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Cardinal Richelieu (1935)

Approved | | Drama, History, Romance | 28 April 1935 (USA)
The cunning Cardinal Richelieu must save King Louis XIII from treachery within his inner circle.

Director:

Rowland V. Lee

Writers:

Edward George Bulwer-Lytton (play) (as Sir Edward Bulwer-Lytton), Cameron Rogers (adaptation) | 2 more credits »
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Cast

Cast overview, first billed only:
George Arliss ... Cardinal Richelieu
Maureen O'Sullivan ... Lenore di Brissac
Edward Arnold ... Louis XIII
Cesar Romero ... Count Andre de Pons
Douglass Dumbrille ... Count Baradas
Francis Lister ... Prince Gaston
Halliwell Hobbes ... Father Joseph
Violet Kemble Cooper ... Queen Marie
Katharine Alexander ... Queen Anne
Robert Harrigan Robert Harrigan ... Fontrailles
Joseph R. Tozer Joseph R. Tozer ... De Bussy (as Joseph Tozer)
Lumsden Hare ... Gustavus Adolphus - King of Sweden
Russell Hicks ... Le Moyne
Keith Hitchcock Keith Hitchcock ... Duke D'Epernon (as Keith Kenneth)
Murray Kinnell ... Duke of Lorraine
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Storyline

The cunning Cardinal Richelieu must save King Louis XIII from treachery within his inner circle.

Plot Summary | Add Synopsis

Taglines:

To thwart a king's passion, he gambled the fate of a nation!

Genres:

Drama | History | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

28 April 1935 (USA) See more »

Also Known As:

Kardinal Richelieu See more »

Company Credits

Production Co:

20th Century Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

(copyright length) | (FMC Library Print)

Sound Mix:

Mono (Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on January 23, 1939 with George Arliss, Cesar Romero and Douglass Dumbrille reprising their film roles. See more »

Connections

Referenced in Love on the Run (1936) See more »

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User Reviews

What we sometimes overlook in movies
8 April 2004 | by theowinthropSee all my reviews

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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