The Prisoner of Zenda

Plot synopsis:
On his deathbed, the king of Ruritania announces to his two twin sons, Rudolph and Michael, that he must choose one of them to be the future king of Ruritania following their father's death. The king believes that his youngest son Rudolph is more fit to be king than Michael, and so chooses him for the throne. Rudolph is shocked with his father's decision and Michael is outraged and angry. Following his father's death, "Black Michael", as he is known to some of the villagers, gathers his minions and expresses his anger at his father's decision, which he believes to be foolish. He recalls that his father had mentioned that he, Michael, should be king, if and when his brother died; thus, he begins to devise a plan to cause Rudolph's death. Michael's wife, Princess Antoinette, is shocked after hearing her beloved husband speak ill of his dead father, and even more after hearing of his plot to murder Rudolph. When she confronts him, Michael sends Antoinette away and tells her that if he can't count on her loyalty, she is no longer his wife. Antoinette runs to Rudolph and informs him of Michael's plots; thought at first Rudolph refuses to believe her, Antoinette insists. Following one of Rudolph's plans to ensure his own safety, Princess Antoinette travels to London, where he meets another young man, by the name of Rudolph, who looks remarkably and exactly like the king-to-be of Ruritania. Princess Antoinette brings the new Rudolph to Ruritania, hoping that he may help her and Rudolph to be safe from Michael. Rudolph, who still trusts his brother, accepts an invitation from Michael, who offers him a drink. Pretending that his intentions were to congratulate Rudolph stepping up to the throne, Michael drugs his brother causing him to enter a deep coma, only a few days prior to his coronation. The new Rudolph proposes to accept the crown himself, so that Prince Rudolph will step up to the throne as soon as he comes out from his state of unconsciousness. When Michael learns of this, he kidnapps the prince and takes him away to the Castle Zenda, where he intends to murder him. Antoinette and Rudolph come up with a plan to surprise Michael and his minions at Zenda and thus rescue the prince. When they defeat Michael, the young prince Rudolph becomes the king of Ruritania and takes his father's place at last.

Tags: action

Review:
While sequels are most common (offering original cast members, older and less believable in their roles, performing variations of the same plot that made the original film popular...usually less successfully...), remakes have a long history, as well, with some remakes an improvement over the original (John Huston's THE MALTESE FALCON far outshines both of the earlier sound versions), some just as good (1939's BEAU GESTE, with Gary Cooper, has as loyal an audience as Ronald Colman's silent version), and some truly disastrous (why anyone would even CONSIDER remaking Frank Capra's LOST HORIZON, much less turning it into a 70s MUSICAL, defies comprehension!)MGM, in their 1952 remake of 1937's classic THE PRISONER OF ZENDA, tried to surpass the earlier version by creating a 'scene-for-scene' duplicate of the film, while utilizing some of their biggest stars in each role, reworking Alfred Newman's original score, and shooting it all in glorious Technicolor.
While Robert Douglas was every bit as sinister as Raymond Massey as Black Michael, the most disastrous miscasting came with the film's other major villain, Rupert of Hentzau.
bad guy' dialog, lacking the unique chemistry Colman and Fairbanks brought to the roles.As for shooting the film in Technicolor...While the regal color photography certainly made the Palace scenes more impressive (don't forget, Great Britain was crowning Elizabeth as Queen when the remake was released, and American audiences were rabid Anglophiles, totally enthralled by all the Pomp and Circumstance), it also 'dated' the story, making the adventure seem quaint and old-fashioned in the Cold War era.
While I think he was, perhaps, too hard on the Granger film, I have to agree that no other version has ever even come close to the magic of Ronald Colman's 1937 classic!.
With no less significance is the color ,makes the costume and characters look more sensational, and gives more feeling for the romantic fairy tale .This movie is pure entertainment, I first saw it in high school, loved it, I still enjoy it 30 years later ..
'The Prisoner of Zenda' (1952) is a remake - using the same shooting script, which was in turn adapted from the 1890s stage-play - of the 1937 Ronald Colman/Douglas Fairbanks jr version.
While the colour photography makes quite an impact, especially with the costumes, sadly Stewart Granger is not in the Colman league in the dual role of Rudolf Rassendyll and Rudolf V.
Stewart Granger was one of the better of the later generation of swashbuckling stars, but somehow he lacks Colman's dignity as Rassendyll.
Mason could have been a *wonderful* Duke Michael, although here - as per the 1937 version - that character was still under-written, and again cast too old (Robert Douglas).
Seems to me that if you're going to do a re-make of an earlier film, you need to have a better approach than just to refilm it, scene-by-scene, from its immediate predecessor.Watching this 1952 version of "The Prisoner of Zenda," it emerges an astonishing "carbon copy" of its 15-year-old vintage model, only with different actors and in color.What was most surprising was using Alfred Newman's 1937 music almost note-for-note.
Conrad Salinger, MGM arranger-orchestrator-composer, seemed to have merely pulled out the old score, dusted off the parts, and passed them out to the MGM Orchestra to re-record.Since this was also the music used for the now historic early December '39 sneak-preview of "Gone With the Wind" (outside of Los Angeles prior to its premiere before Max Steiner finished his work) it's even more strange to hear it here.While the '52 cast was talented and the production values intact, there were no particularly fresh insights or viewpoints offered here, resulting in an efficiently "cloned" confection.Less that an auspicious feather in MGM's cinematic folio, it still probably went over well with a new "generation" unfamiliar with either the '37 film or the original novel..
Next to the 1937 version with Ronald Colman and Douglas Fairbanks, Jr., this version of The Prisoner Of Zenda is the one most fondly remembered by movie audiences.
If it doesn't quite have the panache of the Colman film, it makes up for it with the introduction of some nice color cinematography.The casting of Stewart Granger in the double role of Rudolph Rassendyll and his royal cousin, the Crown Prince Rudolph of Ruritania and James Mason as the villainous Rupert of Hentzau is hardly some stock company casting.
Mason who has also played some of the best villains on screen keeps up the fine tradition for that role.The 1937 version benefited from having the world wide publicity of the constitutional crisis in the United Kingdom over Edward VIII choice of consort.
We've seen over ten versions so far going back to the silent screen.The women in the cast, Deborah Kerr and Jane Greer as Princess Flavia and Antoinette DeMauban respectively never come in for much discussion of their roles.
On the face of it, "The Prisoner of Zenda" has everything a swashbuckler could require to make it a glorious success: a star-studded cast with previous form, Technicolour pageantry, MGM production values, an Alfred Newman score, a classic story of self-sacrificing heroism...
But on viewing it again after a lapse of some years, I find that it still doesn't work for me; and there doesn't seem to be any obvious reason why.There were in fact *two* films released in 1952 starring Stewart Granger in sword-fighting heroics: one of them -- enchanting, bittersweet, dancing of wit and of blade, and featuring what was to become one of the most famous fight sequences in screen history -- was, of course, "Scaramouche".
Deborah Kerr is sweet, fiery and entirely convincing as Princess Flavia, next in line to the throne, and Jane Greer is more than equal to the pivotal role of Antoinette de Mauban, whose complex motives prove the key to the whole plot.Ultimately, I found this a decent film, but not as outstanding as it should have been, given its constituent parts.
Stewart Granger is marvellous in his dashing and heroic dual role, and Deborah Kerr is ravishing as Princess Flavia.
Jane Greer comes off even better, while James Mason is a menacing and somewhat austere Rupert and while his part is a little underwritten perhaps Robert Douglas is appropriately sinister as Michael.
This exact double is asked to fill in for the man who is to be crowned king--and gets caught up in all sorts of intrigue and romance.If you watch this film, you will no doubt enjoy it.
Here, Stewart Granger and James Mason (among others) were good but at no point did they make me prefer this over the classic 1937 version.
Adventure, pageantry and royal intrigue are forged at sword point in the two finest screen versions of the beloved 1894 novel filmed many times," according to the Warner Home Video release, "Ronald Colman plays the double role in the resilient 1937 David O.
Stewart Granger stars in the eye-filling 1952 color version (Side B), romancing Deborah Kerr and wielding bold steel in the film's bravura climactic duel." Thanks to whoever at Warner/Turner decided to release these two versions of "The Prisoner of Zenda" together.
Of the two available here, the 1937 "black-and-white" version wins the sword fight, though the 1952 color version is inoffensive and beautifully photographed (by Joseph Ruttenberg).Examined together, the three films support the widely held belief that the more villainous role in a drama is often the one to act.
In the 1937 and 1952 versions, Douglas Fairbanks Jr. and James Mason are always above or equal to anyone else in the cast.
In each case, "The Prisoner of Zenda" is an attractive production.****** The Prisoner of Zenda (11/4/52) Richard Thorpe ~ Stewart Granger, Deborah Kerr, James Mason, Louis Calhern.
I've already seen it three or four times and I've never got tired of it.Stewart Granger is absolutely perfect as the hero,playing two parts with gusto:I love the crowning where he manages to be as majestic as a king and yet shows he is not completely at ease ;his waltz with Deborah Kerr is also a great moment.James Mason vies with Robert Douglas in wickedness ,greed and Machiavelism.Deborah Kerr is gorgeous as Princess Flavia.This kind of story belongs to an imaginary remote past -although it is supposed to happen in 1897-like the fairy tales.That's why "the prisoner" is so magical..
While on holiday an Englishman who resembles the king of a small European nation gets mixed up in palace intrigue and royal romance when his royal doppelgänger is kidnapped.A Technicolor remake of Anthony Hope's much filmed story sees Stewart Granger, Deborah Kerr and James Mason star, while directing is Richard Thorpe, composing the score is Alfred Newman and cinematography is by Joseph Ruttenberg.Lush and at times lavish, this MGM production is however rather ponderous at times.
The first hour positively crawls and while Granger is just fine in the dual roles of Rudolf Rassendyl/King Rudolf V, the dynamism and breezy pace of the Ronald Colman starring 1937 version is sadly lacking.
He falls in love with Princess Flavia (Deborah Kerr) while dastardly Rupert of Hentzau (James Mason) also wants to take control of the kingdom.This is a lavish Technicolor remake of the Ronald Colman version, a faithful pedestrian remake though.
Grainger of course eventually saves the kingdom against the dastardly machinations of the King's designing brother, Prince Michael and the even more dangerous James Mason, (a picture in lilac jodhpurs!) as the real brains and cold-steel of the whole operation, Rupert of Hentzau.
Although they were as usual doing some great work around this time, there were some pretty forsaken awful films getting a release at this time, and this was a film which could have been more, but wasn't.Remake of the 1937 Ronald Colman classic, the latter is a disastrous film, probably an ill advised adventure.
This adaptation of The Prisoner Of Zender has Stewart Grainger playing European King Rudolf V at Strelsau who is the constitutional head of a version of a feudalistic system.
Another prominent actor in The Prisoner Of Zender is Jane Greer who plays Antoinette de Mauban with conviction.The Technicolour of the film reflects and captures the ostentatiousness of a regal lifestyle, here directed by alleged budget conscious Richard Thorpe.
Stewart Granger played the title characters, a tourist who resembled the king of a fictional country, and was recruited to spoil a plot by the brother of the king to take over the throne and a fair princess, played by the beautiful Deborah Kerr.
It moves at a rather stately pace, as though impressed enough with its own trappings to conclude that a viewer needs nothing more.STEWART GRANGER and DEBORAH KERR are graceful replacements for Colman and Carroll and both look splendid in their roles with Granger having considerably more acting to do in a dual role when he assumes the identity of the King of Ruritania.
Of course, there has to be a villain and JAMES MASON fills that role superbly as Rupert, involved in the plot to kidnap the real King in a struggle for power.
Likewise, ROBERT DOUGLAS as a fellow conspirator plays another villain with relish.It's a lavish costume adventure/romance of the highest order, prettified in color by Technicolor so that it seems like a fairy-tale for adults.
The 1952 version featured MGM's imported British leading man, Stewart Granger in a dual role, with Deborah Kerr as his leading lady, James Mason as a charismatic villain, Robert Douglas as the king's enemy and Louis Calhern and Robert Coote as loyal friends of the weakling king.
In this film, Granger has one of his best roles as a brave and ethical young man; Deborah Kerr is lovely, acts very well and shows the emotional reluctance of her character to attain selfhood and renounce royalty very clearly.
James Mason and Robert Douglas are outstanding in their villainous parts, even better together than separately; Jane Greer, Louis Calhern and Lewis Stone are very fine.
Children would love it because it is so uncomplicated and you do not have to think beyond what you are told on screen.The only redeeming feature in the film was James Mason's above average performance.
It has everything you could possibly wish for, romance, action, adventure, comedy + what really matters is superb acting, especially from Steward Granger (Rudolph Rassendill + King Rudolph) Deborah Kerr (Princess Flavia) and James Mason (Rupert of Hentsau) it is a classic of its time and the more i watch it the more it grows on me.
When a British subject, Rudolf Rassendyll (Stewart Granger) arrives to Ruritania, in a fishing trip, he was ignoring that he is a replica of the man who would be king...He was also surprised to find out that Rudolf V will be betrayed by two enemies: his half-brother Michael, Duke of Strelsau (Robert Douglas) who dreams to be the future sovereign, and by the impertinent, ambitious Officer Rupert of Hentzau (James Mason) who wishes to be the first man in the Kingdom...Michael, after drugging the King, wants the Crown to be offered to him by the people...
He poses as their savior from the excesses of an incompetent King...But two faithful Officers, Colonel Zapt (Louis Calhern) and Lieutenant Fritz von Tarlenhein (Robert Coote), actively in favor of 'crowning the King,' persuade the 'Englishman on holiday' to substitute the 'twin cousin' and to stand assuming the position of a true king at his Coronation...Rossendyll discovers himself involved in a tensional political web as well as in a strange human sensation...He couldn't play the impostor after meeting Princess Flavia (Deborah Kerr).
Now, so careful, so concerned, so in love...After the success of "Scaramouche," Stewart Granger performs with dignity the king part in "Prisoner of Zenda." He plays with certain charm the innocent hero, the swordsman, the perfect English gentleman in love...
He proves to be 'the finest Elphberg of them all.' Granger will be always remembered as the handsome elegant actor of them all...Deborah Kerr, who worked with Granger in "King Solomon's Mines," is exquisite as the delicate, sensitive princess, 'born to her cares and duties.' Her honor lies in keeping faith with her country and her house...Jane Greer plays the French Lady madly in love with Michael...
Her only care was 'no harm' to her lover..."The Prisoner of Zenda" has all the elements of a highly romantic costumed adventure: secret plots; confused courts; honor; power; fame; duty; bravery; flirt; passion; love; hate; and swordsplay...Filmed in Technicolor, the film is a beautiful exact remake of the 1937 Version with Ronald Colman, Douglas Fairbanks Jr., Madeleine Carroll and Raymond Massey....
The Stewart Granger - Deborah Kerr movie version of Anthony Hope's THE PRISONER OF ZENDA is an entertaining film, but it comes off second best to it's 1937 predecessor with Ronald Colman and Madeleine Carroll.
Yet the later film is not quite as good.According to the Turner Classic Movie's Stewart Granger was at a dinner at Ronald Colman's house where they ran the 1937 film as entertainment.
The only changes was the production crew, the cast and the color film stock.Granger comes off as good as Rudolf Rassendyl and King Rudolf V, but he is a trifle self conscious.
When Colman played the part he had a great lightness of touch that helped color his performance (particularly when dealing with both Douglas Fairbanks Jr. as Rupert of Hentzau and Raymond Massey as Black Michael).
It's odd because he had an advantage over Colman regarding the cast - Rupert in the 1952 film was played by James Mason, who had already appeared in two films (as deadly adversary) to Granger (THE MAN IN GRAY and FANNY BY GASLIGHT).
David Niven and Robert Coote were Fritz von Tarkeheim in the two versions, and both played the role effectively but not remarkably.The color was useful in the 1952 film in making the sets more evocative of that period from 1890 to 1897 (Victoria's upcoming Jubilee is mentioned at one point).
The most notable is in the climactic sabre duel between James Mason as Rupert and Stewart Granger as Rudolf.
In the earlier version poor Ronald Coleman was stuffed into a homely and somewhat raggedy looking woolen turtleneck sweater.And the principle parts are played by different actors and actresses so there are additional variations on the theme of intrigue, action, and love in Ruritania.
In the definitive 1937 version, Ronald Colman played the prisoner opposite Madeleine Carroll.
Best of all, Stewart, Mason and Douglas are appropriately dashing and/or villainous, and have the well-tuned support of seasoned players like Jane Greer, Robert Coote and Peter Brocco.
Both Stewart Granger and Deborah Kerr are almost impossibly beautiful and impossibly noble as lovers for whom Duty will always be more important than Love.
This 1952 version of the 1937 film of Anthony Hope's classic adventure novel is an almost exact copy.They used the sane screenplay, same sets, & same music, only differences besides the cast is that this is in beautiful 3-strip techicolour,The final sword fight scene is extended a bit as both participants were more skillful then the original 2 actors.Like the 1937 version this also has a well known cast.
Stewaet Granger, Deborah Kerr, doing well as the leads that Ronald Colman & Madeline Carrol did in the original.
Robeert Coot was not as funny as David Niven was.James Mason had the role the Douglas Fairbanks Jr. made memorable.They all did fine jobs under Richard Thorpe's fine direction.See my write up on the 1937 film for more details.Basically this is not as great as the original version BUT it still is a fine re-do.Ratings *** (out of 4) 88 points (out of 100) IMDb 8 (out of 10) **** the 1937 version was ***1/2 96 points & IMDb 9.
Meanwhile, James Mason--incredibly enough--doesn't overshadow Douglas Fairbanks, Jr., in the role of amoral Rupert.
They may have opted to film the 1937 version shot for shot but, alas, they couldn't replicate the original cast and had to settle for acting joke Stewart Granger, insipid Deborah Kerr and rely on James Mason to supply the only decent acting amongst the principals, plus strong support from Louis Cahern and Robert Coote.