A piano teacher believes that her fiancé, a cellist, was killed on the battlefield. When he returns alive, they marry, but are menaced and threatened by a wealthy, egotistical composer she started dating on the rebound.
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
The newly-named Emperor Maximillian, the only monarch of the Second Mexican Empire, arrives in Mexico in the early 1860s with his wife Carlotta to face popular sentiment favoring Benito Juarez and popular demand for democracy. With an elite group of Mexican monarchists, Maximillian tries to appease the democratic Mexicans but he fails. Abraham Lincoln continues to support Juarez and asks the French to withdraw support for Maximilian. Carlotta goes to France to plead with Napoleon III, to no avail. Written by
Ed Stephan <firstname.lastname@example.org>
When Napoleon lll is informed in a letter that Robert E. Lee has been defeated at Gettysburg, he responds by paraphrasing Lincoln's famous Gettysburg Address by calling democracy as government for the people, by the people, etc. He couldn't have known Lincoln's rhetorical flourish because the actual speech was given until mid November 1863. See more »
[as Juarez views the dead body of Maximillian lying in state]
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Written by Sebastián Yradier
Sung offscreen twice by an unidentified woman
Reprised by an unidentified woman before Maximilian's execution
Variations played as part of the score See more »
Interesting glimpse of Mexican history with its phantom emperor...
Warner Bros. obviously spared no expense to do justice to a story of JUAREZ (PAUL MUNI) but spent so much time on the ill-fated reign of Emperor Maximilian (BRIAN AHERNE and his wife Carlotta, BETTE DAVIS), that the film might just as well have been called MAXIMILIAN. An even better title comes from a play on which this is based, called THE PHANTOM EMPEROR.
Brian Aherne has the most screen time in what appears to be the central role.Ironically, he was nominated for an Oscar in the "Best Supporting Role" category. If billing in Hollywood was fair, instead of governed by studio politics, he should have shared star billing with Paul Muni and Bette Davis in the opening credits.
Having said all that, the details of the story have been given in expert fashion by many of the other commentators who are better acquainted with Mexican history than I am, so I can't talk about the accuracy or inaccuracies of the plot. But from a standpoint of entertainment, JUAREZ attempts to do too much in dealing with a complex plot. The talky script full of historical references becomes tedious and the film occasionally drags and loses momentum until an action scene relieves it of monotony. However, the ability of the writers to cover so much ground in the course of little more than two hours is an achievement in itself.
The acting is splendid for the most part--but unfortunately Muni has chosen to play Benito Juarez in almost mute fashion, his stoic expression hardly ever changing and relying on heavy make-up to do the job for him. It doesn't work.
But all those around him can only be congratulated for doing well in roles large and small. Davis is especially compelling in Empress Carlotta's scene of incipient madness; Aherne gives dignity and sympathy to Maximilian; and Claude Rains, Gale Sondergaard, Donald Crisp, Gilbert Roland, Joseph Calleia and Montagu Love are excellent in support.
The only casting misfire is JOHN GARFIELD in swarthy Mexican make-up as Gen. Diaz. He looks out of place even though he attempts to give an earnest performance and his lower New York accent is just below his Mexican one.
Except for a majestic main theme that is used once in awhile, Erich Wolfgang Korngold's overall score did not make a strong impression on me this time.
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