Beyond the Rocks (1922)

Director:

Sam Wood

Writers:

Elinor Glyn (based on the novel by)
Jack Cunningham (scenario)

Release Date:

7 May 1922 (USA)

Genre:

Drama

Plot:

A young woman marries an older millionaire and then falls in love with a handsome nobleman on her honeymoon.

Plot Keywords:

Millionaire | Alps | Honeymoon | Wedding | Sister

Cast

Rudolph Valentino	...	Lord Hector Bracondale
Gloria Swanson	...	Theodora Fitzgerald
Edythe Chapman	...	Lady Bracondale
Alec B. Francis	...	Captain Fitzgerald
Robert Bolder	...	Josiah Brown
Gertrude Astor	...	Morella Winmarleigh
June Elvidge	...	Lady Anna Anningford
Mabel Van Buren	...	Jane McBride
Helen Dunbar	...	Lady Ada Fitzgerald
Raymond Blathwayt	...	Sir Patrick Fitzgerald
Frank Butler	...	Lord Wensleydon (as F. R. Butler)
rest of cast listed alphabetically:
Gino Corrado	...	Guest at Alpine Inn (uncredited)
Mary Foy	...	Clementine - Theodora's Older Sister #1 (uncredited)
Lucien Littlefield	...	Sir Lionel Grey's Associate (uncredited)
Larry Steers	...	Guest at Beachleigh (uncredited)
Adele Watson	...	Sarah - Theodora's Older Sister #2 (uncredited)
Leo White	...	Pageant Director (uncredited)

Directed by
Sam Wood

Writing credits
Elinor Glyn		(based on the novel by)
Jack Cunningham		(scenario)

Produced by
Jesse L. Lasky	....	producer

Original Music by
Henny Vrienten		(2005 alternate version)

Cinematography by
Alfred Gilks		(camera)

Film Editing by
Vincent Carmiggelt		(2005 alternate version)

Sound Department
Vincent Carmiggelt	....	sound engineer (2005 alternate version)
Wim Post	....	sound mixer (2005 alternate version)
Henny Vrienten	....	sound (2005 alternate version)

Camera and Electrical Department
Osmond Borradaile	....	assistant camera (uncredited)

Music Department
Vincent Carmiggelt	....	assistant to composer (2005 alternate version)
Soren Venema	....	musician: zither & harpguitar (2005 alternate version)
Eric Vloeimans	....	musician: trumpet (2005 alternate version)
Henny Vrienten	....	musician (2005 alternate version)
Gert Wantenaar	....	musician: accordion (2005 alternate version)

Other crew
Ronald Bosdam	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version)
Reneé Bruinoge	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version) (as René Bruinooge)
Gerard de Haan	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version)
Paulo Fonseca	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version)
Ed Frederiks	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version)
Irene Haan	....	staff: Nederlands Filmmuseum (2005 alternate version)
Marije Kool	....	staff: Nederlands Filmmuseum (2005 alternate version)
Leo Kuyper	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version)
Mark Mallon	....	staff: Nederlands Filmmuseum (2005 alternate version)
Mark Paul Meyer	....	staff: Nederlands Filmmuseum (2005 alternate version)
Géke Roelink	....	staff: Nederlands Filmmuseum (2005 alternate version)
Elif Rongen-Kaynakçi	....	archival researcher: Nederlands Filmmuseum (2005 alternate version)
Frank Roumen	....	production: Nederlands Filmmuseum (2005 alternate version)
Jan van den Brink	....	staff: Nederlands Filmmuseum (2005 alternate version)
Jaap van Loenen	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version)
Juan Vrijs	....	laboratory staff: Cineco/Haghefilm Amsterdam (2005 alternate version)

Thanks
Joe Adamson	....	thanks: Margaret Herrick Library, Academy of Motion Picture Arts and Sciences (2005 alternate version)
Barry Allen	....	thanks: Paramount Pictures (2005 alternate version)
Michelle Amon	....	thanks (2005 alternate version)
Brooke Anderson	....	thanks (2005 alternate version)
Dennis Doros	....	thanks: Milestone Film & Video (2005 alternate version)
Barbara Hall	....	thanks: Margaret Herrick Library, Academy of Motion Picture Arts and Sciences (2005 alternate version)
Amy Heller	....	thanks: Milestone Film & Video (2005 alternate version)
Jenny Romero	....	thanks: Margaret Herrick Library, Academy of Motion Picture Arts and Sciences (2005 alternate version)
Edmund R. Rosenkrantz	....	thanks (2005 alternate version)
Frederique Urlings	....	thanks (2005 alternate version)
Steve Wilson	....	thanks: Harry Ransom Center, University of Texas (2005 alternate version)

Production Companies

• Famous Players-Lasky Corporation

Distributors

• Paramount Pictures (1922) (USA) (theatrical)
• Aktiebolaget Royal Film Osakeyhtiö (1923) (Finland) (theatrical)
• Filmmuseum Distributie (2005) (Netherlands) (theatrical)
• FilmAnnex (2006) (worldwide) (all media)
• Milestone Film & Video (2005) (worldwide) (all media)
• Nederlands Filmmuseum (2004) (Netherlands) (all media)
• Oscilloscope Pictures (2010) (USA) (DVD)
• Suevia Films (2007) (Spain) (DVD)

Other Companies

• Diamant (HS-ART)  restoration software (2005 alternate version)
• Haghefilm Amsterdam  digital intermediate (2005 alternate version)
• ING Real Estate  restoration supported by (2005 alternate version)
• Krom Studio Amsterdam  recorded at (2005 alternate version)
• Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences  continuity scripts (2005 alternate version)
• Nederlands Filmmuseum  presenters (2005 alternate version)
• Opus 1 Orchestra, The  orchestra (2005 alternate version)
• Paramount Pictures  continuity scripts (2005 alternate version)
• Vandejong Amsterdam  title design (2005 alternate version)

Also Known As:

Runtime:

80 min (2005 alternate version) | Spain:76 min (DVD edition)

Country:

USA

Color:

Black and White (Sepia)

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Certification:

Netherlands:AL | USA:TV-PG (TV rating) | Spain:T | Finland:K-16

Filming Locations:

San Pedro, Los Angeles, California, USA

Company:

Famous Players-Lasky Corporation

Trivia:

Lost for most of the 20th century, a copy of this film was discovered in April 2003 in Haarlem (The Netherlands) in a private collection. It was restored by the Nederlands Film Museum and the Hagheflim Conservation and was screened in 2005, complete with English dialogue screens in place of the original Dutch, at the Cannes film festival. It made its television debut on May 21, 2006, on Turner Classic Movies as part of a nine-film tribute to Rudolph Valentino.

Goofs:

Crew or equipment visible: When Husein Ben Ali and his men are being chased away by the soldiers, a crew member steps in front of the camera during the wide shot of the scene.

Quotes:

Theodora Fitzgerald:I could never live under the shadow of my broken word!

Movie Connections:

Referenced in Return to Babylon (2014)

Worth seeing - once...

When 'Beyond the Rocks' had its initial and only performance at the London Film festival, it was undoubtedly one of the events of the year. The cinema was booked out in advance, and queues formed at the box office in the hopes of obtaining returned tickets. Irrespective of its artistic merits, the miraculously-rediscovered film was guaranteed to arouse interest.

It has to be confessed, however, that the storyline of 'Beyond the Rocks' is in itself complete and utter tosh...

It became apparent to the audience what to expect within the first few shots, where the breathless and far-from-deathless prose of the title cards raised more than a few chuckles, although the attitude in the auditorium was good-natured throughout. The film is no great work of art and never pretends to be; the plot is women's-magazine stuff, told with a straight face as it whips through a quick world tour of stereotypes, from the English seaside to the quaint Alpine inn and a desert oasis. One of the biggest -- and to give it its due, probably in this case intentional -- laughs was raised by the heroine's bewildered husband voicing the audience's own reaction to the revelation of some very undersized Egyptian ruins: "Is that all?"

I was favourably impressed by the restraint and sensitivity of Rudolph Valentino in handling this material. His performance appealed to me considerably more than that of Gloria Swanson, whose role here, to be fair, consists of little more than a series of coy, tragic or would-be dramatic poses; she suffers also, I suspect, from being the designated Star and thus made up far more heavily in the contemporary style than the other female characters. The actress whom I actually admired the most was June Elvidge, playing the small role of Valentino's sister (randomly referred to in various title cards as Ann, Anne or Anna). She gave a very sympathetic and vividly-drawn rendition of her part that contrasted somewhat with what struck me as Miss Swanson's mask-like demeanour.

Despite an expressive performance from Valentino, unfortunately we have to take the central love affair more or less on trust. There is not a great deal of chemistry in evidence. Indeed, the heroine Theodora comes across to me as rather more animated and concerned about the fate of her husband in the final scenes, than about her lover in all that precedes; I must admit to half-hoping for a last minute twist that would have her realise she has grown to love this unprepossessing figure instead! But convention is met by a different set of clichés, and young love duly has its day.

It is interesting to compare the film with the references in Swanson's own memoirs, written many years after it was deemed lost: unless it has been lost in this print to censorship or decay, there is no sequence showing 'the tango as it was meant to be danced; by the master himself', let alone featuring in this dance 'a gold-beaded and embroidered lace evening gown so shimmering and beautiful that movie-goers talked about it for the next year'. Nor, even in this 'European' version, are there any of the 'torrid kisses' of which she observes 'Poor Rudy could hardly get his nostrils flaring before the American version was over'. Either the relevant sections are forever missing, or her memory must have been confused by other Valentino pictures of the era.

The film shown in London was the 'archival version', full-frame and silent, as opposed to the print with attached soundtrack to be made available for future exhibition and sale. In place of the Vrienten score with its allegedly intrusive sound-effects, we were treated to accompaniment by the National Film Theatre's justly renowned Neil Brand. I am unable, therefore, to comment on the music other than to commend the improvisation on this occasion!

In conclusion, I cannot honestly recommend 'On the Rocks' other than as a curiosity: true, it is a relatively early production in a style unfamiliar to modern eyes, but even so I have seen earlier film that I have appreciated more. The beautiful Theodora remains largely a helpless cipher of events, the melodrama of the plot is superficial rather than absorbing, the literary standard of the titles is on occasion risible and the screen lovers fail to kindle a convincing spark. Contemporary critics reputedly disdained it, and only the innovative star pairing and mythical 'lost' status have resurrected its appeal.

But it *is*, without question, a curiosity, and as such worth seeing once by any amateur of film history or Valentino fan. Just don't expect too much...