The Prisoner of Zenda. 1937. Directed by John Cromwell.

(8/18/01-8/19/01)

I generally am disapointed by David O. Selznick's productions. They have a coldness or stiffness--or something--about them that I just don't respond to. I was disappointed in Intermezzo and I was disappointed in this one.

It is a handsome production. Maybe it is just too self-consciously a "prestige" picture. And in some ways it didn't sparkle. The dialogue wasn't quite memorable enough and the action scenes weren't quite exciting enough. They weren't enough to rouse the film from its lethargy. It certainly paled in comparison to Robin Hood--maybe because of the simple fact that John Cromwell wasn't Michael Curtiz.

And Madeleine Carroll seemed particularly uninteresting as the heroine.

Yet, it was a rare pleasure to watch Ronald Colman as the impostor-king. He was at his peak when this picture was made and radiated regality. His best moment comes, I think, after he has been coronated when he really seems to take on the role of king, being commanding and giving orders.

Colman plays a double role--the king and a distant relative from England who doubles for him when he is unable to attend his coronation. Colman shows what a fine actor he is by vividly contrasting the two characters--the noble, gentlemanly Englishman and the frustrated, unhappy man who does not want to be king. Colman is both a fine actor and a star and I tend to think of the Englishman as being the real Colman part and the king as being ... something else. In other words, the impostor fits Colman's star persona while the other character is just another person in the film or another role played by an actor. I sort of forget it is Colman.

C. Aubrey Smith is also memorable. He plays in effect a Fate figure--he represents the unalterable law which the characters must submit to. He is dignified, but hard and rigid. He is unyielding in what he stands for and personal concerns and needs do not sway him. I can't think of another actor more appropriate for this part than C. Aubrey Smith. Like Colman, he has a majestic, distinctive voice. It is moving to hear him declare, "Fate sent you here." He had another great line which I am ashamed to say I forgot.

The film brings up the issue of illegitimacy. The king's half-brother, Rupert, covets the throne believing that it is rightfully his. As he is the eldest there is perhaps some justice in his cause although he himself is a pretty unsumpathetic figure. But this issue is subtly underlined by the fact that the Englishman, distant cousin to the king, is the descendant of an illegitimate sibling and turns out to be more truly kingly than the nominal king. So I think that there is a comment here on the stigma attached to illegitimacy.