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.


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 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.


'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.


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."


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


This was also my favorite novel as a child as well. It may have been the first major novel I read.

David O. Selznick had recently left Metro-Goldwyn_Mayer to set up his own studio. This was one of his first productions as an Independent producer, In choosing Anthony Hope's novel, he made a very wise choice. His casting was even better, he only had the very best available cast at the time.

The dashing Ronald Colman as both the King & his cousin. The very beautiful Madeline Carrol as the Princess Flavia. Raymond Massey as the diabolical (wrong side of the sheet) brother of the King.(you could not say bastard in movies or print back then..C.Aubrey Smith as the older loyal aide. The lovely Mary Astor as a Countess who helps. David Niven (this may have been his first major role) as a younger aide.He showed much promise of things to come. & last but not least. Douglas Fairbanks Jr, as the dastardly Rupert. I think he stole the film from both Colman & Massey.

Each & ever one of them plus others were about flawless under John Cromwells fine , polished direction., The Sets were magnificent, so good in fact, they were used in the 1952 version) I will also have a review of this version. The Music was excellent written by Alfred Newnan,The screenplay was wriiten by (among others) Edward Rose, John Balderston,Donald Ogden Stewart Ben Hecht & Sidney Howard.

This film was one of the more popular films of its day, Even today these many years later it comes across as a wonderful exciting film.

This was filmed in glorious Black & White by James Wong Howe.

Today the loves scenes seem a bit dated BUT back then actors in a clinch did not look at one another, the camera had to catch there faces. This tale took place prior to WW 1, I just wonder if people did so much smoking, thats a minor quibble.

For a peek at a classic from the 1930's SEE THIS.

Ratings ***1/2 (out of 4) 96 points (out of 100) IMDb 9 (out of 10)


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.


As a kid I read the Anthony Hope novel and loved the Stewart Granger film version of it. As an adult, I discovered the Ronald Colman version (upon which the Granger film was based, scene by scene, camera angle by camera angle), and since Colman is one of my all-time favorite actors (the personification of British suave), I fell in love with it. Every member of the supporting cast of the later version is superb, but can't quite beat Douglas Fairbanks, Jr., Raymond Massey, Mary Astor, and David Niven. It's become my all-time favorite swashbuckler. A tale of a reluctant hero and a bittersweet romance with lots of action and witty dialog, it compares favorably with another, slightly later tale of a reluctant hero and a bittersweet romance, "Casablanca." I can't wait for the DVD to come out.


One of my all-time favorites. I watched it again a few nights ago. Fairbanks is a marvel. Princess Flavia's dilemma at the end always reminds me a little bit of Elsa Laslo's dilemma in "Casablanca." (Although Madeleine Carroll's acting seems highly stylized today.) The best part of that scene is the scenery--the lighting and the window's arch as it frames the two lovers. It's achingly beautiful. If I had a room like that I would never leave it. But the film as a whole is not a three-hanky affair--it's got swashbuckling, snappy dialog and lots of old movie conventions. (C. Aubrey Smith is an old movie convention in himself.) I definitely keep coming back to it to watch Fairbanks as Rupert of Henzlau.


This is probably Ronald Coleman's best film, though he does have other terrific films to his credit. Why is it so good? Well, the pacing is brisk, the story engaging, acting superb and the supporting cast is dynamite--how can you fail when you are supported by the likes of the David Niven, Dougals Fairbanks, Jr. and C. Aubrey Smith?! PLUS, Rayond Massey is great as the menacing villain leader--part Jonathan Brewster (from Arsenic and Old Lace) and part Snidley Whiplash (from Bullwinkle). Plus Madeleine Carroll is so beautiful and captivating I could see how Coleman would have a terrible time letting go of her! The story starts in a small mythical kingdom. It seems on the eve of his coronation, the king-to-be is drugged by the evil villain. It just so happens that the good guys have stumbled on an exact double of the indisposed king and they ask this very surprised chap to sit in for the king. He reluctantly agrees but it is for a lot more than he expects after the king-to-be is kidnapped and he must remain king for the foreseeable future! This is rousing adventure in the grandest tradition! If you love films such as Captain Blood and the Adventures of Robinhood, you will be in for a real treat if you watch this film.

NOTE: The entire movie was re-filmed nearly scene for scene in the 1950s with Stewart Granger in the lead. It, too, is an excellent film but offers nothing significantly better than the original. My advice is to try the original first--as overall it's a little bit better. ALSO, Peter Sellars did an unbelievably terrible version of this film in 1979. Avoid it unless you are into masochism.

NEWER NOTE: I reviewed this wonderful movie a couple years back and tonight I was surprised to see Ronald Coleman is a very, very, very similar film called THE MASQUERADER (1933) in which he once again plays two roles of people who are supposed to be identical but not twins. Considering that this is a bit of a silly cliché and that he did THE MASQUERADER several years earlier, this makes THE PRISONER OF ZENDA a bit less original than I'd earlier thought, so I am now scoring the movie with a 9 instead of a 10. It's still a lovely film--just not quite so original.


The 1937 version of 'The Prisoner of Zenda' has been one of my favourite films for most of my life. The performances outshine those of the shot-for-shot 1952 colour remake, while the Peter Sellers spoof deserves to be forgotten...

The plot is taken from Anthony Hope's classic 1894 swashbuckling novel. Rudolf Rassendyll, the younger son of a British Earl, distantly related (illegitimately) to the ruling house of Ruritania, is forced to impersonate the new King Rudolf, whose double he is. There are complications, conspiracies and some excellent swordplay. Rudolf has to rescue the abducted King, but falls in love with the beautiful Princess to whom his lookalike is betrothed. The adventure is brought superbly to life by a terrific cast: Ronald Colman as Rudolf Rassendyll and King Rudolf, Madeleine Carroll as Princess Flavia, Douglas Fairbanks jr. as Rupert von Hentzau, Mary Astor as Antoinette de Mauban, C. Aubrey Smith as Colonel Sapt, and a very young David Niven as Fritz von Tarlenheim. Raymond Massey as Duke Michael is perhaps less happily cast (see comments below), but he does well in a role which is, even in the novel, too thinly written for his plot-function.

I love this film - it is one of the classics of its genre, and I can only regret that the same team wasn't reunited to make the more tragic sequel, 'Rupert of Hentzau'. The most obvious gaffe I've spotted is the list of stations painted on the door of the train. As Hope-readers know, Ruritania is *not* in the Balkans, but is a German-speaking state between Saxony and the present-day Czech Republic: the nearest major rail-link in the real world is Dresden, therefore the Orient Express is not the best way to get there! Otherwise, the environment of the book is effectively realised. Oddly, the film sets the action in 1897, *after* the novel's publication (1894), whereas the sequel 'Rupert of Hentzau' implies that the events described are a few years in the past - probably c. 1876 for 'The Prisoner of Zenda'.

However, I just want to raise a few more points which I hope will encourage viewers to sample the book, too. Enjoyable as the film is, it is not a completely faithful adaptation: in some places, the film works as well as the novel, but in others it loses depth. Both are worthwhile on their own terms. There are one or two ***spoilers*** in here.

In the novel, it is very clear that this is a story of young people, and some of the casting in terms of age affects the dynamics of the relationships. While it doesn't matter too drastically that the 2 Rudolfs are here 40-something, not the 29-30 of the book, the script has altered the relationship between King Rudolf and his half-brother Michael. In the film, Michael is older, but (it is implied) illegitimate. In the novel, he is *younger* (probably mid-20s) and legitimate, although by a morganatic marriage; he is popular with the common people (not much in evidence in the film), and the sequel confirms one's suspicions that he could not have been any worse a King than Rudolf. Perhaps the story needs a somewhat more ironic and cynical touch, then, rather than endorsing Sapt's agenda without question?

What's more, in the book Antoinette is implied to be one of the 'poules de luxe' or 'grandes horizontales' typical of the era, and is a number of years Michael's senior: which makes her efforts to hang on to him rather more urgent and desperate. Mary Astor is ideal in the role, but she needed a younger partner: had Douglas Fairbanks jr. (an actor of far greater range than is sometimes credited) been cast as the intense, politically frustrated Michael, the relationship would have struck the right note. But then, one would have needed to cast someone like Errol Flynn as Rupert, and, fun though he is in swashbucklers, I'm not sure that would have worked.

Douglas Fairbanks jr. is a superb Rupert, and in many ways steals the show from Colman's gentlemanly Rassendyll and drunken playboy King Rudolf. He has style, swagger and sex appeal. What he is weaker on is the character's streak of sheer viciousness. When Rassendyll observes that he's a "bad-tempered fellow, underneath the charm", we never *quite* believe it of *this* Rupert. He's more of a dashing rogue than the novel's polished but out-and-out treacherous juvenile thug: the film's Rupert is a cad, but he doesn't attempt rape. The film makes the big sword-fight a duel between Rupert and *Rudolf Rassendyll*, rather than between Rupert and *Michael* - which is understandable in box-office terms, but sadly means we lose *another* terrifically dramatic scene: Antoinette, in her bloodstained nightdress, going after Rupert with a pistol.

In conclusion: this is one of *the* all-time great adventure films. Never miss an opportunity to see it, but don't forget to read the books, too! (They are now available on-line.)


THE PRISONER OF ZENDA premiered September 3rd of 1937 and was produced by David O. Selznick and distributed by United Artists. It is the best of five film versions based on the book by Anthony Hope. Hope was born a poor preachers son who worked his way up to being an unsuccessful lawyer before he failed at writing. But he persisted until his 3rd book PRISONER OF ZENDA and its sequel made him rich and famous. The 1913 film version was made by Edwin S. Porter, director of the 1903 GREAT TRAIN ROBBERY. The 1922 version was so successful a sequel was made by producer Lewis Selznick, the father of tonight's film producer David O. Selznick! So David grew up a fan of the book and his father's silent film. In 1933 MGM planned on making a musical version with Nelson Eddy & Jeanette MacDonald. In 1935 MGM thought again they would make a non-musical version but cast THIN MAN stars William Powell and Myrna Loy. But it was super producer Selznick who hit upon the idea in 1937 because of the current media frenzy over the recent coronation of Britain's King Edward VIII who abdicated the thrown to marry a commoner out of true love in 1936! From the opening shot of over thirty trumpeters heralding the start of major work of art producer David O. Selznick wanted to top A TALE OF TWO CITIES made just two years earlier and also starring Ronald Colman, and he does. Ronald Colman was at his peak getting $200,000 for this one film. In the same period he made LOST HORIZON, IF I WERE KING and THE LIGHT THAT FAILED. The cinematography was by a Chinese born American named James Wong Howe. He is considered a legendary master today and there are two completely different shots I want you to look for: the first is halfway through the story when Colman and Carroll arrive at the ball and the camera starts with them being announced and coming through a doorway. That's where I want you to start holding your breath and see if you can hold it until the end of the shot, as they descend the white stairs and the camera slowly pulls back and up and up over 100 feet and reveals the full size of the room. There is some cute comedy relief in the next scene provided by the Orchestra leader who is played by Al Shean who was in real life, uncle to the Marx Brothers. The next shot is later and much more intimate where Raymond Massey and Fairbanks are in a dark room only lit by a fireplace and they sit in two large chairs with their backs to the camera. Our point of view stays behind them and we just watch, as if we were actually in the room ease dropping. Today the scene would be cut into 25 quick edits and unnecessary close-ups. David Niven was just starting out (he's listed just above the cook in the credits) and the director was under utilizing him so Niven improvised some humor and was actually fired until Selznick & director John Cromwell viewed the dailies and decided to let Niven improvise even more thus making him a star. Director John Cromwell was known as a woman's director who mixed lavish, spectacular scenes with warm and tender love scenes and he is the father of current actor James Cromwell who was the understanding farmer in BABE and the corrupt police captain in LA CONFIDENTIAL. Black Michael in case you did not know he is the bad guy and is played with dark vengeance by Raymond Massey. David Niven and Raymond Massey who both starred together in THE PRISONER OF ZENDA (1937) and A MATTER OF LIFE AND DEATH (1946) both died on the same day, July 29th 1983. And beautiful Mary Astor of MALTESE FALCON fame is the scheming femme fetal who loves bad men. The stunning blonde beauty Madeline Carroll (she would later say this was her favorite role) was the most successful actress in England at the time. She was so attractive, it is said, Alfred Hitchcock never got over his crush on her while make THE 39 STEPS and forever cast blonds who looked like her as his female leads for the rest of his career. Douglas Fairbanks Jr. is the curly haired and handsome henchman with the smile on his lips and danger in his eyes. He originally did not want to take a supporting role but asked his famous father about it. Doug senior (who practically invented swashbucklers) told him he had to do it, PRISONER OF ZENDA was one of the best romances written in a hundred years and always a success and the part of Rupert is probably one of the best villains ever written. He's witty, irresistible and as sly as Iago. Whoever plays Rupert in any stage production in any country, will always be a hit, event though the leading part is a double role. The part is actor-proof, in fact Rin-Tin-Tin could play the part and walk away with it! When the film was first screened for a preview audience it went over only OK and Selznick realized the beginning was too long and since LOST HORIZON another Colman film made that year had it's beginning taken away to speed up the story, that's what he did to PRISONER OF ZENDA, chop off the prologue and epilogue. He also brought in another director W. S. van Dyke to beef up the fencing scenes even more. Douglas and Colman spare with words while mixing with swords in a carefully choreographed fight scene that shows they trained with an Olympic gold winning fencing master! And he then hired Alfred Newman to write a new score and BAM, what an improvement it made!


Anthony Hopes's classic tale turned into a classic adventure film with Ronald Coleman as the King and his commoner cousin who must masquerade as the king when he's first drugged into unconsciousness so he can't be crowned and later when the king is kidnapped. Its a rousing tale with a dynamite romance. It's been filmed numerous times and this one is probably the best. I put the Stewart Granger one a half step behind this one because James Mason isn't as evil as Douglas Fairbanks Jr as Rupert of Hentzau. You don't get casts better than this since it has Coleman, Madeline Carol, Fairbanks, David Niven, Raymond Massey, Mary Astor and C Aubrey Smith. You also don't get scripts better than this, the Granger version essentially used the same script so that as it ran I was quoting dialog and making my dad go "I thought you never saw this before". Possibly one of the best adventure films Hollywood ever made, I can't recommend it enough...


Since I'm a fan of unusual romantic and adventurous stories, I immediately fell in love with this film at the age of 15. I was so interested in seeing it that I ignored my father's curfew rule one school night and watched the film on TCM. While watching the film, I was fascinated by the simple, unique story of political and royal intrigue set in an imaginary 19th Century European kingdom. The film was so influential that I soon began daydreaming and writing my own adventurous stories of ruling and residing in an imaginary European country of my own creation, which I am still doing unto this day. This particular film, along with my all-time favorite THE ADVENTURES OF ROBIN HOOD (1938), also inspired me to take up fencing lessons in high school. Due to my obvious enthusiasm in class, I received a high final score of 98 out of 100 points after battling some tough opponents for two years in the fencing class.

On my 18th birthday, I finally received this wonderful classic film on VHS as a present from my father. Since then I've watched it many times and the story is always entertaining due to its uniqueness. And now the film is finally released on a double-feature DVD, containing the inferior 1952 scene-for-scene remake and looking and sounding far superior than my scratchy, faded, and fuzzy VHS.

But I'll try to be brief in praising the vastly superior 1937 versionalmost everything is perfect in this version. The direction is focused and effective. The extravagant production design is wholesomely convincing, making the audience believe that they are part of the fanciful European settings and not looking at studio sets. The black-and-white cinematography, by the great James Wong Howe, is atmospheric and menacing when it needs to bewhereas the 1952 remake looks a bit effeminate due to its quaint use of lavish Technicolor. The rousing, romantic music score by Alfred Newman is memorable and includes several classical source music pieces throughout in order to enhance the period detail. The pacing is nice and leisurely despite a few occasional lulls here and there in the fanciful, imaginative story. And the dialog, especially coming from the villainous Rupert of Hentzau (Douglas Fairbanks Jr.), is very clever and never fades into banality.

And the casting is very nearly perfect. Since this is the version I first saw, it's very hard to imagine anyone else in the lead roles, let alone in the smallest bit roles. However, I have one problem concerning the casting: I would have preferred the young and fresh Olivia de Havilland in the small yet pivotal role of Antoinette de Mauban, since Mary Astor looked old enough to be Douglas Fairbank's mother in the film. Too bad David Selznick, the film's producer, didn't cast Olivia in the roleand this film was made during preproduction of Selznick's GONE WITH THE WIND (1939). Other than that, I have no complaints on the casting. But it does look odd seeing the young, devilishly charming Fairbanks flirting with Astor, who looks homely enough to be middle-agedto me, at least.

If there's one other thing that had room for improvement in this film, it's the climactic duel scene between Rudolph Rassendyll (Ronald Colman) and Rupert within the dim chambers of Zenda Castle. For a time, I thought that it was a great yet brief duel scene in a classic film. While recently watching the 1952 remake, I noticed that the duel scene was much more imaginatively and elaborately staged that timeand even better filmed, since many of the shots of Colman and Fairbanks were mere close-ups in the 1937 version. So now I wish that the duel between Colman and Fairbanks was staged almost exactly like the one in the 1952 version. However, much of the witty banter between the two men was lost in the remake's duel scene. Still, an improved duel scene would have been just as innovative as the duel scene between Errol Flynn and Basil Rathbone in THE ADVENTURES OF ROBIN HOOD.

All in all, this is a superb yet obscure romantic adventure film that tackles an unusual subjectimaginary countriesand makes it work extremely well. Too bad it doesn't receive the strong recognition it deserves within today's generation, since many people my age tend to recoil upon seeing a black-and-white film...as well as hearing about my own imaginary country, Vasaria, due to its obvious unreality and its historical and escapist features.

God save the king...and hail Vasaria!


I am not going to try to outdo the preceding remarks regarding "Zenda" with it's superlative cast and their matchless performances I will however, give my opinion of the high point of this great film. Colman enters the cathedral in the coronation scene masquerading as King Rudolf and is confronted by the king's brother, Duke Michael. The hatred that radiates from Massey's regard of Colman is so powerful that it can actually be felt by the viewer! Colman(being Colman)is not to be outdone. His response is to regard Massey with wonder and amazement at the level of hatred directed at him, now realizing the true extent of the duke's malice. A truly remarkable scene between two great actors, no dialog needed from these two. A rarely achieved moment in moviedom -- perhaps overlooked as a rule due to its brevity. Another scene like it in films does not immediately come to mind.


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?


Ronald Colman in his second outing playing a dual role. The Masquerader being the first, is an Englishman come to the mythical Balkan kingdom of Zenda for a little fishing R&R. Nobody's more astonished than he to discover that he's a dead ringer for the monarch about to be crowned. The king is also played by Colman.

Crowned unless he can overcome his own dissolute character and the machinations of his half brother Raymond Massey. And there's another guy in there, Douglas Fairbanks, Jr., who's got his own agenda working while aligned with Massey.

The women aren't out of the picture either. Colman the king is set to marry his cousin Madeleine Carroll who's in line for the succession herself. If he can elbow Colman out of the way, Massey would like her for himself. That does not sit well with Mary Astor the woman who is crushing out big time on him.

The king's two trusted aides, C. Aubrey Smith and David Niven, discover Colman the traveler and introduce him to Colman the king. At the hunting lodge of the king, the king gets slipped a present from one Michael Finn and he's out of it on the day of the coronation.

With Massey ready to declare martial law and assume the crown himself, Smith and Niven count it as divine providence that the other Colman is there. He takes the king's place and gets crowned the ruler of Zenda. But Massey and Fairbanks aren't through by any means.

I counted nine different versions of this novel for the screen, including three silent films and one animated version. Still this one sets the standard. Everyone is so well suited for their parts.

It certainly is one of Ronald Colman's most beloved characterizations, both of them. He essays both the character of the weak king who summons up enough grit to take on the job and the carefree English traveler that maybe providence did put in the right spot.

The Prisoner of Zenda marked the return of Douglas Fairbanks, Jr. to the American screen and as he relates it in his memoirs he wasn't flooded with good offers. He was reluctant to take on the part of Rupert of Hentzau as he had not taken swashbuckling roles deliberately so as not to be compared to his father.

But Fairbanks did ask dad and his father said that his role is the best one in the story, that he wished he was young enough to do it himself and that he should run not walk to accept the part. Fairbanks did and he got rave reviews as the charming, but deadly Rupert.

The Prisoner of Zenda's release was timely indeed with memories of the abdication of Edward VIII who would not step up to the plate and do his duty by his country. C. Aubrey Smith's admonitions about doing one's duty to Colman the king were exactly what Stanley Baldwin and others were trying to beat into Mr. Windsor's head.

Though a good version of this was done in the Fifties by Stewart Granger and James Mason, this one is still by far the best.


This movie was really entertaining and well shot for such a oldie. There is love, mystery, honor, humor and a good plot. Every one plays a very good role and even Douglas Fairbanks Jr. plays a " you almost have to like him" kind of villain. Ronald Coleman is endearing and romantic and sexy as the Englishman. David Niven is grand also. The woman tend to overdramitize, but even so, they are wonderful in their roles. I would highly recommend this movie to those who enjoy a good black & white oldie movie!, Ellen


This movie stars Ronald Colman in a duel role as a Englishman who just arrived in a European country just to relax and fish. He runs into some guards who are amazed at how much he looks like the guy who is about to be named king. Colman and the future king get really drunk and when colman passes out, the future king drinks some drugged wine and is knocked out for several hours so he can't be named king. So Colman has to take his place but they find out that his brother, Raymond Massey, has kidnapped the king because he wants to be king. Douglas Fairbanks Jr. is on Massey's side but really only cares about himself. David Niven and Mary Astor also star and you can find out about the plot when you watch it.


Although Ronald Colman radiates charisma in the dual role of monarch and impostor in director John Cromwell's "The Prisoner of Zenda," epic saga of intrigue, romance and swordplay, Douglas Fairbanks, Jr., steals the show as the audacious amoral Count Rupert of Hentzau in an exuberant performance rivaling anything that his matinée idol father ever did. Not only does Rupert defy our hero and his cohorts, but he also thumbs his nose at the chief villain and his accomplices. Beautiful Madeleine Carroll of "The 39-Steps" co-stars as the love interest Princess Flavia, while Raymond Massey scowls arrogantly behind his monocle as the chief villain. Mary Astor, David Niven, and C. Aubrey Smith flesh out a dazzling cast. This lively, 101-minute, black and white, United Artists swashbuckler was the fourth cinematic adaptation of Anthony Hope's popular Victorian novel about dual identities and high court skullduggery when the king's scheming illegitimate half-brother tries to usurp him and claim the crown for himself. Countless scenarists, among them John L. Balderston of "Dracula" fame as well as Ben Hecht of "Scarface: Shame of the Nation" and Sidney Howard, penned the elaborate screenplay. The first two-thirds of "The Prisoner of Zenda" establishes the setting, situation, and characters, while the last third of this lavish costumer delivers thrills and chills, especially a swordfight between Colman and Fairbanks.

An Englishman, Major Rudolf Rassendyll (Ronald Colman of "Goodbye, Mr. Chips"), embarks on a holiday to indulge in his penchant for fishing. When he arrives in the small kingdom of Ruritania, Rudolf finds everybody eyeballing him and bothering him about the upcoming coronation. Rudolf has no idea why they are scrutinizing him and he states that he has no intention of attending any coronation. Later, while he is fishing on a game preserve, two of King Rudolph's men accost him and comment about his amazing resemblance to Lord Rudolph V. Indeed, Rudolf turns out to be the sovereign's distant cousin. Rudolph (Ronald Colman in a dual role) invites Rudolf to join him for wine at his royal hunting lodge. Rudolf observes that the king quaffs liquor to excess. After everybody has passed out from too much drink, the future king has one last drink that knocks him out for the long run. Colonel Zapt (crusty C. Aubrey Smith of "Little Lord Fauntleroy") has Captain Fritz von Tarlenheim (David Niven of "The Charge of the Light Brigade ") stash the unconscious Rudolf in the wine cellar until the king recovers. Later, Zapt persuades an initially reluctant Rudolf to masquerade for a day as the man scheduled to be crowned. "If he's not crowned today," Zapt grimly assures Rudolf, "he'll never be crowned." Imagine the surprise and consternation of His Highness Duke Michael (Raymond Massey of "Desperate Journey") when the coronation proceeds as planned. Michael refuses to be thwarted so easily. Rudolph's civility and sobriety surprises Flavia, while Rudolf is quite captivated by her beauty. Princess Flavia's memories of Rudolph's dreadful behavior toward her years before vanish. Of course, Flavia hasn't the slightest clue about the charade perpetrated by Rudolf. Everything seems to be going well for our heroes some 42 minutes into the plot as they return to the hunting lodge to let the real Rudolph resume his rightful place as monarch. Our heroes learn Rupert has kidnapped Rudolph and Michael is equally as surprised. Of course, the villains cannot blow the trumpet on the heroes without incriminating themselves, too.

Incredibly, Michael doesn't learn about Rudolf's impersonation until Rupert informs him about it some 58 minutes into the action. At this point, rapacious Rupert negotiates terms from Michael for Rudolph. Meanwhile, Rupert lures Rudolf to a rendezvous after midnight at a deserted summer house behind the wall on the Boulevard Elphberg with Antoinette de Mauban (Mary Astor of "The Kennel Murder Case") to learn the whereabouts of the King. Antoinette warns Rudolf that Rupert is bringing two other men to kill him. She strikes a bargain with Rudolf to free Rudolph as long as no harm befalls Michael. Of course, Michael knows nothing of Antoinette's treachery. She informs Rudolf that Michael has moved Rudolph from a woodcutter's cabin to Michael's castle near Zenda. Further, she tells him that they are prepared to kill Rudolph if Rudolf tries to storm the castle. She agrees to help Rudolf rescue Rudolph and hands him an earring as a sign. Once she formulates a plan for Rudolph's rescue, she will send a servant with the matching earring. Rupert and his men arrive and try to kill Rudolf, but our protagonist escapes. By now Flavia knows about Rudolf's sham. Later, Rupert meets Rudolf at the King's hunting lodge and tries to kill him. Antoinette's servant arrives and explains that he will lower the drawbridge after midnight. One man must swim the moat, scale the castle to Antoinette's room, and reach the dungeon before the guards can murder the king.

Again, the best thing about "The Prisoner of Zenda" is Fairbanks' mischievous performance and his treachery toward his own people. The surprise here is that he manages to escape after he kills Michael. Reportedly, producer David 0. Selznick brought in MGM helmer W.S. Van Dyke to restage the climactic action sequences at Michael's castle where Rudolf has to sneak inside despite heavy odds and free the monarch. The swordfight between Rupert and Rudolf and the cavalry charge across the drawbridge is pretty exhilarating stuff that has lost little of its verve. Horsemen gallop across the drawbridge and some crash their horses, virtually plunging them into the camera. This film received two Academy Award nominations: Lyle R. Wheeler for Best Art Direction and Alfred Newman for Best Music Score. "The Prisoner of Zenda" ranks as an above-average escapade with witty dialogue and good performances, especially gorgeous Madeline Carroll who grows quite fond of the impostor.


John Cromwell directed, David O. Selznick produced, and Ronald Colman, Madeline Carroll, Douglas Fairbanks Jr., and David Niven star in the 1937 film "The Prisoner of Zenda." That's really all any viewer needs to know.

Rudolph Rassendyll (Colman), King Rudolf V's identical cousin, is asked to impersonate the kidnapped future king (Colman) at the coronation. Otherwise, the crown goes to his younger brother.

This is a top-notch film with a great performance by Ronald Colman in a dual role, something he was called upon to do during his career several times. Colman was an smooth actor of great charm. One of the comments (from a man, of course) asked if he was supposed to be handsome because if he was, the commenter couldn't see it. Just an opinion: Colman was good-looking in the style of actors in the early to mid-thirties, but it was his gentle quality, beautiful speaking voice, and fine acting that put him over with female audiences. Here his fiancé is the gorgeous Madeleine Carroll, and they make a wonderful couple.

Douglas Fairbanks Jr. is one of my favorite actors, and he performs the villainous Rupert with panache, creating an excellent character. Raymond Massey is another villain, Michael, and he's very good. David Niven is in a small role - he's on his way up as a younger Colman - in fact, he was supposed to play Colman's brother in Lost Horizon.

The end of the film is total action with a magnificent swordfight. Don't miss this version of Prisoner of Zenda.


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.


I was completely mesmerized by Lekin and especially by the castle and Dimple's haunting character who took over the screen whenever she materialized. It brought back memories of Ugetsu, one of my favorite Japanese films. The photography, the music, story, acting was all top notch and I am definitely going to have to see what else Gulzar did. The desert, itself, was as much a character as any of the actors.

I would have given Lekin a 10 but, since I do not know Hindi, I have to rely on subtitles and, periodically, the subtitles were a little hard to follow unless you are a speed reader. Also, my biggest gripe with a lot of great Hindi films is that they do not include the subtitles to the songs which was the case on my DVD. I was unable to see for myself why Gulzar won two awards for best lyrics that year. It was also frustrating because, when Dimple's character sang, I am almost certain that knowing the lyrics would have only added to the enjoyment of the film. I still gave Lekin a 9 but if anyone can tell me where I can easily find the lyrics, I would be very grateful.


The lines of time are very blurry. Past, present and the future are merged into one another in a very fascinating manner. So are the lines of conventional philosophies. What is life? What is death? Where does one end and the other begin? What is in between? According to Gulzar's Lekin, in between is this eternal search for moksha, in between is this struggle against the ghosts of life, where time stands still, till the spirit is free.


Greatly enjoyed the development of the story line, the music and, not least, the acting. Lekin is very good work by done by experienced professionals. Dimple K. completely inhabited the character of Reva, while Vinod Khanna created an image of benevolent intelligence. The use of the first-class rail compartment, a most impressive Rajput

Palace and the stark sandy desert provided an appropriate background, supporting the story without overwhelming the mystery. The music was well integrated with the story line, something of a departure (in my limited experience with Bollywood movies). My wife and I have been baffled trying to identify the instrumental- only musical theme which plays whenever Dimple's character Reva appears.


I think what makes this film great is its timeless music.Hridaynath Mangeshkar came up with a masterpiece with Lekin. The story provided the backdrop for a classical Hindustani-based music score and the result is a combination of hummable folk songs and classical numbers which are pure magic. The songs definitely add on to the story, but have such strong character themselves that they have their own identity even outside the film.

Asha Bhonsle's 'Jhoothe Naina Bole' is my personal favorite.The sting she manages to put in the song is unparalleled.The beautiful rendition by Asha does justice to the music and to the words.

So even if you do or do not manage to see this movie,do NOT miss the music, since that is bound to stay with you longer.


This is a superb storyline and has excellent music. Set in the background of Rajasthan, this picture gives a beautiful insight into the Rajasthani culture and way of life. One wonders why more such enjoyable pictures are not made. More such pictures will enhance the stock of Bollywood films.


I've never been a fan of short films for their 'art-school' and 'experimental' qualities. Simply being a product of those two is not enough. They are almost always too personal, too opaque, and too much obviously serving as 'stepping-stones'.

I was therefore happy to see Lynne Ramsay's short films as the chrysalis for her superb feature films. I was also impressed to learn that she won the Cannes short-film prize, *twice*. And now I can see what others saw in her, for _Gasman_ is the best short film I have ever seen.

Available on the Criterion DVD with _Small Deaths_ and the less good _Kill the Day_, _Gasman_ is a fully-fledged, visionary film that translates directly into the skill and grace of _Ratcatcher_.

_Gasman_ moves directly from the first piece of _Short Deaths_, with the distant father and Lynne Ramsay Jr. again taking centre screen. But _Gasman_ comes to a kind a fruition--a full story with many of the same themes and techniques of _Ratcatcher_: closely observed yet elliptical human behaviour, housing projects, slum-beauty, children's natures, a jumbled impressionistic world caught in partial body closeups and shots from behind people.

The film 'tells' nothing, but the story is dead clear and builds slowly to an emotional pitch that is almost unbearable.

This is a film of jaw-dropping beauty. Sounds trite, but that's how I feel. When the Da and two kids walk on the tracks, the camera is set to a partially closed iris which intensifies the available light and colour in an otherworldly sheen--one that is gone when they return on the same tracks at night, in disappointment. Beauty in service of story is the key.

This *is* the best short film I have ever seen.


This short film from Lynne Ramsay is extremely impressive on a technical level as well as emotionally stirring. The director has an uncanny ability to capture those seemingly small and insignificant moments in a child's life which have a lasting and profound effect; those moments when everything changes, innocence is lost and nothing will ever be the same again. The children in her films learn the facts of life the hard way and quite often have to make sense of them on their own without the aide of an understanding parent. I was more moved by "Gasman" than I was with "Ratcatcher" (her first feature length which is a must see for true film connoisseurs) for this reason. The director keeps information from the audience, so that when we discover what the little girl discovers it's just as new and poignant for the viewer without being predictable. Lynne Ramsay is a true "auteur" who possesses the uncanny ability to capture beautiful and haunting moments of life.


Gasman is a short film that stirs up a great amount of detail and emotion in a short period of time. Seen very much from a young child's point of view, it shows nothing in the beginning but then starts to develop itself with a great potential. For example, in the beginning, the kids are getting ready to go out with their father but the mother stays at home and watches out the window as they leave. Then, you just see them walking through the tracks until finally they get to a stop. Then you start to realize that the father has another family and his kids seem very much confused by what is going on. There are a lot of mixed feelings throughout the film and it is very much clear, although not many words are said. The way the camera moves around from character to character is what tells the story and gives it so much power. The mixed feelings between the characters are clear through the way that the camera moves around between the characters. It is an extraordinary piece that is told by its form, rather than text.


I was amazed by Ramsay's thorough understanding of children and their feelings. This film, a touching portrayal of a father-daughter relationship, is by far the best I have seen. Poetical depiction of the seemingly endless railways are reminiscent of the long and hard life. One has to accept the people you love as they are and realize that they may be loved by others. One needs to be able to share the beloved. Final scene is the best. The girl forgives her rival. It is interesting how the girl starts to hate her rival. I wonder how important was the fact that they look alike. I think I want to start shooting movies as well.


I guess I am the dissenting vote here, but I didn't particularly like GASMAN. Some of it isn't the fault of those who made the film, but was the fault of the people who put this film on disk. That's because the accents were at times very hard for me to understand and there was no captioning on the DVD. To the average American, some British accents are tough to understand and my mild hearing loss made this a particularly frustrating film. However, what the film makers could have done better was providing a context for this short film. You gather that the man has two families but you are left asking so many questions that aren't explained in the film. In other words, it's a short film that has left out key portions of the narrative--and this just seemed sloppy. It's too bad, because the basic idea behind the short was interesting.

By the way, this film is part of the CINEMA 16: European Shorts DVD. On this DVD are 16 shorts. Most aren't great, though because it contains THE MAN WITHOUT A HEAD, COPY SHOP, RABBIT and WASP, it's an amazing DVD for lovers of short films and well worth buying--it's just a shame about the captioning.


I don't know where to begin with this awful mess of a movie. I know it's supposed to be "kids and family" oriented, but that shouldn't be an excuse for horrific, irresponsible film making! How do movies like this get distribution?? I have seen first time student films of better quality and production value than this.

The story and dialogue is an incoherent mess. The sound editing sounds like a mix wasn't even attempted. The cinematography is less than amateurish, I have never seen so many washed out, overexposed shots in one movie in my entire life. I've seen better acting in soft-core porns.

The most disturbing thing to me is that this movie had a 9.4 rating on IMDb, which is the only reason I even attempted to view this disgrace of a film. Granted, it was only out of 33 votes, but I figured if 30+ people had seen this movie and taken the time to go on this site and give it a "10" rating, that it had to at least be worth checking out, even if it turned out to not be that amazing.

This is a clear example of friends, cast, and crew of this film just logging on and giving it a "10". Hopefully my vote of "1", and all the other inevitable "1's" to follow from people who unfortunately see this film, bring the average down to a number that accurately represents the hideousness of this disgusting spectacle.


The Lost Princess is a fantastic romp through the wacky world of Don Juan and Miguel. Dakota Star Granados is beautiful and does an excellent job as the warrior princess Esmerelda. Mr. Granados is, as always, the handsome Prince of Spain Don Juan, a man confident enough in the abilities of his daughter to send her on a quest to save Scarborough from the evil/misguided Krankenmal. Mr. Kondziolka brings joy to all as the fun-loving Miguel and as Krankenmal. Duncan Pace, the director and editor of The Lost Princess, has created a film that will delight all ages. The Lost Princess is Mr. Pace's first feature length film (he previously directed the short film The Tale of El Gusano)and he has given viewers a work that will keep them on the edges of their seats. Most people cannot wait to see The Lost Princess again after the first viewing! The musical score for The Lost Princess is truly outstanding. The score by Eddie Jeff Cahill, Bret Blackshear, and Frank Della Penna is worthy of an award on its own, even without the rest of the film. "Esmerelda's Boogie" is an especially spirited dance number led by Mr. Kondziolka and the "cast of thousands" from Scarborough Faire. My only small complaint about the film is that Mr. Kondziolka does not have a solo number to showcase his beautiful voice as he did in The Tale of El Gusano! Mr. Pace uses the beautiful grounds of Scarborough Faire to set off the action of his film. The performers and cast members of Scarborough are used effectively throughout the film. Viewers of the film comment on the beautiful Lolly Foy as Queen Eleanor, the zany nuns, the ever-so-strange Weam Dreaver, and the always amusing Foolhearty. Several people have adopted the line "Oh Don Juan! Oh Miguel! Oh Clowns!" as part of their personal repertoire after viewing the film! The film has been well-received at many film festivals and has won several awards, including a REMI award from Worldfest in Houston. The film has been endorsed by Kids First, an endorsement which should let parents know that this film is appropriate for their children. Children do not understand all the jokes in the movie, but they enjoy the bright colors of the scenery and the colorful characters.

In conclusion, The Lost Princess earns two thumbs up! There are a few minor continuity problems in the film and a few "interesting" camera angles, but none of these detract from the utter joy one gets from viewing the film!


if i went into this expecting a serious film, i would be disappointed but... the film begins with a request to suspend disbelief

if you have been to and enjoyed renaissance faires - this is a good film for you, especially if you've enjoyed the work of don juan and miguel in person

if you're looking for fast paced humor - the weam dreaver is hysterically funny

personally, i enjoy films where it's clear the cast and crew enjoyed making the film - this is clearly the case here

if you're looking for a film to have fun with, not take seriously, and play along with being silly - you will LOVE this (we did)


You will not be lost if you want to see a film that will have you laughing. After seeing there stage show at PARF I had to buy the DVD to see what it was like. I found the story wonderful and funny. The jokes can be enjoyed by all. The romp threw the world of Don Juan and Miguel is a never ending tale of excitement, laughter, and wonderful music. Also all the different act that you might see at a Ren Faire make appearances and it is wonderful to see old favorites and to get to enjoy new ones. This is the must have DVD for any person who loves the Faire Life, but also the perfect DVD for the average person might play to keep the kids quiet in the house during the rain or on a long road trip.

Buy it and let your regular day become a Faire Day.


Without a doubt, a very horrible movienot even a "D" grade. Had an occasional humorous one-liner but not enough to redeem extremely bad acting, bad set design (since this was filmed at a renaissance faire very little of the set was actual quality but simply slapped together), very very very very bad action/music coordination, and lastly extremely bad acting (it was so bad I figured it deserved mention twice).

Overall, the individuals that thought this was a good idea and created it should be shaved, shot, and then exterminated with extreme prejudice as crimes against humanity!!! This must be buried in the deepest bowels of the earth, covered by feces, a layer of lead, and then a generous portion of cement.

Now I'm going to curl up in the fetal position and cry over my lost humanity.


Knowing that the filming of this movie was at a Renaissance festival that I have been too, I was intrigued to see this movie. To sum up the movie, it was fantastic! I watched; and as I watched I was enthralled! Some of the characters I recognized from seeing them on the circuit, it was fun to see them again on film. Esmerelda, Don Juan, Miguel, and all the other actors and actresses. The writing was fun to view and listen too! The movie was well thought out, the characters were all well done and the concept was unique and a breath of fresh air! Well done to Don Juan and Miguel for making an independent film that I can allow my children to view. Not to wax eloquence on this, I will simply conclude with, to believe it, you must see it! Thank you.


Drove 10 hours to see the world premier outside of Dallas and had no regrets. Don Juan and Miquel have a refreshingly different sense of comedy. Add in the straight woman character of Esmeralda and you have quite a team. Filmed entirely at renaissance festivals with a terrific variety of the really great circuit acts they represent some of the greatest variety of characters you will come across in the independent film industry today. This film is great for children of all ages. The character and costume changes that Miguel goes through are quite funny and Esmeralda's facial expressions and demeanor are sure to crack you up. Sit back,relax and enjoy. Can't wait till they release the next film.


If you like to laugh out loud watch this movie! If you watch this movie and don't laugh seek out a doctor your funny done is broken. Don Juan and Miguel surrounded by some of my very favorite performers make this one a must see for everyone. If you have never seen them at a Ren Faire this movie will make you want to see them live. They alone are worth the price of admission to any renaissance faire. As far as I'm concerned you haven't lived until Miguel has flashed you a nipple or watched what that man can do with a pickle.LOL Always funny and fresh you can truly tell these men love what they do. So go, go now and watch this movie you won't be sorry you did. Can't wait to see the next one that they filmed this summer.


Terrifying film about an evil old fortune hunter and his villainous cohort that plan to knock off his niece for her inheritance. Splendid film with memorable performances by Derrick DeMarney, Katina Paxinou and lovely young Jean Simmons as the three main protagonists. Great background music adds just the right touch to this British made gem. Unfortunately, the U.S. prints have been edited, altered and the title has been changed from "Uncle Silas" to "The Inheritance" (Why?). I hope that one day the American Film Institute will obtain an unaltered print of this film from the British Film Institute and get it properly played on the American scene. Great chiller that is definitely worth viewing.


This moody version of Joseph Sheridan Le Fanu's classic Gothic novel is quite simply one of the most accomplished British films of the 1940's.

With cinematography reminiscent of (and rivaling)that seen in David Lean's "Great Expectations," it is a pity that this picture is not better known.

This may accrue from the fact that an American, heavily edited, and re-titled version ("The Inheritance") is the only print in U.S. circulation.

At all costs avoid this butcher job, as the 6 minutes of missing footage are very germane to the story's narrative, mood and imagery.

Jean Simmons is a reminder of yet another lost dramatic staple--a decorous, demure heroine, who speaks in complete sentences with flawless diction. Her lady like deportment combined with her unquestioned loveliness makes her a very sympathetic Lady Caroline. Mr. De Marney is similarly impressive as the sinister, titular character.

But the film belongs to Katina Paxinou as the redoubtable Madame De La Rougierre. I believe Mr. Le Fanu would approve of her performance. In any case, her first appearance, as depicted with her malignant face peering through a rain lashed window pane, is as startling an entrance as one could hope for.

Laurence Irving's art direction is superb, (and some of his sketches for this film are included in Edward Carrick's "Art and Design in the British Film," Dennis Dobson, London) fully realizing, as it does, the stories' atmospheric requirements, and amply demonstrating how superior sound stages are to location shooting.

All told, this picture stands favorably alongside Thorold Dickinson's "Queen of Spades," Terence Young's "Corridor of Mirrors," Anthony Pelissier's "Rocking Horse Winner," Leslie Arliss' "Night Has Eyes," Jacques Tourneur's "Experiment Perilous," and Martin Gabel's "The Lost Moment," as one of a small group of visually distinguished Gothic melodramas of the 1940's, and far superior to the more recent television version, which despite the welcome presence of Peter O'Toole and Barbara Shelley lacks both flavor and mood.


The thing that I like about Uncle Silas a.k.a. The Inheritance is that it is not your average thriller. The suspense is built slowly as we see things that affect the life of the heroine, but she is not aware of them yet. The movie builds up more and more and it becomes an exciting suspense movie that packs a punch even for its time. Jean Simmons is practically a child in this movie, she was so young and beautiful as always. Great acting and gloomy characters make this a fun movie to watch on a stormy night. Lovers of old Gothic tales and suspense movies will not be disappointed.


This little known film disappeared into obscurity and without much comment after its release in 1947. It has resurfaced on British TV in recent years where it has been given several matinee showings. BBC readapted the Sheridan Le Fanu novel as "The Dark Angel" for its classic novel Christmas offering in 1987. In Peter O'Toole they found a much more striking eponymous villain than Derrick de Marney but in every other sense it is the monochrome 'forties version that gives me the stronger pleasure. How could if fail with a heroine as touchingly vulnerable as Jeans Simmons at her most enchanting. The pair that later directed her in "So Long at the Fair" must have known of "Uncle Silas" when they opened their film with a similar wondrous closeup to our first encounter with her here. I know nothing of the director Charles Frank apart from "Uncle Silas" but the hands of a talented craftsman are clearly at the helm of this atmospheric adaptation of the Victorian Gothic melodrama about a dastardly uncle's attempt to wrest an inheritance from his trusting young niece. It is a pity that Derrick de Marney's hammy performance does not resonate with a greater sense of evil, but there is compensation in his confidante, Madame de la Rougierre who, in the hands of Katrina Paxinau, is one of cinema's most sinister female monsters. I was not disappointed when the sequence that had so fascinated me as an impressionable adolescent, where the evil governess embarks with her young charge on a journey of deception, emerged as powerfully as ever after a gap of so many years. The clock chimes of Bartram Manor that conclude this episode, like the huntsman's cry of "Gone to Earth" in the Powell and Pressburger masterpiece are among my most haunting cinematic memories. I often wonder if young audiences of today find similar marvels in the films made for them.


I really enjoyed "Uncle Silas", although it's called "The Inheritance" on the VHS copy that I own and there are seemingly five minutes of footage missing. It's a wonderful, creepy little film about a young woman, Caroline (lovely Jean Simmons), who goes to live with her scheming old Uncle Silas in his big, gloomy mansion after her father dies. Uncle Silas (perfectly played by Derrick De Marney) and his accomplices; a French governess, Madame de la Rougierre (marvelously played by Katina Paxinou), and his son, Dudley (well played by Manning Whiley) are planning to do away with the heroine to gain her fortune. Thankfully, there are intervals where the young woman visits with her sympathetic cousin Monica (nicely played by Sophie Stewart). Brilliant music score by Alan Rawsthorne is available on CD through Amazon.com on a collection called Rawsthorne:Film Music. Nice cinematography and sets add the finishing touches to this atmospheric film. I got my VHS copy from Movies Unlimited.com.


I saw this film years ago as "The Inheritance," and I never forgot it. When I read the description of "Uncle Silas," I thought it sounded suspiciously like "The Inheritance" - after all, did Jean Simmons go around playing one young heir after another? After seeing it again, I'm not surprised I remembered it.

"Uncle Silas" is a Gothic thriller, based on a novel by Sheridan Le Fanu, and directed by Charles Frank, who also directed "So Long at the Fair," another wonderful film. "Uncle Silas" is the story of a young heiress, Caroline Ruthyn (Simmons) who is sent to live with her uncle (Derrick De Marney) in a dark, eerie mansion after her father's death. Her father adored his brother, who was once accused of murder, and has made Carolina a ward of Silas. However, as he's dying, he tries to change this provision, but dies before he can do it. Silas, with the help of Caroline's ex-governess (Katina Paxinou) plan to get rid of Caroline, since the inheritance then passes to him.

The acting of especially DeMarney and Paxinou is fairly over the top, but I believe this was intentional on the part of the director to give it that good old scary Gothic feel. Sinister characters often aren't very subtle in Gothic books. Jean Simmons is lovely as Catherine - vulnerable, sweet, and naive, making her a perfect target of danger.

This story was remade as "The Dark Angel" back in the '80s - I remember the sets being completely overdone, a kind of Gothic version of Liberace's house. I don't remember much else, but I'm sure O'Toole was marvelous as Silas.

As others have pointed out, the British version is recommended.


I watched this film yesterday on Film 4 - I quited liked this film in some parts. Upon watching, I realised this film was really about family breakdown. You sometimes think that family problems are more of a modern thing of today - but back then they had their fair share of family upheaval, back stabbing and murder in mind.

This film is a Gothic,atmospheric melodrama about Caroline played by a young Jean Simmons as a 16/17-year-old who goes to live with her uncle Silas (Derrick de Marney)after her father dies. Uncle Silas house is some big creepy Mansion with lots of cob webs dark corners and dungeon like stairs and rooms. While there creepy uncle Silas, his son and a french governess plot to kill Caroline and keep her inheritance.

I though Derrick de Marney at times performance of Uncle Silas was not creepy enough, as it verged towards being comical. The french governess Madame de la Roughierre (played by Katrina Paxinau)was very creepy and sinister,especially when she takes Caroline on a journey of extreme deception. She was menacing Caroline every step of the way. Her performance made up for the loss in Derrick De Marney non evil performance. Caroline (Jean Simmons) sometimes gave a weak performance which probably was down to some weak and prissy dialogue. Sometimes I felt I could of climbed in the telly and give her a good slapping and tell her to pull herself together and be strong!!!!


For the longest time, this film had been shown in the USA in an edited version with its title changed to "The Inheritance". I believe that when it premiered in New York, in its initial 1951 American screening, Jean Simmons had already become a major International star. It might have seemed risky, for the American distributor of the film, to advertise the lovely Miss Simmons as the star of a film called "Uncle Silas". Therefore, a genderless alternative title, "The Inheritance", was used for the American release. (Thus, showing Miss Simmons' character to be prominent as the film's main protagonist and inheritor.) Apart from the film's American title change, the print was edited drastically (and in some cases incoherently) resulting in an uneven and less enjoyable film than the one that those lucky audiences in Britain were able to see when the film had its UK premiere in 1947. Perhaps, because of all of the dissatisfied comments on this board (e.g. Film buffs complaining about the truncated version available in the USA), the Samuel Goldwyn Company has secured the original uncut British version "Uncle Silas", and much to everyone's joy, it has been shown twice on TCM. Seemingly, it belongs to the TCM library. Now, wouldn't it be great if the folks at Goldwyn (or TCM) would be nice enough to put this gem of a film onto DVD for us? Let's hope and see what the future holds!


This could have been a wonderful film with it's Gothic atmosphere and well-researched period detail (clothes, interiors). But it's hammy, cartoony and over-simplified. Jean Simmons is simpering and wet - oh, sorry, of course I mean cute and vulnerable, Uncle Silas and his son crude and her admirer wooden. Why must Christmas scenes of the 19th century always involve those tedious mummers? Jean Simmons' skirts are far too light and filmy, and young ladies in them days didn't run about at top speed showing lots of leg clad in pantalettes. They wore nothing under those petticoats and had to move more circumspectly. Read the book!


I agree with the comments that this 1941 "sequel" to the 1937 classic is actually a better film despite the absence of Cary Grant. This movie is loaded with talented people - Joan Blondell, Roland Young, Carole Landis, Billie Burke, George Zucco, Patsy Kelly, Eddie Anderson, Dennis O'Keefe, Rafela Ottiano, all of whom have their moments to shine. Blondell is the only bona fide major movie star in the group but it's very much an ensemble cast picture in a way you don't often see in movies from the period. Mainly a slapstick comedy, it works as a mystery too, I was surprised by the murderer's identity. Anderson and Burke are particularly funny and Blondell is a delight, very sassy and very sexy, she looks a few pounds heavier than in her 1930's Warner Bros. films but those extra curves look sensational on her, making her more Mae West-like than ever.


Thorne Smith is just now beginning to be taken seriously as a writer. Often brushed off as just another pulp fiction fabricator, Smith's works are filled with satirical, humorous jibes at American culture concealed in well-written stories of fantasy. Though all three Hollywood versions of one of his best character creations leave out much of the satire they are each highly entertaining romantic comedies with many sexual innuendos considered bawdy when released in the late 30's and early 40's. This third film adds an element of mystery, suspense and chills to the comedy. Even the humor comes faster than in the first two Topper's. Billie Burke as Mrs. Cosmo Topper is given more clever lines this go around. Being one of the best actresses around, she knows exactly how to use the lines for ultimate comedic effect.

Eddie 'Rochester' Anderson was one of the funniest men around at the time. Mainly a radio comedian and sidekick to the inimitable Jack Benny, he stands out in every movie role he was given. He was one of the few African-Americans of his day who was able through sheer talent to rise above the racist Hollywood stereotyping rampant in the media at the time. Later during the civil rights movement Jack Benny told Rochester to do an errand for him. He replied, "Mr. Benny, we don't do that anymore." There's one scene in "Topper Returns" involving Rochester that's a gem when the raven flies to his shoulder and he gives a double take. Don't miss it. I don't know whose idea it was to have him wear a fur coat but that one prop adds tremendously to the fun.

So much has already been said by IMDb reviewers about the sensational Joan Blondell who deservedly got top billing in this film. She was a multi-talented actress who could play any role given her better than anyone else. She was also a topnotch comedienne as she shows in this outing when she somewhat assumes the role played by Constance Bennett in the first two outings. Donald MacBride as the police sergeant in charge of investigating the murders plays the part of a dumb policeman (typical for Hollywood in those days) in such a lofty comic manner than his stupidity is actually believable and this time funny. Adding to the creepiness of this truly scary comedy is the performance of Rafaela Ottiano as the housekeeper. She would frighten the pants off Boris Karloff and Peter Lorre. The rest of the cast made in heaven is just as effective.

Special note should be given to the special effects which were nominated for an Oscar. The man behind them, Roy Seawright, had also been in charge of the special effects for the first two Topper's. I've read that he had a hand in doing the special effects for the 1933 horror classic "The Invisible Man," although he is not credited with that in his profile.

Roland Young is for many viewers the definitive Topper but the later TV Topper, Leo G. Carroll, did a fine job too. Plus the later TV series added a ghost St. Bernard named Neil who just happened to be an alcoholic. Except for this the three movie versions are superior. The made for TV "Topper Returns" actually deals with Cosmo Topper Jr. and though OK is nowhere near the caliber of this "Topper Returns."


Unusual among films in the "old dark house" style for being about a ghost who comes back to solve her own murder. Disguised as a Topper film, and with Roland Young and Billie Burke again cast as Mr and Mrs Topper, this is really a clever murder mystery in reverse, a sort of "why he done it". Praise must be lavished on the script, co-written by murder-mystery novelist Jonathan Latimer (who also wrote some of the better Peter Falk Columbo episodes in the 1970s) and on the playing of Young, Burke and Eddie "Rochester" Anderson, who steal the film from headliners Carole Landis and Joan Blondell -- it is Topper's film after all. More inspired by the late Thorne Smith's characters than based on anything he wrote, the film nonetheless will appeal to fans of this extraordinary novelist's humorous works. A must for anyone who like horror send-ups, Topper or Smith!


Topper Returns is the funniest old movie I have ever seen. I have seen it several times, and each and every time it has kept me in stitches. Topper Returns is a murder mystery/comedy, that will keep you in suspense until the end. Joan Blondell is at her best in this one, and Billie Burke will keep you in stitches as the ditzy Mrs. Topper.


Since both films were on my DVD I watched both of them tonight. I found this film more charming than the Cary Grant film (and that is saying something!) Not only was Joan Blondell a barrel of fun but the house was great. There were secret staircases, chairs that tuned into secret hallways. I found Jack Benney's sidekick (Chester, I believe) a total riot. This man did not mind playing this role I am sure. (Jack Benney for all his "stingy" ways was not stingy in real life, especially with this man.) The other character that was completely zany and filled with great fun was Billie Burke. She did not carry the same personality over from the first film. In the original "Topper" she played a snobbish upper crust lady who had no fun in her. For "Topper Returns" she plays a zany character so much like Gracie Allen you would think that George Burns was "Topper" and Gracie his wife. Anyway, it was a very funny, delightful film.

This film may not have been one of the "greats", but if you just want to laugh--have a go at this one.


I often watch films like this with a real sense of detachment. It isn't that I don't enjoy them; it's that they seem dated and irrelevant to me. The cast of this film doesn't let that happen. First of all, everything is played tongue-in-cheek. Except for the bad guys, who are themselves parodies of humorlessness and the leading lady, everyone is a viable character. From Topper to his wife (Billie Burke, the good witch in "The Wizard of Oz; she is wonderful as the flighty matriarch); from Joan Blondell, the ghost, seeking the reason for her death; to Eddie "Rochester" Anderson, who actually makes a reference to working for Mr. Bennyand keeps finding himself falling down a well where there is a sea lion; to the terrific slow burns of the police detective. It all works wonderfully. I know it's not one of the great comedies of the century, but I laughed out loud several times, even though I was watching alone. This is a delight and not to be missed.


Sexy, wise-cracking Joan Blondell, who has accompanied her best friend back to her stately home to meet her father after many, many years, mysteriously is knifed after having traded rooms with Carole Landis - the intended victim. In true Topper fashion, her ghost finds the next-door neighbor who had given them both a lift earlier, one Cosmo Topper. He sees dead people all the time, way before it became quite so fashionable in The Sixth Sense. Topper Returns is the third and last of the Topper series, all of which starred Roland Young as the lead and Billie Burke as his annoying wife. Young plays the role to perfection again and Burke is equally up to the challenge. Lots of support in this one for Young and Burke as the old, spooky haunted house genre serves as primary backdrop when Topper goes to the scene of the crime and then we get mixed identities, hidden panels, scores of red herrings pointing out everyone's guilt except for the killer but generously dosed with lots of amusing quips from Young, wise-cracking one-liners from Blondell in ghostly form, by-play between Burke and her maid, the underrated Patsy Kelly, and chauffeur/fraidy cat Eddie "Rochester" Anderson basically playing himself and hamming it up as only he can. Anderson is easily the brightest spot in the film for me, even at one point making reference to former employer Jack Benny! But the cast also has the eerie likes of George Zucco, H. B. Warner, Donald MacBryde, and Rafaela Ottiano playing one creepy housekeeper. While definitely not as polished a production as the original Topper, Topper Returns is a whole lot more fun in Hal Roach fashion. It is my favourite of the three Topper films as it mixes comedy with horror rather well for its time.


Cosmo TOPPER RETURNS and this time he's involved with murder!

Hal Roach Studios presents one more look at the continued supernatural adventures of Cosmo Topper. The Old Dark House routine is trotted out as our hero finds himself in a spooky cliff-top mansion replete with strange disappearances, hidden passageways and a fiendish knife-wielding killer.

Roland Young & Billie Burke are back one final time as the Toppers and they remain a delight--Mr. Young owl-like & serious in the scariest of situations and Miss Burke forever sweetly vague and befuddled. They are joined by vivacious Joan Blondell (who actually snags top billing) as a ghostess intent on forcing poor Topper into discovering who's just murdered her.

More new costars are on hand to help liven things up: lovely Carole Landis as a rich girl in much need of protection; Dennis O'Keefe as a taxi driver willing to provide that protection; gaunt H.B. Warner as Miss Landis' invalid father; menacing George Zucco as his sinister doctor; Rafaela Ottiano as a frightened housekeeper; Donald MacBride as a moronic cop; and the delightful Patsy Kelly, underused as the Toppers' tough maid. Best of all is Eddie 'Rochester' Anderson,' more or less playing himself (he even makes a gag about returning to 'Mr. Benny') who rivals Miss Burke in getting the best lines in the picture.

Contemporary references to Orson Welles' radio plays and the Alfred Hitchcock movie REBECCA (1940) should amuse cognoscenti. The serious viewer must not expect to have all the mysteries solved by film's end; indeed, most of the loose ends remain resolutely untied. Just sit back and enjoy the comedic chills served-up by this group of very fine performers.

This was the third of a 3-film series, coming after TOPPER (1937) and TOPPER TAKES A TRIP (1939).


For the third and final Topper film, Roland Young is now shed of the Kirbys from the two previous films and he and Billie Burke are now starting on a needed vacation with Eddie Anderson as chauffeur and Patsy Kelly as maid. Hey it's the best way to travel.

But the other world isn't finished with him yet. Carole Landis and her friend Joan Blondell are on their way to spend the night with her father, H.B. Warner, at the old family haunted estate. If it wasn't haunted before it sure gets haunted after Blondell is murdered by mistake because the killer is after Landis.

Of course that magnet for the other world Cosmo Topper attracts ghosts like moths to a flame and of course the now other worldly Blondell enlists him to find out who murdered her.

Rounding out this cast of some of the best character actors around are Dennis O'Keefe as a taxi driver trying to collect a fare, Donald MacBride as the perennial dumb cop and George Zucco as the doctor/friend of the Landis/Warner family.

The mystery has plenty of plot holes in it and we're never really told the reason why Landis is being targeted. One thing I will say though, given that the reader of this review might be knowledgeable in the typecasting of all these faces, don't think you've identified the culprit by that.

Roland Young probably could have gone on making more Topper films, but I'm willing to bet he decided to quit while ahead. In any event Cosmo Topper probably decided to go with the flow and left the banking profession to become a psychic.


After a fatal car accident driven by a cabman(Dennis O'Keefe),Anne(Carole Landis) and Gail(Joan Blondell) are going to mansion of Anne's father(H.B.Warner).There is murdered Gail and goes back as ghost.Cosmo Topper(Roland Young) married with Clara(Billie Burke)helps her find the man who mistakenly killed her.

The picture contains enjoyable humor,ghostly adventures,awesome comedy,a little bit of whodunit about the killing and besides is pretty entertained. The casting is frankly well.Thus is a gorgeous Carole Landis who unfortunately committed suicide with twenty nine years old after a romance with Rex Harrison.Joan Blondell is a likable ghost,she was a great comedian actress with much success and long career. Roland Young is agreeable,sympathetic as Topper,this personage was always played by him.He was actually nominated for an Oscar to the original film ,no this one.He along with Billie Burke make a completely delight duo.Special mention to the black servant,Eddie Anderson, as the coward and unfortunate chauffeur.In the film appear known secondaries especially of terror cinema as George Zucco(Mad ghoul,Mummy's ghost,Dead man walking)as the medic,Raffaela Ottiano(Decil doll) as a housekeeper (similar to Rebeca) and even Dennis O'Keefe(Leopard man)as the taxi driver. The special effects sequences are especially amused and were nominated for an Oscar.The film is well produced by Hal Roach(Stan Laurel and Oliver Hardy films) and correctly directed by Roy del Ruth. It's preceded by two movies with similar actors ¨Topper¨(1937)directed by Norman Z McLeod with Gary Grant and Constance Bennett; and ¨Topper takes a trip¨(1939).Followed by TV series and remade as TV movie(1979).


The second TOPPER film  TOPPER TAKES A TRIP (1938)  is curiously unavailable for appraisal (unless you happen to be one of those born-lucky U.S. residents who have the privilege of a TCM connection) but it seems to have followed the same route as its predecessorexcept for the non-reappearance of Cary Grant which, following the release of one of the peaks of the Screwball genre THE AWFUL TRUTH (1937), he had become a bona-fide film star in his own right and his services had evidently become too expensive for Hal Roach's limited pockets!

The third entry in the series, then, gave the formula an ingenious twist by marrying it with the popular old dark house-type of film. While I wouldn't go so far as to say that Topper's presence within this context is redundant, it does feel a bit contrived and, at times, he seems reduced to a supporting player in his own star vehicle. Still, the film (scripted by future noir expert Jonathan Latimer and Gordon Douglas, who would become a director of some distinction and had actually just helmed the minor Laurel & Hardy comedy SAPS AT SEA [1940]) is a deft combination of various familiar yet irresistible elements which render the mix all the more pleasing.

And so it is that, for the next 90 minutes or so, we are in the company of a ditzy blonde (Joan Blondell who's killed off early and becomes the ghost in this case), a put-upon heiress (ill-fated Carole Landis), a mysterious masked assailant (whose identity when revealed proves quite clever), an ailing father (H.B. Warner), an enigmatic maid (Raffaela Ottiano from THE DEVIL-DOLL [1936]) a sinister doctor (horror regular George Zucco), a frightened manservant (hilarious Eddie "Rochester" Anderson who actually steals the film  with even an in-joke about his long-running collaboration with comedian Jack Benny on radio), a dumb cop (a typically flustered Donald MacBride), etc. For the record, the best gag has Rochester falling repeatedly through a hole in the ground to the riverbed beneath the old house, and then being persistently kept from re-emerging by a playful seal!


You can't beat a movie where Billie Burke is afraid some other woman will run off with Roland Young! Roland Young reprises his role as "Topper," that poor man who sees ghosts, in this third "Topper" movie; the TV show would have Leo G. Carroll in the title role. I remember it well - I'd like to say I remember it from syndication but alas, I think it was the original series. I'm that old.

This time around, George and Miriam Kerby have finally passed over and aren't bothering Topper anymore, but he's still attracting ghostly presences. This time it's (Gail Richards) Joan Blondell. Topper gives her and her friend Ann Carrington (Carol Landis) a ride to the Carrington estate. There Ann will be seeing her very ill father for the first time in many years, as she was raised in France. As Ann is to inherit everything, it's no surprise when a chandelier nearly beams her. Later that night, she switches rooms with Gail, who is enamored with the elaborate suite that Ann has, and Gail is murdered. She does what every person in Topper's world does when they die - she contacts him to help her find out whodunnit.

This is your typical haunted house mystery with a very witty and clever script. It's great fun - lots of darkness, sound effects, screams, and slapstick performed by a talented cast. Carol Landis was a gorgeous woman who didn't quite make it to big stardom and died at the age of 29, possibly realizing her time had passed. She's about 22 here, beautiful and with a graceful presence. Joan Blondell is top notch, pretty and funny. She just sailed through films like this. Roland Young is great as the befuddled, nervous Cosmo who just doesn't know how he gets into these situations. Billie Burke is back as his heartbroken wife who fears she's losing her husband to yet another blonde. No one can say "Oh, Cosmo, Cosmo" like Burke. When she sees him drive by with Blondell on his lap, she's appalled and reads him out. "You could have at least waved," she sobs. "How could I?" he responds. "She was on my lap!" Sometimes these films are uncomfortable because of racism. In this film, Eddie "Rochester" Anderson is the chauffeur. While Anderson's part is somewhat stereotypical in that he acts terrified at times, his character seems to have a nice give and take with Topper. And let's face it - Eddie isn't the only one scared here. Anderson was a well-known personality, thanks to his wonderful association with Jack Benny. He was a very funny and talented man who never seemed particularly subservient. "Coffee," Benny would say. "No, thanks, I've had some," he'd answer. He brings a lot to "Topper Returns," and not in a way that's demeaning.

Recommended for its good script and great cast.


Carole Landis was indeed one of the most Beautiful Actresses to grace the movie screen. Joan Blondell may have had the leading Lady roll in "Topper Returns", the final act in the "Topper" trilogy, but Carole was definitely the Star in this film. Were all the Movie moguls sleeping when this Girl tried desperately to become a Star? She had the talent, the Beauty, and the desire to become someone in the Movie industry. It was a sad departure when She took Her own life. ( or did she? ) I, like a few others are beginning to believe she may have been eliminated, with similarities as to that of the death of another famous actress, Marilyn Monroe. She had too much to live for. Maybe someday we will know the truth. She had a lot of talent that went unrecognized. Rest in peace Carole. There are many of us who still Love You, and miss You. Chuck Lund


I don't think this movie holds up well over time, and it certainly wasn't as good as the first two movies. I especially liked Topper Takes A Trip, and found myself laughing uncontrollably in several places. While I like Joan Blondell, and the other actors, I just found that this movie missed. I didn't find it funny at all, just annoying. Maybe it was a case of going to the well too often. In general, very few sequels are as good as the original movie. In this case, third time's a clunker. Roland Young and Billie Burke are always delightful, but even they couldn't save this movie. It could cure insomnia. The first two movies sparkled, and could stand alone on their own merits, and as part of a series. This one just seems out of place, and not worthy to be considered a sequel. Maybe my expectations were simply too high. Having thoroughly enjoyed the first two Toppers, I expected a laugh riot in this one. I don't remember laughing in this one at all, which surprised me. Maybe Topper's time had passed by the time this one was made. I would watch it again to see if it was just me or the movie, since I suspect it's a little of both.