The Day the Earth Stood Still

Year:  1951

Filming:  Black & White

Length:  92 minutes

Genre:  Drama/Sci-Fi

Maturity:  G (Suitable for All Ages)

Cast:  Michael Rennie (Klaatu), Patricia Neal (Helen Benson), Sam Jaffe (Professor Jacob Barnhardt), Hugh Marlowe (Tom Stevens), Lock Martin (Gort), Frances Bavier (Mrs. Barley), Billy Gray (Bobby Benson), Gabriel Hatter (Himself)

Director:  Robert Wise

Personal Rating:  3 Stars  

***

     

As you all know by now, I am not an expert on Sci-Fi and Fantasy, although I have gotten my feet wet at the behest of fan-flick friends and shared my thoughts on flights of fancy, old and new, and their applicability to real life. The Day the Earth Stood Still is a prototypical sci-fi flick, and covers a variety of issues including nuclear war, pacifism, human nature, and the mystery of the unknown. While I may not agree with every conclusion, I will agree that it is, in every sense of the word, a classic.

 

    Our story begins with the landing of a spacecraft in Washington D.C., bearing a messenger of warning: a spaceman named Klaatu, starring Michael Rennie. He gets a rude awakening to the less than welcoming spirit of humanity when he is shot in the shoulder by an army machine gun upon emergence. However, his menacing robot companion named Gort effectively melts all the weaponry before more damage can be done. Rushed to the hospital, Klaatu declares that he must speak with the people of the world about the dangers their nuclear experimentation presents to the other planets.

 

    Realizing that no one will heed his plea for a global summit, he escapes his hospitalization and goes on the run under the alias “Mr. Carpenter”. Now, for the first time, he gets the chance to mix and mingle with average humans going about their daily lives. Moving into a boarding house, he meets Helen Benson, a widowed single mother played by Patricia Neale, and her precocious son, Bobby who takes an instant liking to the new boarder. The feeling is reciprocated, and Klaatu even takes him out on the town, visits his father’s grave, and treats him to a movie by exchanging diamonds for money! He and Bobby also try to visit the renowned Professor Jacob Barnhardt, and Klaatu solves a complex equation on his chalk board.

 

     Later, Klaatu is summoned to visit with Professor Barnhardt and the two devise a solution to get the world’s attention on the very serious breach in interplanetary relations without the loss of life. Klaatu will neutralize the world’s electricity using Gort and his spaceship, affecting everything from elevators to roller-coasters to radios, and only sparing specified items like planes in flight and ventilators in hospitals. The plan goes over perfectly, but when Helen’s boyfriend Tom begins to suspect “Mr. Carpenter” of being the space man, an all-out man-hunt in launched by the US government to capture this “dangerous creature”.

 

     Helen begins to realize just how serious the situation is for the human race, and just how much of an incorrigible mercenary Tom is, and decides to help Klaatu escape from the boarding house in a taxi. But after an epic chase across the city, army tanks cut off every escape route and prepare to descend on their prey. Klaatu quickly instructs Helen that she must go to Gort and talk the robot out of liquefying the earth by saying a special space phrase, then bolts out of the taxi and is promptly gunned down. Now Helen is the only one who stands between Gort and an interplanetary Armageddon.

 

    The Day the Earth Stood, like all other Sci-Fi movies of its kind, hinges on poignant what-ifs, especially the potential existence of intelligent life on other planets. Bishop Fulton J. Sheen once said that the modern fascination with UFO’s is something of a replacement for the spiritual realm in the minds of many. This I would largely agree with, especially among the atheist community. The quirky thing about this attitude is that if there were other beings possessing an intellect and will, they would say it proved humans weren’t special at all, and if none were found, they would probably say we must certainly be accidents of chance!

 

     But one thing is certain: human beings love the mysterious and other-worldly, and if naturalism is the name of the game, well, we will likely embrace belief some naturalistic mysticism…if that makes paradoxical sense! There is a definite aura in this film that indicates near-supernatural forces at work in the grand scientific achievements of a hypothetical planet. However, one scene in the film makes clear that spiritual and physical manifestations should be put in separate departments. When Klaatu is shot and then revived by the robot, a startled Helen inquires if it has the power over life and death. No, says Klaatu, only the Almighty Spirit holds that power. This is merely an advanced scientific method for restoring the breath of life that sometimes works, just like reviving a drowning person with C.P.R.

 

    It was said that this little clip of dialogue was added in for the specific reason that Christians complained about the murky implications in favor of 2-dimensional materialism, as well as the various allegorical connections that can be made between Klaatu and Christ. After all, he does come to earth from another realm; walk among humans without arousing suspicion; uses the alias “Carpenter”; and is killed and brought back from the dead. Of course, the comparison is imperfect, but I think some people wanted to make sure Klaatu wasn’t trying to be a “new and improved” materialist Christ. Then and now, people roll their eyes at such complaints, but I can understand them. The fact is materialism just doesn’t cut the mustard when it comes to acknowledging the spiritual essence of humanity, and trying to sell it an alternative religion is just crooked salesmanship.

 

    One of my biggest qualms in the film was the lack of recognition on the part of Klaatu that there are many aspects of humanity that are good and beautiful, not just fractious and paranoid. There are so many opportunities that are missed to show this interplanetary visitor our good side. For example, when he’s shot, wouldn’t Helen at least try to stop the bleeding or comfort him in some way? She doesn’t seem particularly disturbed by the prospect of his death! I know the movie was supposed to be a critique on human beings and their behavior, but I can’t help but think we sort of got a raw deal overall!

 

     We don’t really get to know Klaatu as a person, mostly because he is not being treated as a regular person. We are also told little to nothing about Klaatu’s home planet, except that it is highly technologically advanced and law and order is maintained by a race of programmed robots. But I want to get clued in on other things: what are the people emotionally like? What is their way of life like? What is there general religious belief? How do they measure time and the calendar year? What is their main source of sustenance? Do they have holidays, and what do people do for fun? Are there multiple political entities up there, or one “world” order?

 

    And in reality, is the concept of forcing people to behave through a regime of terror, executed by machines, such an enlightened plan? Furthermore, I don’t see how ethical it is to wipe out a whole planet unless they accept this forced police state with killer robots! What shines through most clearly in this is the avid anti-war and anti-nuclear agenda championed by the producer, which is really rather unworkable in the long run. The desire for global (or galactic) peace may be full of good intent, but as creatures with free wills, we are bound to find ourselves battling through life in one way or another, and once the atom was split and a weapon of mass destruction was unleashed, in became necessary that everyone should see to their own defense to secure the balance of power.

 

     It’s interesting to note that Frances Bavier, who played Aunt B. from Andy in Mayberry, and Billy Gray, who played Bud from Father Knows Best, both make appearances in the boarding house where Clatu is staying, leaving me jumping up and down on the sofa shrieking, “It’s…it’s…it’s…what’s-her-name and what’s-his-name!!” This just lends to the creepy feel of the picture, since we are seeing characters that are “normal” in every sense of the word confronting the totally abnormal! The wonderfully spooky music and haunting black-and-white filming enhances the effect.

 

    There are a few questions I still have. Why were the cars and motorcycles stymied when the electricity is neutralized? I mean, don’t most of them run on gas? How does Helen remember the magic space-words “Klaatu Barada Nikto” to turn off the zap-happy-robot after Klaatu just blurted them out to her in the taxi? Why didn’t Klaatu say a proper farewell to Bud, his only real human friend? I gives a cutesy smile and farewell wave to Helen (hey, after Tom, Mr. Space man is a knight in galactic tin foil armor!),

 

    One humorous foible in the film has to be mentioned: notice the film speed as everyone flees from the landing spaceship in the beginning! Apparently, the extras appeared to be moving too slowly and lackadaisically in the original take, so it was decided to speed up the clip to add to the element of fright! Also, have you ever wondered why Gort disappears behind a wall when he goes to pick up Helen? Well, evidently, Lock Martin, the very tall actor portraying the robot, could not bend over in his stiff space suit to lift her, so they rigged her up with wires and used the wall to avoid shooting the pick-up sequence!

 

    The Day the Earth Stood Still is an all-time classic, and definitely worth a viewing (or two!). It does leave one with quite a few profound thoughts about the importance of being responsible stewards of our man-made nuclear resources, the importance of understanding in the face of unreasoning premise, and the realization that whether or not there are any other intelligent beings floating around in the galaxy, we must always be respectful of all living creatures, especially if they possess consciousness, free will, emotions, and all the attributes that apply to spiritual beings such as ourselves.    

 

 

Helen (Patricia Neale) and Bobby Benson (Billy Gray) meet Klaatu (Michael Rennie)

 

 

A Time to Remember

Year:  1988

 

Filming:  Color 

Length:  88 minutes

Genre:  Christmas/Drama/Family 

Maturity:  G (Suitable for All Ages) 

Cast:  Ruben Gomez (Angelo Villano), Donald O’Connor (Fr. Walsh), Ray Serra (Frank Villano), Morgana King (Mama Theresa), Tommy Makem (Fr. Halloran), Paris Dimolean (Mr. Nicoli), Alison Case (Kelly), Suzanne Gardner (Mary), Vincent J. Burns (Joseph), Nadien Dickerson (Christ Child), Daniel Brewer (Adult Angelo’s Voice) 

Director:  Thomas Travers  

Personal Rating:  4 Stars  

***

    There are a slew of warm and fuzzy Christmas productions circulating, usually produced by small studios and rarely marketable on a large scale. Most are as similar to each other as they are sappy and cliché. However, there are a special few which tap into the true “reason for the season” and achieve an intimacy of feeling through the simple beauty of the setting and story-line. One such film is A Time to Remember.  

     Ruben Gomez stars as Angelo Villano, an Italian-American boy in the 1950's who dreams of being a singer like his idol, Mario Lanza. He finds support in his tough yet loving grandmother, Mama Theresa, and his local parish priest, the redoubtable and very Irish Fr. Walsh. But Angelo’s widowed father, Frank, who labors as a factory-worker every day to put bread on the table, thinks that singing is for "sissies" and would much prefer to see his son participate in sports like the other boys.  

    When Fr. Walsh introduces Angelo to a famous opera singer, Mr. Nicoli, who is willing to give Angelo voice lessons, Frank becomes increasingly set against the prospect of his son becoming a singer. Angelo tries various methods to get his father to change him mind about singing, including trying to have a heart-to-heart with him in a bar and getting him to watch The Great Caruso at the movies. Needless to say, neither of these plans pans out very well, and Frank eventually forces Angelo to quit his singing lessons.  

    Feeling increasingly hopeless about the situation, Angelo finds comfort in his best friend, Kelly, a local girl who understands his sensitive soul and artistic dreams. But he has a harder time getting along with the neighborhood boys, who bully Angelo for his interest in singing and his Italian ancestry. Fleeing one such encounter at a malt shop, he runs into the street and into the path of an oncoming car. Although he survives the accident with only minor physical injuries, he loses his voice as a result of trauma.

       

Mama Theresa blames the accident on Frank, saying that his refusal to let the boy sing has elicited the punishment of God. Meanwhile, the much-beloved Fr. Walsh has a fatal heart-attack and dies soon after giving Angelo a holy card of the Nativity. Although Angelo feels more isolated than ever and still unable to speak or sing, he volunteers to help the new parish priest, Fr. Halloran set up for Christmas mass, and he is sent to the cellar to get the nativity set for church. But the bullies return with a vengeance, and pull a cruel prank by shutting off the cellar light and locking the door.  

 

    Unable to use his voice, Angelo is unable to call for help, and everyone leaves the church under the assumption that he has already gone home. However, as he lays sobbing in the darkness, he experiences a miraculous vision of the Holy Family. When he is finally rescued by his father and Fr. Halloran, he is found sleeping peacefully with the Christ Child from the nativity scene in his arms. At Christmas mass, he astounds everyone by singing “Ave Maria”, and even Frank acknowledges his son’s special gift now that it has at last been restored.

 

A Time to Remember has always been a holiday favorite for my family. It may have been made on a tight budget, but it has endearing warmth and tenderness that should make it better known than it is. Unfortunately, it tends to be hard to find, except for being aired on EWTN ever and anon (long before my time, that’s how my parents located it!) and sold online in limited quantities. I suppose I can understand the situation, considering that most of the cast was practically unknown, and it’s sad to say, but young Ruben Gomez really isn’t that striking of a singer…although somehow the way the story plays out somehow makes it easier to overlook that!

 

     Evidently, the two actors who actually got this little production off the ground and saved it from complete obscurity were the dynamic Donald O’Connor, who featured in Singing in the Rain and Francis the Talking Donkey among other things, and Tommy Makem from the Irish band Tommy Makem and the Clancy Brothers. And yet, the lads do get song debuts, just to make it worth their while! Also, there’s a fun personal connection I have with the film: the voice of Angelo as an adult tenor, singing Bach’s Ave Maria at the end of the movie, is actually a friend of a friend of ours, named Daniel Brewer!

 

     Mama Theresa is portrayed wonderfully by Morgana King, with her pushy yet loving personality, her no-nonsense approach to lecturing her son and encouraging her grandson, and even her over the top (and very Italian!) predictions of doom: “God’s gonna punish you for what you did!” Ray Serra as Frank also comes off as a true son of Italy, with his cross between groundedness and deeper sentiments. He is probably one of the most sympathetic characters in the film, because he truly loves his boy but fails to realize his own unique gift until it is almost too late.

 

     Since I do have a fair share of Italian blood in my veins, Italian-American sub-culture in general holds a cultural connectivity for me, and this film brings it to light in the form of a charming yet very human vignette. Also, faith and family are portrayed as the bulwarks of suburban America, as various cultures integrate in the great melting pot. There is a sense of community and common purpose, as well as a realization that the world, under Heaven, is a magical place filled with many ups and downs, but always girded up by hope.

 

    Some people make it a point to complain about nostalgia in movies, especially for the 1950’s, but even though life wasn’t perfect back then, I do believe that most middle class Americans shared an intimacy through honest work and simple pleasures that has somehow been largely lost in our overly technical and “Me”-oriented generation. As has wise men have realized, every age has its good and bad attributes, and oftentimes we find that each new generation will indubitably right some old wrongs and wrong some old rights. But for those looking back, all memories become precious.

 

     I find it interesting how Angelo is shown being hit at the exact same time that Fr. Walsh collapses from a heart-attack. The film flashes back and forth from one scene to the next several times to draw the parallel and almost indicate that Angelo's voice was intricately bound up in the encouragement of the priest. When he is stricken down, the boy's voice leaves him. Angelo had once asked Fr. Walsh: “Why do you love me?” When Fr. Walsh lies dying, and gives the boy the Nativity holy card, he responds in kind with great tenderness: “Why do you love me?”  
 

    I suppose this is one of the great questions of the human experience. Love is both stunningly complex and beautifully simplistic. It is bound up in a reality beyond cells and molecules, and hinges on the divine. I believe Angelo experiences his vision through the prayers of his late priestly mentor, and has his precious voice restored. And is it not so very appropriate that Blessed Virgin should appear to him, looking oh-so Italian? When heaven reaches out to earth, we will see that which is dearest to our deepest selves, that fragment of God in all of us that makes us unique. It is that uniqueness that Angelo shows through his voice, and that his father finally acknowledges by putting his arm around his son as he sings. It is also that uniqueness that makes A Time to Remember such a very special Christmas tradition.

  

Angelo Villano (Ruben Gomez) sings in the choir in preparation for Christmas

 

 

 

 

Fireproof

Year:  2008

Filming:  Color

 Length:  122 minutes

Genre:  Christian/Drama/Romance

Maturity:  PG (for intense thematic elements)

Cast:  Kirk Cameron (Caleb Holt), Erin Bethea (Catherine Holt), Ken Bevel (Michael Simmons), Alex Kendrick (Pastor Strauss), Ken Bevel (Michael Simmons), Stephen Dervan (Wayne Floyd), Eric Young (Terrell Sanders), Pastor Strauss (Alex Kendrick), Harris Malcolm (John Holt), Phyllis Malcolm (Cheryl Holt), Tommy McBride (Kyle) 

Director:  Alex Kendrick  

Personal Rating:  2 Stars

***

    

     As I think I’ve mentioned in the past, many independent Christian productions are sorry cases of good intentions gone awry and sacrificing art for message. This is especially the case when utilizing a largely untrained cast and crew primarily comprised of church volunteers. While the intent may be to “change the world”, these films usually never make the trek beyond church basements and marriage counseling groups. Such is generally the case with the much-spoken-about Christian romance called Fireproof.  

    Our story begins with Caleb Holt, starring Kirk Cameron, and Catherine Holt, starring Erin Bethea, whose marriage is rapidly disintegrating. Neither one seems particularly proficient in the art of communication, especially when it comes to stocking the fridge and caring for Catherine’s elderly mother. Both of them are busy as beavers with their respective careers, Caleb as a fireman and Catherine as a hospital worker, and they seem to have little time for each other anymore. Instead of trying to remedy that problem, they grow more and more intolerant of one other.

    With things falling apart bit by bit, Caleb finds distraction in online porn, while Catherine finds consolation with an attentive doctor in her ward. At this point, Caleb’s Evangelical Christian father steps in, and provides his son with a journal that was once used when his own marriage was on the brink of collapse. Although Caleb is skeptical, he honestly wants to preserve his marriage and is willing to try anything. So day-by-day, he makes an effort to be more considerate of Catherine, making her coffee, buying her flowers, setting up a candlelight dinner, etc.

    Sadly, Catherine is being influenced by her well-intentioned yet busy-body friends who insist that Caleb is merely buttering her up for ulterior motives such as a juicy divorce settlement. So instead of reciprocating to his attempted kindnesses, she grows more standoffish and continues to pursue preparations for the divorce. Caleb is burned out by the continued rejections, and is on the brink of abandoning the project when his father insists that he think more deeply about the nature of abandonment and suffering, and embraces Christianity. His also gets moral support from his best friend and fellow fireman, Michael Simmons.

    Although things seem to get worse before they get better, Catherine is eventually moved to give Caleb another chance after he goes the extra mile to be nice to her when she gets sick (he even gets her a bag of fast-food from Chick Fila…umm…is that really healthy food for a sick person??). But what really clinches the deal is when it is discovered that Caleb has purchased her elderly mom special mobility equipment with the money he had been saving to buy a boat. Things wrap up fairly quickly (low budget), and the two agree to stick it out and reaffirm their vows, symbolized by a salt and pepper shaker set…glued together…stuck on top of a wedding cake…yeah!

    Fireproof is what it is: a small-time Christian film about love and marriage, pieced together by a predominately amateur cast and crew. While the concept is laudable, the production values plummet. The acting in general is pretty painful, and the relationship between Caleb and Catherine lacks depth and realism. He’s always stomping around, and she’s constantly whining about something, with a few in-your-face “how dare you treat me this way” moments to try and break up the monotony. October Baby had similar problems, but at least that managed to achieve some character development and genuinely heart-tugging scenes.

    The whole conundrum of Fireproof could best be described as a tempest in a teapot. Even the action sequences are clunky and predictable. Frankly, the sappy dialogue and obvious plot set-ups made it impossible to be drawn into the story. I will agree with Caleb that Catherine is virtually impossible to deal with, and ever so annoying. I’m really having a hard time feeling for her through the whole ordeal of this flick. Caleb may have his issues, like a growing addiction to pornography, workaholic tendencies, and a demanding attitude about breakfast yogurt. But all that confirms is that the two of them are equally immature.

    One of the main problems with Christian films today is the feeling that one is being wacked over the head with a proselytizing pamphlet. There is always the dramatic moment when the main character gets “saved”, which most non-Christian viewers can see coming from a mile away and take offense at the attempt to shove them into salvation. Even as a Catholic, I find the anticipated “big moment” quite alien. My own tradition relies on a quieter, steadier, more gradual growth as opposed to a slam-bang instant. I’m not saying that some conversation don’t have a dramatic catapult, but probably not the majority.

    While I can appreciate the work of firemen in general, the plot tends to emphasize consistent melodrama in association with the job. Actually, just like the army, there’s a longer “cool out” period waiting for something to happen than life-threatening incidences of high tensity day-in and day-out. Nevertheless, this film tries to milk the heroic moments, and make the job seem as glamorous as possible. There are two main actions sequences in the movie, both of which struck me as being rather hokey. One is the car stuck on the railroad track; the other is the rescue of a little girl from a burning building.

   

   The big action sequence when Caleb rescues a little girl from a burning building was pretty lack-luster. I thought he might get hurt and Catherine would feel some sense of compassion and appreciation for his heroism and be drawn towards him again. But instead, she continues going out with this cheesy doctor guy who seems planted in the story specifically to lead her astray. Caleb eventually confronts the guy (dume-dee-dum-dum) with fist upraised (great way to handle a situation…couldn’t he get arrested for threatening a medical professional?).

    The spranglings of over-the-top humor, especially the “me time” fireman and the Tabasco sauce drinking contest. It was pretty imbecilic and did little to enhance, or even alleviate, the finer points of the plot. The ending is also too “perfect”, as she suddenly decides that she really does love her husband after he buys her elderly mother mobility equipment. She also decides that she wants to be “saved” as well. I’m all for happy endings (in fact, I’m quite down-cast and frustrated when they are not at the very least hopeful!), and yet when they’re too sappy, it really undermines the believability of the story.

    In spite of all these things, I will admit that there are some broad spiritual concepts in the plot that rarely make it into movies these days. One of the main ideas is that marriage is a covenant of honor between two persons before God, not based on mere emotions but on a soulful vow of commitment that should last a lifetime. The concept of a day-by-day journal, trying to turn the relationship around through prayer and good works, is an interesting one. Also, the realization that all rejection we experience is a mere drop in the bucket to the rejection experienced by Jesus Christ on the Cross. We must trust God, turn over everything to His will, and rely on His help us get through our struggles in this world. Meanwhile, we should “praise Him while we’re waiting”.

    Judging by independent Christian production standards, I will not say Fireproof was a total bomb – at least, not in the same warped theological sense that permeates God’s Not Dead. But on an artistic scale, this one still sinks pretty low. Non-Christians will probably just laugh it off because of its instant-coffee style of conversion, and even many Christians will realize that the quality is shabby even if the message if full of good intent. That having been said, there is a nugget of goodness to be salvaged. To quote the film, “Fireproof doesn’t mean the fire will never come; it means when the fire comes, that you will be able to withstand it.” For firefighters and married couples alike, it is paramount “never to leave your partner behind.”    

 

Caleb Holt (Kirk Cameron) begs Catherine Holt (Erin Bethea) to forgive him

The Scarlet Pimpernel

Year:  1982 

Filming:  Color 

Length:  142 minutes 

Genre:  Action/Drama/Romance 

Maturity:  PG (for mild language and sexual innuendos)

Cast:  Anthony Andrews (Sir Percy Blakeney), Jane Seymour (Marguerite St. Just), Sir Ian McKellan (Paul Chauvelin), Malcolm Jamieson (Armande St. Just), Dominic Jephcott (Sir Andrew Ffoulkes), Christopher Villiers (Lord Anthony Dewherst), Denis Lill (Count de Tournay), Ann Firbank (Countess de Tournay), Tracey Childs (Suzanne de Tournay), Richard Charles (The Dauphin), Julian Fellowes (The Prince Regent)

Director:  Clive Donner 

Personal Rating:  4 Stars 

***

    I first read Baroness Orczy’s The Scarlet Pimpernel in grade-school, and for a girl with my imagination and love of romantic historical adventures, I found the concept exhilarating. After all, this was the prototype of the all the swashbuckling heroes with dual identities, from Zorro to Superman. But instead of the Colonial Southwest or the bustling Metropolis, this one was planted firmly in the old world and commuted between the historical rivals, England and France. Just my style, and obviously I’m not the only one who thought so since quite a few film adaptations sprung to life. The following film is just such a dramatic endeavor.

    Anthony Andrews stars as Sir Percy Blakeney, English gentleman and seemingly incorrigible fop who most everyone views as a harmless and brainless party animal with a gourmet taste for clothing and travel. However, his sojourns in France reveal another side to his character: that of the Scarlet Pimpernel, daring rescuer of aristocrats condemned to the guillotine by the French Revolutionary government! With an array of disguises at his disposal and a handful of chosen companions at his side, his pursuers are unable to bring him in, and his successes across the channel make him the toast of the table back home in England.

    During one of his missions in France, Percy rescues one Armand St. Just from a severe beating and falls in love with his glamorous sister, Marguerite St. Just, a French actress who is soon drawn to the passion she detects beneath Percy’s sleepy-eyed countenance. But there a slight problem: someone is already courting Marguerite, and it’s none other than Paul Chauvelin, the ruthless agent of the Revolutionary Committee of Public Safety whose greatest aspiration is to capture The Scarlet Pimpernel! In spite of his realization of the danger, Percy persists in his wooing, and charms Marguerite into accepting his proposal of marriage.

     But just a few hours after their marriage in an elegant Catholic ceremony, Percy learns some shocking news that changes everything. Circumstantial evidence indicates that Marguerite betrayed a royalist family to the Republican government, and the entire family was guillotined as a result! The marriage swiftly turns cold, and Percy retreats into his make-believe shell of shallow snobbery, much to Marguerite's confusion and disillusionment. Meanwhile, in his professional life, the Scarlet Pimpernel and his loyal band (now including Armand St. Just) hatch a plan to rescue King Louis XVI's young son. But Chauvelin begins to suspect Sir Percy is more than he seems to be, and travels to England to find out for himself.

     Meeting up with a disgruntled Marguerite, Chauvelin threatens to have her brother Armand arrested for secretly cooperating with The Scarlet Pimpernel unless she will help him hunt down his prey. She has no idea that her husband is the man, and is reluctantly pressured into spying for the French at an elaborate gala including the Prince of Wales among his guests. She passes on bits of information to Chauvelin, but then is overcome with remorse and tries to contact the Pimpernel to warn him. The result is a shocking discovery and climactic finale in a fortress on the rocky French coast.

     I enjoyed this film because it breathed new life into Baroness Orczy’s classic adventure novel series, and ironed out some of the vaguer bits from the book and other movie adaptations without straying too much into the land of revision. I believe the plot filled in some of the gaps in the relationship between Percy and Marguerite and also did a better job illustrating the past relationship between her and Chauvelin. Since this movie did draw from material in both the original book The Scarlet Pimpernel and the third book in the series El Dorado there was certainly a roomier feel.

    It must always be brought to the fore that this is a made-for-TV movie, produced in the ‘80’s, so the artistic quality is what it is. The background music is fits some of the acting in over-dramatic flair. That having been said, the costuming is generally a treat to behold. I love Marguerite’s riding outfit in particular, and all of Percy’s gentleman attire (cravats and all!) are delightful to behold. However, as I have mentioned in past film reviews, I believe Hollywood goes the extra mile with of the low-cut bodice style of the 18th century, trying to heighten sex appeal, which is pretty much a cheap trick to boost ratings through lustful eyes. Another rather unnecessary addition involves Armand’s “sleeping around”, although this is a brief interlude and was found in the third book as part of his character.

     Getting back to the acting, I feel that Anthony Andrews tended to overdo the fop part to the point of being quite obnoxious and rather corny. However, to his credit, he also did an excellent job candidly revealing the passion beneath the exterior in certain scenes. Once such scene was when he suddenly revealed his dual identity to Armand. Another was when he fought to conceal his feelings of disgust from Marguerite after learning of her supposed betrayal on their wedding day. Also, he makes a good “gentleman charmer”, from quipping (“They seek him here, they seek him there…”) to romancing (“You don’t know me now, but you’ll have the rest of your life to find out!), and fencing (can’t help but enjoy watching the final duel, when Percy “defrocks” Chauvelin by cutting the buttons from his coat!).

   

    Jane Seymour managed to “redeem” the character of Marguerite in my opinion (in spite of the hair style that sort of looks like a poodle sitting on her head!). I never really liked her in the book or alternate story adaptations because she was portrayed as selfish and whiney, growing cynical and flippant towards her husband and refusing to contradict the accusation against her to test Percy and see if he would love her even if she had sent that family to their deaths. Percy could not. In this film version, however, Marguerite is a much sweeter and more loving character, who is deeply hurt and confused by Percy’s sudden coldness, and takes for granted that he would believe her to be innocent of such cruelty.

    Furthermore, even though he is disillusioned with her, she never completely gives up on him. She indicates this as they return home from a social function, explaining that she is confused why he should play the fool in private as well as public. He mutters that perhaps this in fact the real Percy after all, but Marguerite retorts that she will never believe that. Also, she never loses her own innate goodness, and even when she is unsure of the Scarlet Pimpernel’s identity, she still makes an effort to warn him about Chauvelin after she was forced to provide him with information. This leads to a deeply romantic scene in which Marguerite speaks with Percy standing behind her in the shadows, not knowing who he is, but sensing something familiar about him. She then tells him that she was innocent of the betrayal, and asks him to lay his hand on her shoulder to assure her that he is real.

    For those who are fans of The Lord of the Rings, the first response upon seeing Ian McKellan playing Paul Chauvelin is: “It’s Gandalf!!!” Of course, recognizing this point might take a few scenes, as he’s quite a bit younger in this flick, but his voice is wonderfully sardonic and his facial structure memorable. And, like his fellow British actors Basil Rathbone and Laurence Olivier, he has the talent of being an equally good villain as he is a hero, and a very fine fencer! (Note: does anyone find is slightly humorous how every single character in this movie, whether they are supposed to be French or English, have proper BBC accents?)

    I definitely think this portrayal of Chauvelin fills him out and explains why Marguerite chose to part company with him, which is refreshing after the vagueness of the book.    Basically, she explains that she has become increasingly aware of the way the revolution had made Chauvelin ruthless and cold-blooded, in contrast to the young idealist she had originally fallen in love with and supported. He has changed beyond recall, to the point of betraying her confidence and maliciously implicating her in the arrest and execution of a royalist family to destroy her marriage to Percy.

    The storyline is definitely from a royalist slant, which fits in with Baroness Orczy’s own experiences as an aristocratic exile who had to flee a revolution in Hungary as a girl. Of course, looking at the broad scope of history, I would have to agree with her that most revolutions do create a domino effect of anarchy followed by a worse tyranny than the original one (chalk it up to fallen human nature…). That having been said, I would definitely put in a good word for many of the original revolutionaries who had justified complaints against the arrogance and folly of the establishment.

    But beyond historical realities, I believe there is something about The Scarlet Pimpernel that taps into our deepest yearnings for romance and adventure, heroism and even an element of hierarchical inequality (who can deny the magic of the monarchy, the mystical hereditary right to reign, even among Americans like us?). As C.S. Lewis once said, all these things are “the tap-root to Eden”, something integral to the human consciousness that set us apart from all living things as story-tellers and yarn-weavers. Also, while Sir Percy Blakeney dedicated to an old-fashioned chivalric honor and enjoys gourmet living, he is willing to risk all the comforts of his life in France and act the part of the insipid fool in England. This lack of recognition is epitomized by the wayside English flower that he uses as his symbol, and stands out poignantly as a symbol for all unsung heroes.  

Sir Percy Blackney (Anthony Andrews) admires Marguerite (Jane Seymour)

Prince of Foxes

Year:  1949

Filming:  Black & White

Length:  107 minutes

Genre:  Adventure/Drama/History/Swashbuckler

Maturity:  PG (for intense thematic elements)

Cast:  Tyrone Power (Andrea Orsini), Orson Welles (Cesare Borgia), Wanda Hendrix (Camilla Verano), Marina Berti (Angela Borgia), Everett Sloane (Mario Belli), Felix Aylmer (Count Marc Antonio Verano), Katina Paxinou (Mona Constanza Zoppo), Eduardo Ciannelli (Art Dealer)  

Director:  Henry King

Personal Rating:  5 Stars

***

    In case you haven’t noticed by now, I am quite a fan of swashbucklers, and have been since I was knee-high to a grasshopper. My dad and I made quite a thing of dueling with foam noodles and rolled up skid-prevention rubber. Of course, Robin Hood was first true love. But I do reserve a special place in my heart for several other dashing rogues with sword in hand. One of them is Andrea Orsini from Prince of Foxes.  

    Our story opens in Renaissance Italy. Tyrone Power stars as Captain Orsini, an unlikely hero who starts out as an envoy of the power-hungry Cesare Borgia. Climbing the ladder of successes and hoping to bury his humble beginnings, Orsini believes that he has found the true fulfillment of his life. What could be better than living as a nobleman in a society of learning and culture, respected for shrewdness and cunning, in which every man is his own master and can compete as equals according to their skills?

    But the glamour of the world and the thirst of raw ambition do not satisfy, but only warp. Orsini’s pious widowed mother, Mona Constanza Zoppo, had tried to teach him this long ago, but he had refused to listen, and she had prayed he would be converted, even if it meant he would lose all his earthly powers. Orsini experiences this prayed-for enlightenment in the most unexpected of ways, while he is on a mission of intrigue and seduction to weaken the fortifications of a small province so Borgia can overrun it.   

    However, this will set him on a journey into his inner self and a powerful encounter with those who can see through his silky façade to his restless heart. One of these people is Marc Antonio Verano, the elderly count of the province he is sent to undermine; another is the count's much younger wife, Dona Camilla, who refuses to be seduced by Orsini. Gradually, he begins to be drawn away from his partner-in-crime, the assassin Mario Belli, and loses his nerve to unleash to pursue his devious plans. The rest of the story seems to mirror the life of a saint.  

    When Camilla remains loyal to her husband, and that husband refuses to submit to Borgia’s threats and prepares to defend his tiny domain from aggression, Andrea experiences a total change of heart and declares that he will use all his wits as “Prince of Foxes” to aid the defense. It is their own sense of nobility that taps into his better nature and brings him to the realization that Borgia’s philosophy of life is profoundly perverse, even though the trappings are appealing. The ultimate reality is that it is far better to die in a good cause than prosper in a bad one.

   Prince of Foxes stands out as an all-time classic swashbuckler gem with an atypical in its plot twists and moral potency. This is a story about what’s really important in life.     The acting in this film is excellent, led by Tyrone Power and Orson Welles. The plot is full of intricacies and unexpected twists and turns. There is also some wonderful sword-play and battle sequences. I will say that I felt the ending wrapped up rather abruptly with a few lose ends left dangling, due to budget cuts.

    We are sadly deprived of seeing the splendor of the Italian setting in color. The makers erroneously believed Tyrone Power to be past his time and washed up, and didn’t want to put too much into the production. This was a terrible miscalculation, since even with its limited budget and obvious time constraints impressed up on it. However, the masterful shadow effects are something of a saving grace in this regard.  

    For once, we have a romance based on true nobility! Indeed, it is quite evident that Lady Camilla is quite smitten with Orsini, but still she will not betray her husband. The reason is that she truly loves him for his goodness and wisdom, and whole-heartedly supports the cause which he champions. In effect, she is a nobler version of Queen Guinevere. After the count is mortally wounded, he joins the hands of Orsini and his wife, thanking them for their faithfulness and entrusting Orsini with her safety and that of the city. Orsini uses his wits to out-fox Borgia for as long as he can, then gallantly agrees to turn himself over to the enemy so Camilla and the inhabitants will be spared from slaughter.
 

    The power and beauty of art is an important motif in Prince of Foxes, which is no surprise, considering the setting is Renaissance Italy! Orsini first wins the respect and affection of Dona Camilla when he meets her at an art dealer’s shop and makes her a gift of a painting he was going to sell. Later, at the castle, Camilla asks him to pain her portrait. Since he is talented with the brush and has an eye for beauty, he accepts the commission, thinking this will be a means of seducing her. But instead, his heart is open to true love and honor through the project, as he learns that that the deepest sort of beauty is found in the intangible things, which he must embrace before he can fulfill his destiny and deepest desires.  

    I do have several questions left unanswered: what made the assassin Belli spare Orsini’s life at Borgia’s court? It’s left pretty much a mystery, but I must say that Everett Sloane made a wonderfully ferret-like villain. Another question is how did the rebels manage to toss Borgia out of the province at the end? All the odds were against them, and the idea that they could just storm the place with farming tools doesn’t really hold up to logic. It seems as if Orsini would have come up with a more mentally stimulating plan. Lastly, why wasn’t the Lady Borgia, who Orsini once courted, more vengeful after he ditched for another woman? I mean, she’s a woman, she’s Italian, and she’s a Borgia!

     Speaking of Italian women, one of the most important women in this movie was Andrea’s mother. The unusual way things played out seems likely to have found origin in her prayers for her son. When he is tortured by Borgia, she comes to care for him, obviously devastated by his condition, and he weakly murmurs, “Mama…mama…” This is such a touchingly human moment, and so reminiscent of Mary seeing her Son crucified. This whole scene was set-up by Borgia to prove to Dona Camilla that Orsini was of common stock, but she boldly responds that he was never nobler to her than at that moment.

   

    The main thing that makes Prince of Foxes so special is its call to conversion and deep spirituality running through all the action. It is a story of true nobility and Christ-like sacrifice, transforming conversion, and death-defying courage. Unlike many action and adventure films made solely for distraction, this production, though sadly little-known, manages to penetrate the surface and reach for deeper treasures. For those who appreciate this sort of depth, and who also love a rousing tale of adventure set against the backdrop of historical fiction, this classic is a must-see of the swashbuckler genre.

Dona Camilla (Wanda Hendrix) speaks with Andrea Orsini (Tyrone Power) about his painting of her