope's novel would know that "THE PRISONER OF ZENDA" began with the arrival of a high-born Englishman named Rudolf Rassendyll to the kingdom of Ruritania in time for the coronation of its new king, Rudolf V. The English visitor's looks attract a great deal of attention from some of the country's populace and eventually from the new king and the latter's two aides. The reason behind this attention is due to the fact that not only were the Briton and the Ruritanian monarch distant cousins, but also look-alikes. They could easily pass for twins. King Rudolf invites Rassendyll to the royal hunting lodge for dinner with him and his aides - Colonel Sapt and Captain Fritz von Tarlenheim. They celebrate this new acquaintance by drinking late into the night. Rudolf is particularly delighted with the bottle of wine sent to him by his half-brother, Duke Michael, and drinks it all himself. The next morning brings disastrous discoveries - the wine had been drugged, and King Rudolf cannot be awakened in time to attend his coronation. Fearing that Duke Michael will try to usurp the throne, Colonel Zapt convinces a reluctant Rassendyll to impersonate Rudolf for the ceremony.

"THE PRISONER OF ZENDA" had a lot going for it. I can only assume that MGM had decided to make the film in order to cash in on the popularity of Queen Elizabeth II's ascension to the throne in 1952. Director Richard Thorpe shot the film in Technicolor. And the cast featured first-rate performers like Deborah Kerr, Louis Calhern, James Mason, Jane Greer, Robert Douglas, Robert Coote and leading man Stewart Granger. In fact, MGM had specifically acquired the film rights as a project for Granger, following his success with the Oscar nominated "KING SOLOMON'S MINES". "THE PRISONER OF ZENDA" proved to be a big hit for MGM. But there is one aspect of the movie that I find mind boggling . . . producer Pandro S. Berman or perhaps studio chief Dore Schary had decided to shoot the film almost identical to the 1937 version. I kid you not.

My question is why? Why did the studio suits had decided to do a scene-by-scene remake of David Selznick's 1937 adaptation. For what reason? "THE PRISONER OF ZENDA" had so much going for it. Why did MGM decided to take this unoriginal route? Granted, this decision did not harm the movie's prospects at the box office. But surely the MGM suits must have realized that someone would recognize the production's lack of originality? Because of this, "THE PRISONER OF ZENDA" shared not only the 1937 movie's virtues, but also some of its flaws.

The 1952 adaptation featured great production values. With the contribution of a first-rate crew, Dave Friedman did an excellent job serving as the film's production designer and re-creating the opulence of any Central European royal palace, castle or lodging. MGM's legendary art director Cedric Gibbons, along with Hans Peters had created some sumptuous sets the conveyed the movie's setting. Richard Pefferle and Edwin B. Willis' set decorations aptly supported their efforts. Another Hollywood legend, Walter Plunkett, served as the movie's costume designer. Although Plunkett's creations were not an exact replica of mid-1890s Central European fashion, I thought he managed to create some beautiful costumes. I found myself slightly put off at the sight of Jane Greer wearing a pair of early 1950s shoes, despite the lovely costume she wore. The movie also featured what I believe where the 1937 movie's main flaws - namely the uneven balance of drama and action, along with the annoying dialogue that punctuated the major sword fight in the film's climatic action scene.

The cast for "THE PRISONER OF ZENDA" had provided some first-rate performances. Supporting players like Robert Coote, Kathleen Freeman, Peter Brocco, Francis Pierlot and Lewis Stone. The latter's performance as the Cardinal proved to be his second to last. Stone had also appeared in the 1922 silent adaptation of Hope's novel in the starring role. Jane Greer was very effective as Duke Michael of Strelsau's mysterious, yet passionate mistress, Antoinette de Mauban. Robert Douglas proved to be sufficiently villainous as Duke Michael, the half-brother whose resentment of King Rudolf set the whole story in motion. Deborah Kerr gave a lovely performance as the King's lovelorn and emotional cousin and betrothal, Princess Flavia. I thought Louis Calhern gave one of the film's best performance as the loyal, yet tough-minded Colonel Zapt. James Mason gave a very witty and menacing performance as Duke Michael's ruthless right-hand man, Rupert of Hentzau. However, I do have one issue regarding Mason. I thought he was slightly too old for the role at age 42-43. But the movie's star proved to be Stewart Granger, whom I believe was superb in the duel role of the charming and heroic Rudolf Rassendyll and the slightly dissolute King Rudolf V.

This brings me back to my original thought about the movie's remake of the 1937 adaptation. The production had everything right. It had an excellent cast led by an actor who seemed more suited for this story - at least to me - than the leading actor from the 1930s adaptation. Director Richard Thorpe shot the movie in Technicolor, something that producer David O. Selznick should have done back in 1937. "THE PRISONER OF ZENDA" also featured excellent production values that included beautiful costumes by the legendary Walter Plunkett. So . . . WHY? Why do a shot-by-shot remake of the 1937 film? Not only did the film feature the same or similar shots from the previous adaptation, it also featured a screenplay that proved to be word-for-word identical to the 1937 adaptation. Why did Dore Schary and Pandro S. Berman make such an unoriginal decision? In doing so, both men had exposed the film to potential disdain from film critics - past, present and future.

I would say that Schary and Berman's decision to make "THE PRISONER OF ZENDA" an exact replica of the 1937 version was a major mistake. On an artistic level, I believe it was. But the movie managed to be a hit back in 1952. And if I must be honest, thanks to Richard Hope's direction and the performances led the talented Stewart Granger, I managed to enjoy it in the end . . . despite itself.

"THE SHADOW RIDERS" (1982) Review

"THE SHADOW RIDERS" (1982) Review

When I first set out to discover how many of author Louis L'Amour novels had been adapted for the movies and television, I had assumed at least a handful had gone through this process. I was surprised to discover that many of his works had been adapted. And one of them turned out to be the 1982 television movie, "THE SHADOW RIDERS". 

I have only seen two L'Amour adaptations in my life - "THE SHADOW RIDERS" and the 1979 two-part miniseries, "THE SACKETTS". Both productions seemed to have a great deal in common. The two productions are adaptations of L'Amour (which is obvious). Both featured three brothers as the protagonists. Both starred Sam Elliot, Tom Selleck and Jeff Osterhage as the leads. The two productions also feature Ben Johnson as a supporting protagonist and Gene Evans as a villain. But in the end, "THE SHADOW RIDERS" and "THE SACKETTS" have their differences. The latter aired as a two-part television movie or miniseries that mainly featured action and drama. "THE SHADOW RIDERS", on the other hand, is a ninety-six minute television movie, with comic overtones.

L'Amour's tale is basically about two brothers - Dal and Mac Travern - who returned home from the Civil War after fighting on different sides and discover that a company of Confederate cavalry had raided their family's Texas ranch and the neighborhood for cattle, horses and especially people to sell in Mexico. Among those kidnapped by the raiders were other neighbors, the Traverns' younger brother Jesse (also a Civil War veteran), their younger sisters Sissy and Heather, and Dal's former sweetheart Kate Connery. The Confederate troopers, led by one Major Cooper Ashbury, hope to raise enough money or "merchandise" to trade for guns and ammunition from a notorious local gunrunner named "Colonel" Holiday Hammondin order to continue the fight against the Federal government. 

Upon learning what happened, Dal and Mac discover that the local lawman, Miles Gillette, seem incapable of going after the raiders. And once the Traverns recruit their jailbird uncle "Black Jack" from prison to help them, Gillette becomes more obsessed with capturing the latter. With no law to help them, Dal and Mac set out to rescue their family with the help of their Uncle Jack; Jesse, who managed to escape from the raiders; and Kate, whom they managed to rescue halfway through the story.

It seemed rather odd that a story about family kidnapping would have a comic tone. I have read other reviews of the movie and some L'Amour fans seemed put off by this tone. Personally, I have no problems with it. Yes, I have read the novel and it was pretty good . . . and somewhat grim. But I thought director Andrew V. McLaglen and screenwriter Jim Byrnes did a pretty damn good job in mixing the grim nature of the story with a strong comic element. The screenplay did not shy away from the horror of Major Ashbury's actions or how they affected the Travern family - especially Sissy and Heather. More importantly, most of the comedy came from the family interactions between members of the Travern family - especially Dal and Mac's reunion at a local tavern right after the war, the three brothers' reaction to Jack Travern's criminal past and the emotional reunion between Dal and Kate, who had become engaged to another man after hearing about Dal's erroneous death.

"THE SHADOW RIDERS" also featured some outstanding action sequences. My favorites include Jesse's escape from Ashbury's raiders, the three brothers' rescue of Kate, and the family's main rescue of the Travern sisters and their neighbors from Holliday Hammond's camp in Mexico. Being a veteran of many movies and television productions set in the 19th century, it seemed obvious that McLeglen was in his element with "THE SHADOW RIDERS". The action featured in the film struck me as very exciting, without any of the excess that seemed to mar a good number of action films and television shows, these days.

I only have few complaints about "THE SHADOW RIDERS". Despite its comic element, the main narrative focused a good deal of situations that involved family reunions between the Travern family. I certainly had no problems with most of them. But I had a problem one - namely the Travern brothers' reunion with their Uncle Jack, who was serving time at a local jail. I found it . . . rather lackluster. A bit too laconic and understated for my tastes. I understand that this scene featured mid 19th century American men, who may have been conditioned to keep their emotions in check. Yet, other reunion scenes - whether it was between Dal and Mac, or the pair's reunion with Jesse or their parents - seemed to feature some element of emotion. Is it because the brothers were dealing with the slightly larcenous "Black Jack" Travern? Who knows. I also had a problem with Mac's war background. The movie made it clear that he was a Union cavalry officer, who was in Georgia at the time the war ended in April-May 1865. I just do not understand why he was in Georgia at that time. He must have entered the state with William Sherman's forces in 1864. So . . . why did he remain in Georgia and not accompany Sherman into South Carolina?

If anyone would ask me, I believe the shining virtue of "THE SHADOW RIDERS" was the cast. They were outstanding. All of them - from the four leads to the numerous characters that appeared in this movie - were first-rate. They all seemed very comfortable in their roles, while at the same time, managed to provide a good deal of edge to their performances. In "THE SHADOW RIDERS"; Sam Elliot, Tom Selleck and Jeff Osterhage renew the screen chemistry they had created in"THE SACKETTS" with great ease. However, I was a little disappointed that Osterhage's role in this film seemed slightly diminished in compare to his role in the 1979 production. Katherine Ross made an excellent addition as the classy, yet strong-willed Kate Connery, who had been Dal's former sweetheart. This also gave Ross an excellent opportunity to share some rather funny and romantic scenes with her off-screen husband, Elliot. Hell, she even managed to work well with Selleck, Osterhage, Geoffrey Lewis and Gene Evans.

Ben Johnson was a hoot as the Traverns' laid-back, yet larcenous uncle, "Black Jack" Travern. I could also say the same about Gene Evans, who portrayed the very charming and very cold-blooded gunrunner, Holliday Hammond. On the other hand, Geoffrey Lewis made a very intense Cooper Ashbury, the Confederate cavalry officer who is determined to continue the War Between the States with only a company of men. "THE SHADOW RIDERS" also featured first-rate performances from veterans such as Jane Greer, Harry Carey Jr., and R.G. Armstrong; along with Dominique Dunne and Natalie May.

I may have had a problem with one or two scenes with "THE SHADOW RIDERS". And yes, I found the Civil War background for one of the major characters a bit confusing. Otherwise, I really enjoyed the movie. I enjoyed it when I first saw it as a kid, many years ago on television. And my recent viewing only confirmed that my feelings about the production has not really changed one whit. Director Andrew V. McLeglen, screenwriter Jim Byrnes and a cast led by Sam Elliot and Tom Selleck continued to make this movie a joy to watch.

"THE SHADOW RIDERS" (1982) Image Gallery

Below are images from "THE SHADOW RIDERS", the 1982 adaptation of Louis L'Amour's novel. Directed by Andrew V. McLaglen, the movie starred Tom Selleck, Sam Elliot, Katherine Ross and Jeff Osterhage: 



"THE SHADOW RIDERS" (1982) Image Gallery