AVALIAÇÃO DA IMDb
7,6/10
5,1 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaAn Englishman on a Ruritarian holiday must impersonate the king when the rightful monarch, a distant cousin, is drugged and kidnapped.An Englishman on a Ruritarian holiday must impersonate the king when the rightful monarch, a distant cousin, is drugged and kidnapped.An Englishman on a Ruritarian holiday must impersonate the king when the rightful monarch, a distant cousin, is drugged and kidnapped.
- Indicado a 2 Oscars
- 1 vitória e 3 indicações no total
Evelyn Beresford
- Lady Topham
- (não creditado)
Ricardo Lord Cezon
- Little Boy
- (não creditado)
Spencer Charters
- Railroad Porter
- (não creditado)
D'Arcy Corrigan
- Traveler
- (não creditado)
Alexander D'Arcy
- De Gautet
- (não creditado)
Ralph Faulkner
- Bersonin
- (não creditado)
- Direção
- John Cromwell
- W.S. Van Dyke(reshoots) (não creditado)
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesDouglas Fairbanks Jr. initially wanted the double role for himself and actually tested for it. He was devastated when it was awarded to Ronald Colman. Instead he was offered the part of "Rupert of Hentzau" and, according to David O. Selznick, "Nobody else stood a chance!" His father, Douglas Fairbanks Sr., convinced his son that it was a blessing in disguise, as it was the best part in the piece, and advised him on billing and costume.
- Erros de gravaçãoPrincess Flavia gives Rassendyll a red rose in the garden. As it lies on a book a little while later, it is white.
- Citações
Captain Fritz von Tarlenheim: Fate doesn't always make the right men kings.
- ConexõesFeatured in Hollywood and the Stars: The Swashbucklers (1964)
- Trilhas sonorasArtist's Life, Op. 316
(uncredited)
Composed by Johann Strauss
[The piece to which Rudolph and Flavia dance at the ball]
Avaliação em destaque
You can't improve on perfection
Ronald Colman shines in the dual role of the dissipated Crown Prince Rudolph and the "simple Englishman", Rudolph Rassendyl. The crown prince's predilection for the bottle recalls Colman's earlier portrayal of the dark side of Sydney Carton from A Tale of Two Cities. In contrast, Rassendyll's reluctant gallantry and abiding integrity and honor epitomize the qualities for which matinée idol Colman had become known during his famous film career.
His scenes with the incandescent Madeleine Carroll are especially felicitous, both visually and aurally. The poignant, penultimate scene of the film left this reviewer with a wistful sense of regret that The Prisoner of Zenda was to be their only cinematic collaboration.
Raymond Massey was never better as the ambitious Duke Michael. The expressionistic qualities of his facial contortions make his lines almost superfluous.
The rakish Count Rupert, played by Douglas Fairbanks, Jr., represents the archetypal rogue. His perennial smile, abiding charm, and sardonic wit make him a curious composite of Don Juan and Mephistopheles. Like Massey, I have never seen the underrated son of the silent screen's most dashing hero in better form.
The film's remaining actors acquit themselves more than adequately. Mary Astor is the lovely Antoinette, Duke Michael's devoted, yet unfairly, neglected paramour. Her consistently dark raiment and shadowy movements are perhaps reflective of her lover's illegitimate origins, while at the same time belying her kind heart. Visually this is contrasted with the always radiant Princess Flavia.
The two royal bodyguards, Colonel Zapt and Captain von Tarlenheim, are a case study, to my mind, as to why films like The Prisoner of Zenda are consistently superior to today's mediocre fare. Although relatively lesser roles, they are capable of, and on more than one occasion, do dominate a given scene; moreover, in their own way they are as fully developed as any of the principals. The abiding sense of honor and loyalty expressed by C. Aubrey Smith's Colonel Zapt is so profoundly felt and reflective of a long-vanished ethos, that one laughs to think of any contemporary actor making such utterances. The paradox would be striking!
As for Zapt's protégé, Captain von Tarlenheim, given the camera's fondness for the handsome young star, it will come as no surprise to learn that this role was reputedly David Niven's first acting breakthrough. His gift for dry English understatement is the occasion for one especially humorous scene-stealing moment that I will generously leave to the curious viewer to enjoy for himself.
With such an outstanding, marquee cast that lives up to its advanced billing and then some, it is not difficult to understand why this film was such a rousing success when it premiered in 1937; so successful, in fact, that it was copied verbatim by MGM 15 years later after it purchased the rights from Selznick. With no slight intended to Stewart Granger et al., you cannot improve on perfection.
His scenes with the incandescent Madeleine Carroll are especially felicitous, both visually and aurally. The poignant, penultimate scene of the film left this reviewer with a wistful sense of regret that The Prisoner of Zenda was to be their only cinematic collaboration.
Raymond Massey was never better as the ambitious Duke Michael. The expressionistic qualities of his facial contortions make his lines almost superfluous.
The rakish Count Rupert, played by Douglas Fairbanks, Jr., represents the archetypal rogue. His perennial smile, abiding charm, and sardonic wit make him a curious composite of Don Juan and Mephistopheles. Like Massey, I have never seen the underrated son of the silent screen's most dashing hero in better form.
The film's remaining actors acquit themselves more than adequately. Mary Astor is the lovely Antoinette, Duke Michael's devoted, yet unfairly, neglected paramour. Her consistently dark raiment and shadowy movements are perhaps reflective of her lover's illegitimate origins, while at the same time belying her kind heart. Visually this is contrasted with the always radiant Princess Flavia.
The two royal bodyguards, Colonel Zapt and Captain von Tarlenheim, are a case study, to my mind, as to why films like The Prisoner of Zenda are consistently superior to today's mediocre fare. Although relatively lesser roles, they are capable of, and on more than one occasion, do dominate a given scene; moreover, in their own way they are as fully developed as any of the principals. The abiding sense of honor and loyalty expressed by C. Aubrey Smith's Colonel Zapt is so profoundly felt and reflective of a long-vanished ethos, that one laughs to think of any contemporary actor making such utterances. The paradox would be striking!
As for Zapt's protégé, Captain von Tarlenheim, given the camera's fondness for the handsome young star, it will come as no surprise to learn that this role was reputedly David Niven's first acting breakthrough. His gift for dry English understatement is the occasion for one especially humorous scene-stealing moment that I will generously leave to the curious viewer to enjoy for himself.
With such an outstanding, marquee cast that lives up to its advanced billing and then some, it is not difficult to understand why this film was such a rousing success when it premiered in 1937; so successful, in fact, that it was copied verbatim by MGM 15 years later after it purchased the rights from Selznick. With no slight intended to Stewart Granger et al., you cannot improve on perfection.
útil•493
- kiroman101
- 18 de nov. de 2005
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Detalhes
Bilheteria
- Orçamento
- US$ 1.250.000 (estimativa)
- Tempo de duração1 hora 41 minutos
- Cor
- Proporção
- 1.37 : 1
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By what name was O Prisioneiro de Zenda (1937) officially released in India in English?
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