Now Over 5500 Reviews and (near) Daily Updates!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; more than 5500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' you're looking for in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGSPOT.com Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Monday, October 7, 2024

THE BELOVED ROGUE (1927)

Popularized in plays, operetta, silent and sound film as something of a Robin Hood figure*, 15th century French poet François Villon, only 32 when history loses sight of him, was likely more precursor to post-Renaissance ruffian artist Caravaggio than to the Sherwood Forest outlaw.  But facts don’t really enter into this John Barrymore silent which was meant to revisit the romance & adventure of his DON JUAN/’26, a hit at Warners, for this first project on a three picture deal at United Artists.  DON JUAN director Alan Crosland came along (the third of their four films together*), but the key figure is art director William Cameron Menzies who gives it lighter, more fantastical settings.  Villon is still the lovable scamp, a vagabond poet whose japes get him in trouble with Louis XI (Conrad Veidt)  before he saves Louis from the usurping Duke of Burgundy.  Villon also saves his own life in the process and wins the hand of Lady Marceline Day.  Picture quality not what it might be, at best rising to no more than acceptable, but enough to get the enchanting visual ideas across.  Barrymore overplays the first act, gamboling to beat the band with his (three) Merry Men.  But once he takes off his clown makeup (literally), he tones down and brings touching vulnerability and grace to the role.  (Veidt happy to pick up the ham acting crown which leaves Barrymore free to show off what tremendous physical shape he’s still in at 45 during his all but bare torture scenes.  If only the film elements were equally well preserved!

DOUBLE-BILL/LINK:  *Best of the lot, IF I WERE KING/’38 with Ronald Colman & Basil Rathbone working off a Preston Sturges script.  https://maksquibs.blogspot.com/2019/05/if-i-were-king-1938.html

ATTENTION MUST BE PAID:  *DON JUAN, Crosland’s first film with Barrymore, was also the main calling-card for Warner’s VitaPhone synch-sound system.  Showcasing various ‘Talkie’ shorts and a recorded symphonic score for the silent feature.  Next year’s THE JAZZ SINGER/’27, also from Crosland immediately after ROGUE, then jump started the Talkie revolution.

No comments: