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Prestige (1932)

Passed  -  Adventure | Drama  -  22 January 1932 (USA)
5.7
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Ratings: 5.7/10 from 161 users  
Reviews: 10 user | 2 critic

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Title: Prestige (1932)

Prestige (1932) on IMDb 5.7/10

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Cast

Complete credited cast:
Ann Harding ...
Therese Du Flos
...
Capt. Remy Bandoin
...
Capt. Andre Verlaine
Ian Maclaren ...
Colonel Du Flos (as Ian MacLaren)
Guy Bates Post ...
Major
Rollo Lloyd ...
Capt. Emil de Fontenac
...
Nham
Tetsu Komai ...
Sergeant
Edit

Storyline

Add Full Plot | Add Synopsis

Genres:

Adventure | Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

22 January 1932 (USA)  »

Also Known As:

Prestigio  »

Filming Locations:


Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Photophone System)

Aspect Ratio:

1.37 : 1
See  »
Edit

Did You Know?

Trivia

Ann Harding flew herself to the Sarasota, Florida, filming location so that she could log a sufficient number of hours for her pilot's license. See more »

Quotes

Lt.: Tell me, what sort of a trip did you have, eh? Pretty rough?
Capt. Remy Baudoin: Not bad. There was an episode with some crocodiles. I thought for a moment I was gone. But it appears they prefer dark meat.
Lt.: Boatman?
[casually]
Lt.: Too bad.
See more »

Connections

Referenced in Hollywood Mouth (2008) See more »

Soundtracks

La Marseillaise
(1792) (uncredited)
Written by Claude Joseph Rouget de Lisle
Played in the score when "L'Armee de la Republique" sign is shown
See more »

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User Reviews

Kudos for the director
23 February 2002 | by See all my reviews

Like virtually all films of its era that deal with Africa, the Middle East and the Far East, this one is totally matter-of-fact about the impact of colonialism on the affected nations and their people, and instead concentrates on the hardships suffered by Europeans assigned there. Melvyn Douglas, ordered to command a penal colony in French Indo-China, falls victim to heat, boredom, loneliness; so severe is his decline into alcoholism and despair that not even the arrival of his beloved, Ann Harding, is able to pull him out of it for long.

The prisoners would gladly trade his problems for their own. What lifts this melodrama out of the realm of the ordinary is the outstanding work of director Tay Garnett, particularly his use of a very mobile camera and the construction of perhaps a dozen long tracking shots that are stunning to behold. It is always notable when conventional material is transformed into on-screen excellence by the talent behind the camera, as well as in front of it. Here is a prime example.


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