Sir Anthony Hope Hawkins was a successful London barrister, who got his measure of permanent fame as the author of several novels. Some were quite popular in their day, like "The Dolly Dialogues" and "The Man In The Car" (which bases it's central figure on Cecil Rhodes). But it is his two "Ruritanian" Romances, "The Prisoner Of Zenda" and "Rupert Of Hentzau" that are the main novels he is recalled for, especially "The Prisoner Of Zenda". Set in a middle European kingdom, it was (for it's day in the last decades of the 19th Century) an updating of the swashbuckling novels of Alexandre Dumas. Dumas had some stories set in "modern Europe" ("The Count Of Monte Cristo" is set in the period of 1815 - 1830, and was written in 1844 - 1845), but most were in earlier periods, such as the 16th, 17th, and 18th Centuries. Hope Hawkins (who wrote under the name Anthony Hope) figured that there was sufficient intrigue and deviltry in modern Europe to transplant the plot style to the 1870s - 1890s.

And there was considerable intrigue, especially in Eastern Europe. In the 1880s Prince Alexander of Battenberg seemed set to become first Prince or King of Bulgaria. He had won admiration in Europe for his stunning victories over the armies of the Kingdom of Serbia in a war of 1885 (the war that was the background to Shaw's ARMS AND THE MAN), and was poised to get his crown, when the Russian Empire balked. They thought Alexander was too pro-German, and too close (due to family relationships) to Great Britain. So Alexander was toppled, and forced to leave Bulgaria under very humiliating circumstances. Eventually Prince Ferdinand of Saxe-Coburg got the Bulgarian throne.

"The Prisoner Of Zenda" is not based on the story of Alexander of Battenberg, but it shows the type of conspiracy atmosphere that pervaded the area. Basically the plot is an old one of substitutions concerning political figures. Dumas had used one in "The Vicomte De Bragalone", a huge multi-volume novel that included "The Man In The Iron Mask". One of the theories about the Iron Mask (the one that Dumas used)was that it was the twin brother of King Louis XIV. In that novel D'Artagnan has to thwart a plot to replace the Sun King with his brother - a plot that almost succeeds. Hope changed this slightly. Here the King is threatened by his ambitious half-brother, and the King's distant twin cousin replaces him to save the throne.

The 1937 film version of the novel is usually considered the best of several (including the 1951 version with Stewart Granger and Deborah Kerr, and a comic version with Peter Sellers and Lionel Jeffries in 1978). David Selznick was the producer, this being part of his series of movies-based-on-famous-novels that included "A Tale Of Two Cities" (also with Colman), "David Copperfield" (with W.C.Fields), and finally "Gone With The Wind". His casting was top notch, with Colman supported by Madeleine Carroll, Douglas Fairbanks Jr., Raymond Massey, Mary Astor, C. Aubrey Smith, and David Niven. It is an exciting and well made film, and definitely worth watching.

Selznick hoped to do the sequel "Rupert Of Hentzau", but that book is a comparative downer. Several of the main characters from the first novel are killed, and one of them shows a less likable side to his personality than in the first story. He toyed with a total rewrite of the story, to try to make Fairbanks a hero instead of a villain. The project never reached fruition. Probably just as well. It is rare for a successful film production to be replicated in a sequel.

This film is based on Anthony Hope's novel and directed by John Cromwell. Over the years, the story has been imitated with many versions. This Black and white offering is so well directed it plays as well in 1937 as in 2011. The lead is played most admirably by Ronald Colman who with his distinctive voice is both Major Rudolf Rassendyll and " The Prisoner of Zenda. " The plot is lead by Black Michael (Raymond Massey) who's facial features are suited for the part of a jealous villain. It is surprising however to see David Niven and Douglas Faitbanks Jr. on opposites sides, but each performs superbly even if Douglas does play a heavy. The inner story is that of a King who is slated for removal by duping the populace that because the king has been killed, Black Michael will assume the thrown in his absence. A later version will have Steward Granger in the title role and in color, but for me, Ronald Coleman will always be the Prisoner of Zenda in this Classic movie. Excellent rendition and highly recommended! ****

'The Prisoner of Zenda' is one of the most fondly-remembered films of the '30s, and for good reason. It offers Ronald Colman, one of Hollywood's most beloved British stars, in the dual role of Rudolf, crown prince of a small European kingdom, and Rudolf Rassendyll, his look-alike British cousin, end product of a brief affair of an ancestor (as the Englishman puts it, "Fishing in forbidden waters"); the radiant Madeleine Carroll, best-known as Robert Donat's leading lady in Hitchcock's classic 'The 39 Steps', as the royal betrothed, who falls in love with the pretender; Raymond Massey, Canadian star of H.G. Wells' SF masterpiece, 'Things to Come' (and, 3 years later, the quintessential Abraham Lincoln on stage and in film!), as Black Michael, Rudolf's scheming half-brother; and, best of all, a youthful Douglas Fairbanks, Jr., son of silent Hollywood's greatest swashbuckler (and a pretty fair swashbuckler, himself), as the suavely villainous ally of Michael.

The story is simple, and has been done many times before, but never with such elan; drugged monarch-to-be must be impersonated by look-alike for coronation, lest kingdom fall into hands of evil half-brother. In the hands of this PERFECT cast (with terrific support by C. Aubrey Smith, a young David Niven, and Mary Astor) the tale becomes a stylish tale of love, intrigue, and derring-do. High points include an astonishingly beautiful Royal Ball, where Colman and Carroll reveal their love; a very funny yet menacing meeting between Colman and Fairbanks, as they discuss the real King's potential fate; and best of all, a MAGNIFICENT climactic swordfight between the pair, as they lunge and parry furiously through the halls of a castle, while exchanging quips and one-liners.

This is swashbuckling at it's finest! If you are unfamiliar with Ronald Colman's work, you're in for a treat...Don't miss it!

Traveling in a Middle European kingdom, an Englishman on a fishing vacation discovers to his astonishment that he is an identical look-alike for the country's king. When the dissipated monarch is unable to attend his own coronation, the Englishman is pressured to impersonate him temporarily. But when he falls in love with the new queen and the real king is kidnapped by an evil half-brother, the Englishman is swept into a world of intrigue & danger he scarcely knew existed. Can he rescue THE PRISONER OF ZENDA without losing his own life?

This is one of the great adventure films of the 1930's. Given lavish treatment by Selznick Studios, it is escapist cinema at its most enjoyable.

Silky-voiced Ronald Colman is perfectly cast as both the Englishman & the King. He was one of those rare, fortunate actors with great screen charisma - his every moment, every word, is interesting to the viewer. He almost meets his match, though, in Douglas Fairbanks Jr., here playing a charming & completely ruthless young villain. Their rapier fight stands out in a decade full of terrific swordplay.

The rest of the cast is equally impressive: lovely Madeleine Carroll, wicked Raymond Massey, frantic Mary Astor, stalwart David Niven and especially wonderful old Sir C. Aubrey Smith, a model of elderly devotion & courage.

As my summary line might suggest, this is a movie that I have tremendous affection for and is one of the few movies I can watch again and again without a twinge of boredom.

This particular version of Hope's novel has to be the most supremely romantic film of all time. The combination of seven fantastic lead actors, a very witty script, excellent production values, tight direction, and good taste from all concerned make this a film that *must* be seen, and can be enjoyed by anyone of any age. It is, simply, a timeless masterpiece.

It must be said that the monumental achievement is Colman's for his brilliant portrayal of King and commoner. It is true that there are some parts of this film that have not aged well, and the story itself is only a thin (though classic!) adventure yarn, but out of this Colman has created a masterful portrait of a humane and dutiful hero and his flawed but equally interesting counterpart. It is Colman's quiet and absolutely accurate acting that stirs me most, although one cannot ignore the talents of his superlative co-stars. All in all, it is an ensemble acting film with Colman at the top--as it should be.

I envy anyone their first viewing of this remarkable film. It will not soon be forgotten even as flashier and louder thrillers invade our filmgoing consciousness.

The only ingredient missing in THE PRISONER OF ZENDA ('37) is Technicolor, but it's masterfully photographed by James Wong Howe in glorious B&W and the cast is exceptionally fine.

The story is the familiar one about a man forced to masquerade as a King of a fictional country (Ruritania) while all sorts of intrigue and cunning schemes are going on at the palace. RONALD COLMAN has the central role and MADELEINE CARROLL is the gorgeous aristocratic Princess Flavia that he falls in love with.

Produced in lavish style by David O. Selznick, with stirring music by Alfred Newman and directed by John Cromwell, it's the sort of escapist entertainment audiences needed then--and now.

DOUGLAS FAIRBANKS, JR. plays the wicked Rupert of Hentzau with devilish charm, the man who is in on an audacious plan to hold the real King Rupert hostage for ransom, and RAYMOND MASSEY does his usual villainous turn as Michael, the prisoner of Zenda's brother, the man who wants the throne for himself. In a small role as Massey's wife, MARY ASTOR makes almost no impression at all.

On the debit side, there's a strictly 1930's storybook flavor to the way the story is told, particularly the love scenes between Colman and Carroll. Their histrionics get a little too over-heated during that final scene during which her nobility in willing to forget "a moment of madness" seems more like a story contrivance. True love never does run smooth, not here and not in Shakespeare.

The duel between Colman and Fairbanks is well staged and makes an exciting finale for a slow-paced tale that becomes a bit too talky at times. Still, despite obvious drawbacks, it's an entertaining story told with a dashing amount of romance and intrigue. Madeleine Carroll was never more beautiful.

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.

The Prisoner of Zenda (1937)

Directed by a pair of stalwart Hollywood directors, featuring a cast with big names like Ronald Colman and Douglas Fairbanks Jr., and shot by the great James Wong Howe, this should be a first rate movie top to bottom. And technically it is-it looks great, feels solid, has great lighting and pace, and the acting is charming and entertaining. Yes, it's good! But it's all based on a storybook feel that is something like a youth novel brought to screen. I suppose the really big element in the story, the romance between the two men played by Colman and the leading lady Madeleine Carroll, is adult material in its appeal to honor and love, but in all, to like that, you have to like the breezy entertainment it is. I've tried to read into the plot some hint of what was brewing in Europe (usurping of genuine rule by force) or a twist on Shakespeare (court intrigue) but it really is simpler than that. And Colman, who is terrific, and Fairbanks, who is even more charming than Colman, both make it all fun, and in fun. This makes you like them, but it does drain some drama away. This is the first and more liked of the Zenda films, the second mostly interesting in relation to this one. However the second one (from the 1950s) made a ton of money, while this one just squeaked a profit. Highlights? Some of the acting and typecasting is really enjoyable, the swordfights are well done and well lit, and the general clever plot is a hoot. Feasibility is not an issue here--just go for the ride.

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.

The oft-filmed Hope novel receives what is generally considered its best screen treatment. Colman is fine if a bit long in the tooth in the dual roles of a king and a look-alike commoner. Carroll makes a lovely princess. Massey looks ill-at-ease as the king's evil brother while Fairbanks seems to be having a ball playing Massey's rascally henchman. Astor, Smith, and Niven lend able support. Given the romantic buildup between Colman and Carroll, the denouement feels false and anti-climactic. Cromwell's direction tends to be stagy and melodramatic, but he is helped by Howe's fine cinematography and Newman's rousing score. What makes the Hope novel so worthy of being filmed so often?

Of the at least eight film versions of Anthony Hope's famous novel, this is the best. There is a fairly decent silent version starring Ramon Navarro and a flashier 1950's version with Stewart Granger but this one leads the pack as the most entertaining and the best directed. Dashing Douglas Fairbanks Jr. always in the shadow of his famous father gives the role of Rupert all he's got and that's a lot. He steals every scene he's in, even from the likes of Ronald Coleman and Raymond Massey. He gives treachery and deceit not to mention opportunism new meanings in his double dealings. Few today have even heard of Junior, though most movie buffs have heard of his father silent star Douglas Fairbanks and step mother for a time Mary Pickford. Senior divorced Junior's mother to marry Pickford. Junior gave other outstanding performances on the big screen especially in "Gunga Din" in 1939 opposite Cary Grant and Victor McLaglen. He went on to have a popular television show in the early days of that medium "Douglas Fairbanks, Jr., Presents." He gradually retired from films. Sadly when he passed away in the year 2000 very few knew who he was.

Ronald Coleman gets to play two parts Maj. Rudolf Rassendyll and King Rudolf V, two lookalike cousins from a family indiscretion several generations back. He does so admirably. Though Madeleine Carroll as Princess Flavia who loves one cousin but is tied to the other out of duty and patriotism is a hard act to follow as always, Mary Astor gives her a good run for the money as Black Michael's (Raymond Massey)lady love. The two ladies counterbalance each other well as stand by your man women but for different reasons. The always underrated and under-appreciated actor Raymond Massey makes the character of Michael come alive with jealousy and vainglory but with true love in his heart for his Antoinette. The grand old man of early cinema C. Aubrey Smith is around to make sure all is done correctly according to pomp and circumstance. David Niven in an early screen role gives his portrayal of Capt. Fritz Von Tarlenheim the easy touch, almost tongue in cheek at times, which lightens the heavy load for the viewers. He is a good counterbalance for the dour C. Aubrey Smith. Silent screen veteran actor Montagu Love is present to show them all how it's done. What a troupe of Thespians to savor!

John Cromwell directs with flair and makes the film move at a fast pace especially near the end. The action sequence when the castle is stormed following the lowering of the draw bridge is intense. The rapier fight between Coleman and Fairbanks is still exciting to watch. The crisp black and white photography makes one forget that the film is not in color. For excitement, adventure, and romance by all means see the 1937 version of "The Prisoner of Zenda."

Having been made in 1937, this is a good movie with a lot of on screen history to watch. David Niven portrays Capt. Fritz Tarlenheim, and is superb. Ronald Colman plays two roles, those of Maj. Rudolf Rassendyll, and that of King Rudolf V. He did an excellent job. Douglas Fairbanks Jr. was excellently cast in this part as was Raymond Massey. You will remember him as Abraham Lincoln. This is a typical story of good and evil, and how one man can change things if his heart is good. Madeleine Carroll portrays Princess Flavia. I would loved to have seen this one in color, I bet she was beautiful. Good movie. I give it a 6 out of a possible 10.

Major disappointing swashbuckling romantic film with the great Ronald Colman playing 2 parts- a cousin who goes to Zenda to attend his cousin's coronation only to be involved when the monarch is kidnapped.

Douglas Fairbanks plays the villain here who hatches the kidnap plot to help the evil half-brother, a sinister Raymond Massey usurp the throne. When Michael (Massey) finds Henzlau (Fairbanks) with his beloved Mary Astor, Masse is stabbed to death by Douglas.

There are some good romantic scenes between the "Cousin" and Madeleine Carroll. Aubrey Smith, as a confidant to the king, provides an excellent supporting role.

The film itself is quite drab at best. How Astor could truly love the sinister Michael is beyond belief.

If I were to be left on a deserted island and had but one film to watch while I passed the time of day, "Prisoner of Zenda" would be that movie.

Of course it is not perfect. Some of the dialog and scenes seem dated by today's more cynical standards, and perhaps the characters lack the complexity seen in more contemporary films.

But I know of no other movie that tells its rousing story with such dash and style, while at the same time glorifying nobility of character, loyalty, honor, decency, tradition and self-sacrifice. Altogether, this is the film that shows the Old Hollywood skill of story telling at its very best, and leaves you feeling better for the opportunity to watch the great adventure and romance unfold before your very eyes.

Ronald Colman is virtually unknown today----and his presentation of the gentleman hero is decidedly old fashioned. But you believed in him and the innate integrity he brought to all his characterizations. Madeleine Carroll is a classic blond beauty perfectly cast as the princess destined to marry a king but who gives her heart to his look alike commoner cousin.

The rest of the stellar cast is outstanding. Many have pointed out how Douglas Fairbanks, Jr. as Rupert of Hentzau stole the picture as the charming villain, and they may well be right. Too bad that he got so few opportunities to show the full range of his acting ability. This is probably his best role.

Many---perhaps most of the values demonstrated in "Prisoner of Zenda" may appear rather quaint to us today. This is not because they are irrelevant. Our present society has significantly lowered the bar for what constitutes good behavior and more readily accepts and forgives what amounts to bad behavior. So-----be transported in time to a world where chivalry was still in style and honor was a virtue to be cherished. You will not be disappointed!

This is one of the truly great films to come out of the Golden Age of Hollywood.

In the end of the Nineteenth Century, the Englishman Major Rudolf Rassendyll (Ronald Colman) travels to the Province of Zenda to spend a couple of days fishing at the Royal Game Preserve. He meets King Rudolf V (Ronald Colman), whose coronation will happen on the next day, riding with his loyal Colonel Zapt (C. Aubrey Smith) and Captain Fritz von Tarlenheim (David Niven) and they all become astonished with the resemblance of Rassendyll and Rudolf V. They conclude that they might be distant cousins and the King invites the newcomer to drink wine in his castle. King Rudolf is an alcoholic and drinks too much; however, he is drugged by his brother Michael (Raymond Massey) and Rudolf V is no able to participate at the ceremony of coronation. Colonel Zapt and Captain Fritz asks Rassendyll to impersonate Rudolf V, otherwise his greedy brother would take his place and be crowned king. Rassendyll accepts to participate in the fraud but when he meets King's Rudolf V fiancée, the Princess Flavia (Madeleine Carroll) of the Royal House Court of Strelsau, the immediately fall in love for each other.

Meanwhile, the evil and ambitious Rupert of Hentzau (Douglas Fairbanks Jr.) abducts Rudolf V and brings him to the dungeons of his castle. However, Michael's mistress Antoinette de Mauban (Mary Astor) secretly summons Rassendyll to her Boulevard Elsberg and proposes to help him to rescue the King. In return, Michael would be exiled without any other additional punishment. Rassendyll accepts to risk his life trying to save Rudolf V, even knowing that his love with Princess Flavia would be affected by his action.

"The Prisoner of Zenda" is one of the most delightful classic adventures of cinema industry. The performances and the ironic and witty dialogs are awesome and unfortunately this type of film is innocent film that is hardly made by the studios. My vote is nine.

Title (Brazil): "O Prisioneiro de Zenda" ("The Prisoner of Zenda")

The Prisoner of Zenda, based somewhat obviously on Shakespeare's The Tempest, is a film that has something for everyone. There's action, adventure, romance, suspense, and swashbuckling. It's a historical film, and over the years hasn't really aged, so it remains fantastic 62 years later. The cast is first rate, especially because the male leads-Ronald Colman, Douglas Fairbanks Jr., and David Niven-are so handsome and talented, mainly Doug. In the best role of his career, he wields swords, cigarettes, and sticks with an airy sensuality and was deprived of a much-deserved Oscar nomination. The sets and costumes are so magnificently detailed, that you'll wish it was in color. And the script is perfect, with some very witty lines. And the musical score is excellent. Anyone who wants to see a movie with all the basic ingredients for 110 minutes of sheer entertainment should seek this one out.

It's late 19th century. Englishman Major Rudolf Rassendyll (Ronald Colman) is taking a fishing trip in a central European country. Everybody keeps doing a double-take. He looks exactly like the soon-to-be King Rudolf V. It turns out that they are distant cousins. The future King gets drugged and unable to wake. It's his last day to be crowned. Rassendyll has to impersonate him to prevent the crown from falling into the hands of his older half-brother Michael. Princess Flavia (Madeleine Carroll) notices some differences. After the coronation, the real King is kidnapped and Rassendyll has to maintain the rouse.

I don't know anything about Ronald Colman other than a couple of his movies. Maybe that's why I would prefer David Niven in the role. He was probably not a big enough star back then. It's a fine romance with a fine premise. It turns into a thriller in the second half. Still, I really want Niven in the lead role. It's good.

John Cromwell's direction sparks this entry into " The Prisoner of Zenda" This film redone by MGM with James Mason as Black Michael and in colour( Color)

This version has more wit and sweep even though its in black and white. For sure the screenwriters and Cromwell made Doug Fairbanks Jr into more of a rascal than a criminal and of course he escaped in the final reel. I like Coleman and Carroll in their leading roles as well as C A. Smith and Niven as the co conspirators

Raymond Massey looks like he is uncomfortable with his lines and would rather be doing Hamlet Nevertheless this is the best version and it still has legs and looks more Gothic than the MGM Vehicle which is saturated in colors and may cause headaches after the first reel

C Pope

In "The Prisoner of Zenda", a British major impersonates a foreign king to save his station. The film starts as more of a drama film and makes a transition to action film near the end. It also features nice sets in the old Hollywood style and an appropriate score.

The film's cast delivers great performances. Ronald Colman is charming as Major Rudolf Rassendyll. Madeleine Carroll plays Princess Flavia, who is slated to marry the king. Colman and Carroll have chemistry together and nicely develop a relationship. C. Aubrey Smith is well-cast to play the part of Colonel Zapt, the king's loyal helper, and David Niven has a small role, also on the king's support staff. Douglas Fairbanks Jr. creates a memorable villain as the brazen and obnoxious but somewhat clever Rupert of Hentzau. Raymond Massey is decent as the other main villain, Michael, but not on par with Fairbanks.

The start of the movie develops the film's premise and then the characters. The film mostly has an interesting story and clever dialogue,but it does have some slower spots in the middle. However, the film makes a transition to an action-oriented approach near the end. This was appropriate and in particular there was one duel with some amusing banter that was a highlight of the action. The film culminates in a satisfactory conclusion and is overall worth seeing for its premise, characters, dialogue and action toward the end.

Ah the Hollywood studio system...Ah the Costume Epic...Ah the Swashbuckler.

There are many films that fans of romantic escapism can enjoy and this is one of them. This type of thing set the Women's hearts on fire and this is what passed as rousing adventure for the pre-media generation of young and virile men.

It was a time when movies were making the popular culture transition from ink to celluloid as the preferred mass communication. Literature and the projected light would co exist as the masterful dual dynamos of popular entertainment until post War civilization was awakened to a new form of radiated consciousness.

To call this kind of stuff dated is accurate if meant in a respectful manner, because it is, but it is also wonderful, and artful and a beautiful time piece of a more innocent time. This has all the ingredients of that period and place when expectations were of virtuous, larger than life, handsome, and beautiful people beyond the realm. These actors would never mumble and these characters would never fail to inspire and Good won out over Evil.

This is a spot on delivery of such glorious fantasy. A reminder that we were not always as cynical as popular culture devotees, but for better or worse, we were more naive.

Time has not been kind to this cliché ridden matinée style tale. It has an OK look, some good names in the cast but director Cromwell had not yet developed his best form (he was much better as years went by)

If you grew up enjoying this film, you probably still will, others might need to beware. Selznick was known for quality works but not a great deal has survived in this production. Lighting and general photography is good (though the TCM Australian print is very poor). The early Alfred Newman score is colorful, Coleman is as grand as always (but even he looks uncomfortable within this silly situation). Fairbanks makes a formidably evil villain but editing is sloppy and screenplay somewhat stale. May have been good in its day, but.....