The Four Horsemen of the Apocalypse

Plot synopsis:
Madariaga "The Centaur" (Pomeroy Cannon), a harsh but popular Argentine landowner, has a German son-in-law whom he dislikes and a French one whose family he openly favors. He is particularly fond of his grandson Julio (Rudolph Valentino), with whom he often carouses at seedy dives in the Boca district of Buenos Aires. In one of these bars, the movie's famous tango sequence occurs. A man and a woman (Beatrice Dominguez) are dancing the tango. Julio strides up and asks to cut in. The woman stares at Julio alluringly. The man brushes him off, and they resume dancing. Julio then challenges the man and strikes him, knocking him into some tables and out of the scene. Julio and the woman then dance a dramatic version of the tango that brings cheers from the people in the establishment. Following the dance, the woman sits on Julio's lap. Madariaga then slides to the floor, drunk. The woman laughs at Madariaga. Julio casts her aside in scorn and helps his grandfather home.
Sometime later, Madariaga dies. The extended family breaks up, one half returning to Germany and the other to France.
In Paris, Julio enjoys a somewhat shiftless life as a would-be artist and sensation at the local tea dances. He falls in love with Marguerite Laurier (Alice Terry), the unhappy and much younger wife (by an arranged marriage) of Etienne Laurier, a friend of Julio's father. The affair is discovered, and Marguerite's husband agrees to give her a divorce to avoid a scandal. It seems as though Julio and Marguerite will be able to marry, but both end up getting caught up in the start of the Great War.
Marguerite becomes a nurse in Lourdes. The bravery of Etienne is reported, and he is blinded in battle. Etienne happens to end up at the hospital where she is working, and Marguerite attends to him there. Julio travels to Lourdes to see Marguerite and instead sees her taking care of Etienne. Julio, ashamed of his wastrel life, enlists in the French Army.
In the meantime, the German Army overruns Julio's father Marcelo's Marne Valley castle in the First Battle of the Marne. Marcelo is forced to host a German general and staff in the castle. One of Marcelo's three German nephews is amongst the staff and tries to protect him, but Marcelo is arrested after a melee involving an officer's assault of a woman. Marcello is to be executed in the morning, but his life is spared when the French Army counterattacks in the "Miracle of the Marne". The castle is destroyed by the French counterattack.
Four years later Julio has survived and become renowned for his bravery in the trenches at the front. During a mission in no man's land, he encounters his last surviving German cousin. Moments later, they are both killed by a shell. Back in Paris, Marguerite considers abandoning the blinded Etienne, but Julio's ghost guides her to continue her care for him.
The ending scene shows Marcelo Desnoyers mourning over his son's grave. The man who lived upstairs from Julio watches over him. Marcelo asks him, "did you know my son?" The man, with a remorseful expression, lifts his arms, forming the shape of a cross with his body, and says "I knew them all!" He then points to the sky and shows Marcelo the Four Horsemen of the Apocalypse riding away into the clouds. With this, the man assures him that "Peace has come—but the Four Horsemen will still ravage humanity—stirring unrest in the world—until all hatred is dead and only love reigns in the heart of mankind."

Tags: romantic, murder

Review:
Most take exception to the casting of Glenn Ford and classify the film as one of Minnelli's lesser efforts.
It's not that I'm Glenn Ford's greatest fan, but I think he gives one of his finest performances here and is one of the movie's strengths.
The new version tries to be 'more' than a war or anti-war film...The quality of the Argentinean family with its members fighting on both sides (French and German), revealed great nationalism in their habits of thought and expression...
They put everything at the stake, specifically two important talents, Julio (Glenn Ford) and Heinrich (Karl Boehm), trapped in this entertaining remake of "The Four Horsemen of the Apocalypse."Karl Boehm, the ambitious Colonel Heinrich, member of the S.S. envies his cousin's independence...
Awakening in Times of War. In Argentina, the family man Julio Madariaga (Lee J.
One of his daughters, Luisa Desnoyers (Harriet MacGibbon), has married the Frenchman immigrant Marcelo Desnoyers (Charles Boyer) and they have one son, the playboy Julio (Glenn Ford), and one daughter, the gorgeous student of Sorbonne Chi Chi (Yvette Mimieux).
His other daughter, Elena von Hartrott (Kathryn Givney), has married the German Karl von Hartrott (Paul Lukas), and they have three sons: Heinrich (Karl Boehm), Gustav and Franz.In 1938, Heinrich returns from Germany for a family reunion and when he tells that he has joined the SS, the displeased Julio Madariaga has a heart attack and dies.
Did anyone at MGM screen that before signing him up for this expensive remake of the silent classic The Four Horseman of the Apocalypse?Whatever else Glenn Ford was and I'm a big fan, he just doesn't cut it as the second Rudolph Valentino.
Best performance in the film is that of Paul Henreid who plays Thulin's husband who while he's off to war and a POW camp, she's fooling around in Paris with Ford.Now you can believe she'd have found Valentino irresistible, but not Glenn Ford..
I'll rather think most of the viewers haven't had the opportunity to watch this movie and the few who had, have not been able to appreciate the admirable qualities of this film.
Vincente Minnelli's updating of Vicente Blasco Ibanez's novel is an absorbing melodrama which, as another viewer has noted, must have been watched by Visconti before he made his film The Damned a few years later.The film begins with the Desnoyers family gathering for dinner following the return of Heinrich (Karl Boehm) from a spell in Germany where, to the disgust of grandfather Julio, he has been indoctrinated into the ideology of the Nazi party.
Despite this, the lines are clearly drawn between the two sides of the family: Heinrich and his father Karl (Paul Lukas) on one side, Julio No' 2 (Glenn Ford) and little sister Chi Chi (Yvette Mimieux) on the other.Julio is a playboy with no interest in the war; he prowls swish parties for available women, sidling between arguments of the impending war as he closes in on his prey.
In fact, he is so badly miscast that he seems to be adrift throughout the film, as if trying to figure out how he was ever chosen for the role (Minnelli wanted Alain Delon, apparently, and we can only imagine what an altogether different interpretation he would have given to the part).The predicament in which the Desnoyer family find themselves is wholly absorbing as the war slowly tears its members apart.
Most imaginable sea-changes in personal opinions are explored during the course of the story, from the discovery of a hidden integrity on Julio's part, to disillusion on the part of Karl, the WW1 veteran who allows himself to be swept up in the triumphalism of the Nazi's rise only to find his son becoming irrevocably morally corrupted by the same experiences.The movie never won any awards, which is probably how it should be, but it provides an intelligent and literary exploration of a fascinating subject that makes it easy to watch despite its bloated running time..
A film that's always been held in a great deal of affection here in Spain (and not just because it's a Blasco Ibañez story, nor because hearing it dubbed into Spanish relieves us of Angela Lansbury).
The "four horsemen" vision manages to stay just this side of Monty Python (with the aid of swirling clouds), but doesn't save the opening scenes of the film from lurching full-pelt into overplayed melodrama (the death of the patriarch Madariaga: one too many thunderclaps for a start), and doesn't tie in too well with what was eventually left in from Blasco Ibañez's tale (pestilence?
The plot is 100% predictable, and the rest of the acting is competent without being memorable.I must admit, though, I was impressed by the very Minnelli-esque sequence which took Ford's eyes staring at a scene of dancing and frivolity between Nazi officers and collaborationist women, superimposing the two and mixing in newsreel-style war footage; likewise, Henreid's heartstopping portrayal, in one scene, of a man almost broken by torture, emerging from a Gestapo jail; and the finely judged acceleration at the end towards the story's predictable but satisfying climax.
I recall enjoying it, nevertheless, and much of my pleasure was due to Minnelli's always inventive visual style, the expensive mounting in CinemaScope and Metrocolor, the interesting cast (not all of them well-chosen, especially the deadly-dull Glenn Ford, who was being assigned to what seemed like every other big budget M-G-M picture during that period), the astute use of Angela Lansbury to dub Ingrid Thulin's lines (though I'm sure that Miss Thulin's own voice, even if she had learned her lines phonetically, would have been preferable), and Andre Previn's very expressive score.
A student riot looks like a dance number minus the jazz, and there's a crucial scene with Paul Lukas trapped behind his desk and Charles Boyer at loose ends in the rest of the room that is as clumsy a piece of film-making as any major director has ever taken responsibility for.The film is too long, too slow, too ham-fisted, too under-energized.
When you're watching Minnelli's work today you cannot help but thinking that he had a strong influence on Luchino Visconti's "la caditi dei degli" (1969)Actually the two movies begin the same way:a family whose members are tearing each other part because some of them go nazi.It does not matter if the scene takes place in Argentina in Minnelli's work:we find the same madness,the same baroque side and similarities abound:the old man's death echoes to that of the patriarch of the Essenbeck family in " la caduit dei degli" .Karl Boehm's character inspired Helmut Griem's one.And Ingrid Thulin is featured in both films,although she does not appear in the first thirty minutes,the best..The dinner scene remains impressive today:if it certainly inspired Visconti later ,itself takes probably its roots in Frank Borzague's masterwork "mortal storm" (1940),which tackled long before his two peers the subject of the family and nazism.But Minnelli added gaudy colors ,typical of the fifties melodrama ,and special effects -the four horsemen who will come back ,particularly later when chic people are dancing while war is raging outside.Actually this scene is so strong as the rest of the movie seems like a let-down afterward .All that takes place in Paris does not rise above average.The film never recaptures the intensity of its beginning,except for its very last minutes,with the final confrontation between the two cousins -it's difficult to admit,though ,that Glenn Ford and Karl Boehm are relatives.If a strong beginning and an effective ending make a good film ,you can say that Minnelli's extravaganza is worth a watch.It's not among his best works ,but if critic Georges Sadoul said "the first sequence is sheer aggressive bad taste" ,do not forget that "good taste" does not necessarily make great works..
If Vincente Minnelli is to be praised in this film, it his decision to film Ibanez' novel and to cast the fascinating Ingrid Thulin--who has contributed substantially to Bergman's early work and to Swedish theatre.
It is a matter of historical tragedy that Thulin's own voice was not used and Angela Lansbury's voice was used instead.Lee J Cobb as the patriarch and Glenn Ford as Julio were avoidable decisions.
Although this lavish production of a Hemmingwayesque story tried very hard, the casting of the over 45 year old Glenn Ford was a big mistake.
Cobb) who reunites his diverse members as French (Charles Boyer and his sons Glenn Ford and Yvette Mimieux) as well as German (Paul Lukas , Karl Boehn) but with the Nazi outbreak the events get worse .
Meanwhile , in the city of lovers , the day the clocks stopped turning and the world stood still , the protagonist (Glenn Ford) falls in love with the resistance leader's (Paul Henreid) wife (Ingrid Thulin , allegedly dubbed by Angela Lansbury)This dramatic film is packed with an excellent cast , thrills , suspense , emotion , betrayal , a loving triangle and historical events .
Employing first-class MGM technicians , including Erich Von Stroheim , Minnelli continued directing musicals as ¨The band wagon¨ (1953) , ¨Kismet¨, ¨The pirate¨ , ¨ An American in Paris¨ , ¨Brigadoon¨ as well as melodramas as ¨Some came running¨ (1958) , ¨Madame Bovary¨, ¨The sandpiper¨ and urban comedies like ¨Designing woman¨ (1957), occasionally even working on two films simultaneously .
The problem with this is that by knowing how the war ended and what happened twenty years later when one reads the book one comes to the conclusion that if the Germans had learnt the lesson the tragedy of World War II could have been avoided.
Andre Previn's musical score one of his best.Studio troubles, politics seemed to interfere with the production.I wanted it the film to be better, but still give it a 10.Boyer is great and so is Tuilin, in the role of the war wife.
I don't have advantage of viewing the original "The Four Horsemen of the Apocalypse" in its entirety with Valentino but this one was a disaster because of the miscasting, most notably Glenn Ford playing the part of Julio Desnoyers.The movie follows the twists and turns of an Argentinian family with the patriarch Julio Madariaga being played by Lee J Cobb as they wend their way through World War II.
Other than Cobb's performance at the start, Andre Previn's music and the ending it reminds me of sitting down to a sumptuous dinner created by a chef only to discover that the food wasn't nearly as good as it looked.
Not having seen the infamous Valentino starring silent movie, nor read the novel, my hope for a dark brooding epic remains somewhat dashed.The quality on TV was fairly soft, maybe not relevant with the DVD here but it didn't help my viewing, nor the over 3 hour running time, with ads.What does strike one is that it's a movie that's trying to get out from its limitations; Cinemascope at the cinema at the time, with its stereo soundtrack and Metrocolour (very washy on TCM), score by Andre Previn and the best part, the lush, majestic and often attractive globe- trotting location cinematography by Milton R.
Krasner, it must have been a very different beast on release.I mention this TV version so much as the DVD is expensive and there aren't many alternative sellers and so for many people, it may well remain their only method of viewing.The odd and poorly cast set of stars is well known; Glenn Ford rarely shines or engages however and one feels that there is a great story somewhere - there's also an epic and expensive feel - director Vincente Minnelli has made some fabulous films - but one has to try just too hard to glean anything from it.To me, this means that it just floats by and one doesn't give it the attention it deserves.
A listless Glenn Ford in an anachronistic hat looks bewildered much of the time, as if he stepped onto the set of a different movie.
The book and silent movie tell the story of family members from neutral Argentina who get drawn into this maw of hell.
At some point, it looks like everyone just wants to quit and go home.The film tries to tell a story which is out of sync with the time and situation in which it is located.
Actually this movie wasn't enough understood by audiences and also have a low ratings from IMDb's reviewers,there some weak points to discuss as the age of Julio around forty years old,that's a problem really,but the main message is about peace,still...the four horseman are the Ghosts of the war bringing suffering,looses,and pain...breaking families whose are the key reason the entire production,another good point is about french's pride,when Julio saw a lot of young french women surrounded of German officers he realize that make something to do and accept to struggles against the invaders,more when your father beg for Chi Chi's life is quite touching...and finally the final clash between two cousins on a long frozen friendship due they are in opposites sides shown how world gone wild!!!
After a shaky start, this movie gains momentum and delivers a powerful second half.The story starts just before World War 2.
The German side become confirmed Nazis, while the French connection supports the Resistance.One hurdle the film struggles to overcome is Cobb's over-the-top performance as The Old One.The movie opens as The Old One demonstrates his love of life.
However, just as the crew of a ship in danger of capsizing can often save the situation by jettisoning excess cargo, twenty minutes into the film, The Old One throws a tantrum, staggers out into the rain and collapses face down in the "rich, dark soil of Argentina", exiting the movie.Glenn Ford plays Julio Desnoyers, the favourite grandson of The Old One. Ford was cast against type, he was such a solid screen presence that he seems awkward in the earlier scenes as the feckless, politically neutral playboy, but he eventually gives the film a degree of substance as his character gains a conscience and takes a stance.This must have been just about the last hurrah for actors such as Charles Boyer and Paul Lukas.
One thing I remember reading at the time was that Parisians were taken aback with the recreation of the Germans marching past the Arc de Triomphe - the war had been over for 17 years, but memories were still raw.Although the film is based on a novel and a silent film, the story in both those cases involved World War 1.
Can you imagine Glenn Ford playing the role of a college age student just flitting about Argentina and Europe during the start of WWII?
On the other hand, Glenn Ford, who was also forced onto Minnelli by MGM, is far better than critics would have you believe.
It's true that seeing Ford as an Argentine is a bit much to swallow, but he was a decent actor and had a likable screen persona that was the essence of his Julio character in "Four Horsemen." Julio, as a man who intends to stay neutral throughout WWII, and is someone who does not alter his position until far into the film, needs something to keep the audience interested.
Although he doesn't do the tango or blow smoke through his nose like Valentino did in the original silent film, Glenn Ford managed to convey the masculine charm but shallow life choices Julio's character demanded and keeps us interested in him until his political conscience awakens.I have only seen parts of the silent version, and never read Vicente Blasco Ibanez' novel, so I was not comparing the film to anything it could have been but wasn't.
I just saw a story that effectively portrayed how war and the Nazi party in particular, destroyed two families and ripped to shreds the love lives of three passionate people.
This story was told well by film and players, with the machinations of the Nazi party, life in occupied Paris, and long held family grudges all intertwining in believable and dramatic ways.Equally impressive were the performances of Lee J.
Cobb as Julio's Argentine grandfather, who has a very strong scene at the beginning of the film, but whose presence and legacy is felt all the way to the end; Charles Boyer, absolutely heart breaking as Julio's father; Paul Lukas, as Julio's uncle whose dedication to family or Nazi party is given the ultimate test; and Paul Henreid, as the husband of Marguerite (Ingrid Thulin's character), whose dedication to the resistance becomes not only his undoing, but that of Julio's, his rival for the love of Marguerite.
Cobb's grandfather character describes the figures, which we initially see as brass figurines - from the book of revelations, Pestilence, War, Famine, and Death - that stand before the mouth of a large fireplace in the family's Argentine home.
Maybe not in the direct combat, but it affects the whole of humanity.In this film, the family patriarch, Julio Madariaga, had tried to do just that – isolate his family from war.
Cobb as Madariaga, and Glenn Ford as Julio Desnoyers – all were excellent.
He wanted it to be set during World War I, as was the original story and the 1921 silent film based on the book.
This film is quite different than the 1921 movie in characters and plot, especially with the love interest of Julio.
Is it impossible to show the horror of the Four Horsemen if Glenn Ford is 46 (Conquest, War, Famine, and Death)?
I usually find Glenn Ford an asset to almost any film, and this is one of his better performances as one of the sons of Argentina who gets caught up in a world at war.
Ingrid Thulin's performance as the wife of a member of the French resistance...and lover to Glenn Ford's character...was superb; wish she had done more American films in her career.