With the end of the Revolutionary War in 1783, General George Washington took Colonel Hamilton with him into the newly formed government. While the main disagreements in the early days was ... See full summary »
A wealthy but neurotic Southern belle finds herself trapped in the hideout of a gang of vicious bootleggers. The gang's leader lusts after her, and is determined not to let anything stand in the way of his having her.
Jack La Rue
Jean-Paul rebels against his bondage to his uncle, the Marquis de St. Malo, and journeys to the far-off Mayan hills of Guatemala seeking a hidden treasure. He is the rightful heir to his ... See full summary »
In New England circa 1933, a niece is reported missing and presumed dead and Cabot Barr (George Arliss) summons his relatives to the family estate for a memorial service. Once there, Barr ... See full summary »
Edna May Oliver,
Successful wealthy shoe manufacturer John Reeves takes a vacation leaving his business in the hands of his nephew. While on vacation Reeves runs into his rivals heirs who are living it up ... See full summary »
John G. Adolfi
Writer and philosopher Voltaire, loyal to his king, Louis XV of France, nonetheless writes scathingly of the king's disdain for the rights and needs of his people. Louis admires Voltaire ... See full summary »
John G. Adolfi
In the film, Richelieu is depicted doting on his cat, Mistigris (the 'Joker' in a pack of cards). By the 18C, his fondness for cats had become an established part of his legend. It has been claimed that he had at least 14 cats at the time of his death in 1642: Gazette, Rubis sur l'Ongle, Pyramus and Thisbe (inseparable), Serpolet (Wild Thyme), Felimare, Soumise, Lucifer, Ludovic le Cruel, Lodoïska, Mimi-Paillon (possibly previously Mademoiselle de Gournay's cat), Mounard le Fougueux, Perruque and Racan (twins, allegedly born in the academician Racan's wig), and Gavroche. The cat which figures in the posters for this film is black, and does not resemble the screen Mistigris, who appears to be a fluffy calico. See more »
There is no denying that George Arliss's position as a leading star of movies has declined precipitously in the last half century. That he appeared in historical films where he was involved with great events, and bringing fictional lovers together, is used as a joke to dismiss him. Only when studying his actual performances does one realize that his restrained acting was a tremendous advance over the thumping scenary tearing of the silent period. If you doubt this, look at his performance in THE IRON DUKE. Although too short to play Wellington, he does the best with the role. In the film he has to confront the French royal court after the judicial murder of Marshal Ney (1815). The actor playing Louis XVIII is overacting incredibly, and Arliss knows it. Look at the fierce disapproval in his face in that scene.
Here, he is playing Armand Du Plessis, Cardinal Richelieu, the real ruler of France from 1626 to 1642 (the titular ruler was King Louis XIII - here Edward Arnold, splendid but wasted in a small role). Richelieu took a France, long weakened by religious wars (although it had begun a good recovery under King Henri IV and his minister Sully), and made it the supreme power in Western Europe, at the expense of Charles I of England, the Germans in the Thirty Years War (he paid off the King of Sweden to prolong the war), and Spain. Richelieu is usually considered a villain in movies (like THE THREE MUSKETEERS) but he was the creator of modern France. Arliss does very well in the role, bringing the patriotism and brilliance of the cardinal out - and he also happens (for a change) to look like Richelieu. But what makes this performance most interesting is that the film captures a 19th Century theatrical workhorse - Edward Bulwer-Lytton's play RICHELIEU. It was one of the most popular "modern" plays in English and American theatre in the 19th Century, and had been performed by Edwin Booth among others. The key scene for whoever played the Cardinal was "the Curse of Rome" Scene, where Richelieu warns of the wrath of the Papacy if anything happens to him. Arliss delivers this in the film - the sole example of this 19th Century acting moment in film.
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