When David's father dies, his mother remarries. His new stepfather Murdstone has a mean and cruel view on how to raise a child. When David's mother dies from grief, Murdstone sends David to... See full summary »
Edna May Oliver,
An Indian aristocrat Rama Safti returns from medical training in the U.S. to give his life to the poor folk of Ranchipur. Lady Edwina and her drunken artist ex-lover Ransome get in the way,... See full summary »
Victor Marswell runs a big game trapping company in Kenya. Eloise Kelly is ditched there, and an immediate attraction happens between them. Then Mr. and Mrs. Nordley show up for their ... See full summary »
Sea-faring saga of two brothers (Robert Taylor, Stewart Granger) and the woman they both love. Set against South Pacific islands, this love triangle pits the good brother against the bad as... See full summary »
Laurent van Horn is the leader of a band of Dutch refugees on a ship seeking freedom in the Carolinas, when the ship is wrecked on the coast of Cartagene. governed by Don Juan Alvardo, ... See full summary »
Many passengers on the Shanghai Express are more concerned that the notorious Shanghai Lil is on board than the fact that a civil war is going on that may make the trip take more than three... See full summary »
Josef von Sternberg
Anna May Wong
Sophie loved Edmund, but he left town when her parents forced her to marry wealthy Octavius. Years later, Edmund returns with his son, William. Sophie's daughter, Marguerite, and William ... See full summary »
This is a classic swashbuckler. Rudolph Rassendyll, Rudolf V's identical distant cousin, is asked to risk his life and impersonate the would-be king when his relative is kidnapped before his impending coronation. If Rudolf V isn't present at the ceremony, he will forfeit the crown to his younger brother. Complications ensue when Princess Flavia, the cousin's betrothed, begins to notice a "personality change" in her fiancé. Written by
Albert Sanchez Moreno <email@example.com>
When Antoinette de Mauban leaves the dungeon after caring for the imprisoned king, Rupert bows to her and quotes a poem. It's an abbreviated version from Sir Walter Scott: "O woman! in our hours of ease Uncertain, coy, and hard to please, And variable as the shade By the light quivering aspen made; When pain and anguish wring the brow, A ministering angel thou!" See more »
The sword fight in the castle of Zenda between Coleman and one of the king's guards appears to be with rapiers, however when the fight is picked up again in the outside room the rapiers have become sabers - necessary in order to cut the rope of the drawbridge. See more »
If anyone wants to see an excellent movie made before the banner cinematic year of 1939, this would be a film to watch. It could hardly have gone wrong, with David O. Selznick as producer and John Cromwell as director. And a superlative cast of popular stalwarts, mostly from Hollywood's British colony. Ronald Colman is his usual smooth and accomplished self in a dual role, King Rupert (of some fictitious country) and look-alike Englishman Rudolph Rassendyll, very distant cousins. The scenes in which he faces himself onscreen called `trick photography' then are remarkable for the period. Lovely Madeleine Carroll plays a princess, betrothed to the king. Her equal in elegance and beauty wasn't seen on the screen again until Audrey Hepburn and Julie Andrews. Many critics have praised Douglas Fairbanks, jr, as a likeable rogue. He's very good, in an easy role. My applause goes to the two stars. The film is a glamorous combination of romance, spectacle and adventure. Don't even dream of realism; there was too much realism in ordinary life during most of the Thirties. This is a grand escape to a time and place that never were. If I had to pick a favorite scene in the film, it would be the famous entrance of Colman and Carroll into the coronation ball. The shot opens on the couple, walking fast, arm in arm, directly toward us. The camera pulls back and back and BACK until the grand staircase of the palace and the entire ballroom, filled with people, are revealed. Visually and technically, this single fluid shot is a stunning achievement. It shows us the creative work that could be done at the time, by hugely talented artists, long before the advent of zoom lenses and computer graphics. Elegance and class are not hallmarks of most current movies. `The Prisoner of Zenda' (1937) is a stylish and very satisfying example a symbol, perhaps of what escapist entertainment can be. And of what it could and should be, now and then, even today.
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