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FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

JohnHowardReid Copyright 13 October 1952 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Capitol: 4 November 1952. U.S. release: November 1952. U.K. release: 9 February 1953. Australian release: 2 January 1953. Sydney opening at the St. James. 100 minutes.NOTES: Metro made its first version of "The Prisoner of Zenda" in 1922. Lewis Stone, who plays the cardinal in this version, had the dual role, Alice Terry was the princess, Stuart Holmes, Black Michael. Rex Ingram directed, John F. Seitz photographed. In the definitive 1937 version, Ronald Colman played the prisoner opposite Madeleine Carroll. There's also a 1915 silent version, starring the great Henry Ainley as Rassendyll, directed in England by George Loane Tucker, who also handled the 1915 sequel Rupert of Hentzau. This sequel was also filmed in 1923, this time by Selznick Pictures. Lew Cody played the title role, Bert Lytell was Rassendyll whilst Elaine Hammerstein essayed Flavia. Victor Heerman directed.Oddly, the sequel has never been filmed in the talkie era, though both sound versions allow for it by letting Hentzau escape.Re-made by director Richard Quine as a Peter Sellers vehicle in 1979.Although this version was only modestly successful in America and England, it proved a smash hit in Australia, coming in 14th at the 1953 box-office, just behind "The African Queen", and well ahead of the widely touted "Snows of Kilimanjaro".COMMENT: Nobody likes this version except the paying public. The critics — all with fond memories of the Colman impersonation — the actors, particularly Stewart and Mason (who couldn't stand working with non-indulgent, quickie director, Dick "Print It!" Thorpe), the technicians and even the studio brass hate it.Yet it's actually quite entertaining. Richly costumed and set, cleverly and attractively photographed, fairly pacily scripted and at times even stylishly directed (love that enormous dolly shot which Thorpe uses to show off the magnificence of the grand staircase to the ball-room). Newman's music still serves a treat. Best of all, Stewart, Mason and Douglas are appropriately dashing and/or villainous, and have the well-tuned support of seasoned players like Jane Greer, Robert Coote and Peter Brocco. Calhern is a bit too stiff, Stone too sententious and Miss Kerr as usual is a pain, but fortunately these roles are not large enough to cause too much loss of interest. And at all screenings I've attended, the special effects drew gasps of admiration and amazement. I thought the costumes were ghastly. — James Mason.A lot of the playing is grandly theatrical. Mason provides an ingratiatingly sly, delightfully tongue-in-cheek portrayal, whilst Robert Douglas is wonderfully, eminently hissable. Granger has presence and flair, hitting his stride particularly well in the early impersonation scenes which he skilfully plays for humor rather than melodrama; but the convolutions of the plot tend to swamp him. And of course the pallid Deborah Kerr is little help. — JHR writing as Charles Freeman.Every day, Mr. Thorpe had me look at Mary Astor in the part on a movieola. I took him literally when he asked me to repeat her performance. That's why I was so bad. Little did I know the remainder of the cast were playing tongue-in-cheek. — Jane Greer.

zardoz-13 Director Richard Thorpe's vigorous remake of the 1937 "Prisoner of Zenda, itself a remake of the 1922 silent "Prisoner of Zenda," boasts one major advantage over the classic Ronald Colman version, namely, four-time Oscar winning cinematographer Joseph Ruttenberg's dazzling Technicolor photography. Costume movies are the rare exception to the rule when it comes to color. They always look better in color. Stewart Granger is suitably heroic as the swashbuckling protagonist, and he seems more ideally cast as a leaping and lunging swordsman than Colman. Nothing against Ronald Colman but he seemed a little too old to be playing an athletic protagonist in the spirt of either Douglas Fairbanks, Sir., or Errol Flynn. Meanwhile, James Mason--incredibly enough--doesn't overshadow Douglas Fairbanks, Jr., in the role of amoral Rupert. Mind you, Mason later became a bigger star than both Granger and Fairbanks, but he seems more thuggish. Louis Calhern is just as good as C. Aubrey Smith, but Robert Douglas pales by comparison with Raymond Massey as Michael, Duke of Strelsau. Aside from these quibbles, this "Prisoner of Zenda" is essentially a scene-for-scene remake, with some variation incorporated in Thorpe's use of camera set-ups and pacing. If you see this version before you watch the 1937 version, you may prefer it simply because of the vibrant Technicolor. Deborah Kerr is definitely an asset as the Princess Flavia.

bkoganbing Next to the 1937 version with Ronald Colman and Douglas Fairbanks, Jr., this version of The Prisoner Of Zenda is the one most fondly remembered by movie audiences. If it doesn't quite have the panache of the Colman film, it makes up for it with the introduction of some nice color cinematography.The casting of Stewart Granger in the double role of Rudolph Rassendyll and his royal cousin, the Crown Prince Rudolph of Ruritania and James Mason as the villainous Rupert of Hentzau is hardly some stock company casting. If Granger doesn't quite have Colman's flair for the spoken word and very few ever have, he makes a fine and dashing hero which parts he played very well, too well in his opinion on his career. As for Mason, Douglas Fairbanks, Jr. took the Rupert part because he was advised it's one of the best villains ever created in drama. Mason who has also played some of the best villains on screen keeps up the fine tradition for that role.The 1937 version benefited from having the world wide publicity of the constitutional crisis in the United Kingdom over Edward VIII choice of consort. I've wondered whether someone over at MGM after George VI died in early 1952 whether they thought it was now time to do another remake of The Prisoner Of Zenda in time to coincide with the publicity of Queen Elizabeth II's coronation. Which begs the question whether we'll get yet another version when Prince Charles eventually assumes the throne. We've seen over ten versions so far going back to the silent screen.The women in the cast, Deborah Kerr and Jane Greer as Princess Flavia and Antoinette DeMauban respectively never come in for much discussion of their roles. The parts in relation to the hero are almost a carbon copy of the roles of Katharine DeVaucelles and Hugette from If I Were King. I've always thought that Greer as Antoinette plays one of the most tragic characters in popular literature. She loves a cold and forbidding man in Prince Michael, especially when played by Robert Douglas. But he's her man and when she does ever so slightly give in to the scheming Hentzau she regrets it when it means the death of her beloved. Personally why she falls for a cold fish that Michael is who can figure. But the heart does have its reasons.As for Kerr her best scene is at the end when she realizes she has been hoodwinked, but in a scheme for the greater good of the kingdom. She knows what her obligations are and she too can't afford to follow her heart.Something tells me we're far from done with The Prisoner Of Zenda. Try and figure out who could play these roles today with the flair of the players in this version, let alone the one from 1937.

sandra small This adaptation of The Prisoner Of Zender has Stewart Grainger playing European King Rudolf V at Strelsau who is the constitutional head of a version of a feudalistic system. In order to retain this version of a European feudal system, then it is crucial for King Rudolfe to be crowned. But like some kings (for example Great Britain's Edward VII, -9 November 1841 – 6 May 1910)he leads a merry and decadent life of irresponsibility. This makes him vulnerable and as such rife for usurping by his half brother Michael, Duke of Strelsau (Robert Douglass). But Michael's threat to the the crown lays in his courtier, the villain Rupert of Hentzau (James Mason)who seeks glory and power for himself via Michael as opposed for the latter.Therefore the threat to the crown and the feudalistic system in this film is that of a republican nature in that Rupert of Hentzau has desires of power. In this respect the fairytale-like plot is not too far from what is interpreted as reality by the British press. To further explain, some sectors of the British press would have former British Prime Minister Tony Blair as a one time pretender to the crown. This ambition is interpreted as being dangerous for the people in the form of Rupert of Hentzau in The Prisoner Of Zender.Elements of William Shakespeare's ( some say, propaganda) play, Richard III are found in The Prisoner of Zender. Like Richard III, the Prisoner Of Zender illustrates a fragile monarchy, and the feudal system which buttresses it destabilised by a treacherous half brother. As the film illustrates, the feudal system is bound by the loyalty of an aristocracy which in turn is furnished with a privileged lifestyle. This is illustrated by Princess Favia (Deborah Kerr) who isn't willing to give such a privileged lifestyle up. Such a privileged lifestyle comes to define the meaning of national patriotism that binds its subjects (the people) to. With the nobility defining patriotism then all who disagree with them are disloyal, traitors and usurpers as seen in Rupert of Hentzau.Indeed, Rupert of Hentzau is keen to break the feudalistic system as witnessed in the swashbuckling sword-fencing scene where he defies the rules of play. This prominent scene is one of the best in the film. Where Grainger is urbane, and charming in his style of acting his duel role, Mason is the scene stealer. The latter's acting is first rate, and it never lets up. Another prominent actor in The Prisoner Of Zender is Jane Greer who plays Antoinette de Mauban with conviction.The Technicolour of the film reflects and captures the ostentatiousness of a regal lifestyle, here directed by alleged budget conscious Richard Thorpe. Moreover, the Technicolour brings the film to life and adds to its fairytale-like appeal. This makes the film a feast for the eyes.In sum this film is on the surface superficial, but beneath its Technicolour, movie star glamour it is a Shakespereanesque tale of political intrigue!