In 19th century England, captain George Brummell is an upper-class dandy. He has to leave the army after having insulted the crown prince. This gives him the opportunity to start a smear ... See full summary »
The venomous and amoral wife of a wealthy architect tries, any way she can, to break up the blossoming romance between her husband and his new mistress; a good-natured young widow who holds a dark past.
Brian G. Hutton
Set in the Haiti of "Papa Doc" Duvalier, The Comedians tells the story of a sardonic Welsh hotel owner and his encroaching fatalism as he watches Haiti sink into barbarism and poverty. ... See full summary »
The Faust legend retold (loosely) and applied to a mentally disturbed patient in a hospital run by a doctor of dubious sanity himself. The patient (Burton) offers the innocent orderly (... See full summary »
In 19th century England, captain George Brummell is an upper-class dandy. He has to leave the army after having insulted the crown prince. This gives him the opportunity to start a smear campaign against the prince. The prince, who is tired of all the yes-men around him, hires him as his chief advisor. Written by
The film had troubles with the US censor, the Production Code Administration because of the apparent justification of the immoral relationship between the Prince Regent and Mrs Fitzherbert, because a steward at a gentlemen's club had the manner of a 'sex pervert', because the Prince checks the gender of a dog and because of the use of the word 'damn'. Changes were made but the running time remained the same. See more »
When the mad King George III hides from Brummel and the prince behind the draperies, the boom shadow makes a prominent appearance on the wall at the top right of the screen. See more »
Prince of Wales:
She's leaving me, George. Moriah's going. I don't want to live without her. I WON'T live without her. I'm sorry, George. I know it's not very manly of me. Silly of me to have come! You're the only friend I've got so I had to.
George Bryan 'Beau' Brummell:
Come and sit down. Don't talk if you don't feel like it, just rest.
[Gives Brummell the three rings Patricia sent]
These came for you, earlier on, sir.
George Bryan 'Beau' Brummell:
Prince of Wales:
Moriah's going to Italy to live. I can't say I blame her really. People whispering about her, slandering her. ...
[...] See more »
Unusual to see Stewart Granger in period costume without a flashing blade, but I found this costume drama on the rise and fall of the Regency dandy and confidante to the then Prince of Wales, eminently watchable. Granger himself shows more acting depth than he was usually allowed in the swashbuckling actioners he frequented and is well cast as the proud, aspiring but ultimately over-ambitious George "Beau" Brummell, whose loose tongue and haughty wit ultimately saw him cast out of high society into a life of penury in France, on the run from his numerous creditors. However the real acting plaudits unquestionably lie with Peter Ustinov, who again, like his portrayal of Nero in "Quo Vadis", easily demonstrates his character, the king-in-waiting Prince George's initially fey and petulant ways but later conveys the depth of character of a man who matured into his kingship and his conflicting loyalty which turns to generous magnamity to best friend but loose cannon Brummell. Robert Morley gets to act a fine cameo performance as the mentally ill King whose condition leads to the Regency crisis and Elizabeth Taylor gets to wear some elaborate costumes not to mention hairstyles as Lady Belham, torn between her passionate attraction to Brummell's rebellious individual and the safe society gentleman Lord Edwin Mercer played stoically by James Donald. Historical figures of the day flit in and out of the narrative, but surely the "mad, bad and dangerous to know" Lord Byron should have been played with more zest and by a more handsome actor than we get here. The sets and costumes are sumptuous, the direction steady if uninspired, (for example, an intimate dialogue scene between Granger and Taylor pans back and forth unimaginatively between their faces with every sentence spoken). The dialogue while well-written and rarely trivial, does get bogged down in speechifying, forced wit and point-scoring which gets decidedly stultifying at times. The key scene were Brummell rashly insults the Prince is well staged and played and the viewer is left in no doubt that the bold Brummell has gone too far this time, prefiguring the fate of another high society dandy from a later generation, the writer Oscar Wilde. Having read a little background on the real Brummell's life, I'm aware that the usual Hollywood bowdlerisation has occurred (nowhere did I read of the Prince when King's final reconciliation with the broken Brummell in France), but it makes for a good finish to a meatier costume drama than I might have expected given the subject and personnel involved.
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