In the late 19th century, the average British person considered the European continent to be something quite foreign, and its eastern parts, partly consisting of recently independent small countries, something quite exotic. Anthony Hope used such notions to set his 1894 adventure novel The Prisoner of Zenda in the fictional country of ‘Ruritania’. The novel, which would spawn the genre of so-called ‘Ruritanian romances’, was adapted many times on stage and, later, on screen. The best-known adaptation of all is the eponymous 1937 Hollywood black-and-white film directed by John Cromwell.
The plot is set in 1897, and the protagonist, played by Ronald Colman, is Major Rudolf Rassendyll, an English gentleman who travels to an unnamed country (‘Ruritania’ in the novel) somewhere between Vienna and Bucharest in order to enjoy fishing. There he finds that many of its citizens look at him strangely, and only later learns that this is due to his incredible physical resemblance to King Rudolph V (also played by Colman), his distant relative. The King, who is about to be crowned, meets his cousin but gets drugged by a special bottle of wine sent by Duke Michael of Strelsau (played by Raymond Massey), his half-brother who hopes to become the new regent and ultimately take the throne.
The King’s loyal aides, Colonel Zapt (played by C. Aubrey Smith) and Captain Fritz von Tarlenheim (played by David Niven), ask Rassendyll to take the King’s place at the coronation. He reluctantly agrees, but soon it becomes apparent that the King was abducted by Michael’s henchman Rupert von Hentzau (played by Douglas Fairbanks Jr.). Rassendyll is forced to keep up the charade until the King is set free and, in the meantime, falls in love with Princess Flavia (played by Madeleine Carroll), the King’s betrothed.
Although directed by John Cromwell, The Prisoner of Zenda was ultimately the work of David O. Selznick, one of the best producers of Classic Hollywood. Selznick gathered an impressive collection of talents behind and in front of the camera for this film. Ronald Colman, a British actor best known for his roles as suave seducers, handles the complex double role – the ‘normal’ protagonist and the flawed, drink-loving monarch – with great ease. He also has good chemistry with Madeleine Carroll, one of the early Hitchcock blondes. C. Aubrey Smith, a veteran character actor who actually played Rassendyll in the London stage version four decades earlier, brings a lot of dignity and authority, elevating the film with his regal presence. Young David Niven also makes a relatively good impression in a small, semi-comical role that would pave the way for his later career as a formidable character actor.
But the best impression is made by Douglas Fairbanks Jr. in the role of Rupert of Hentzau. Fairbanks initially wanted to play Rassendyll/Rudolph V and was unhappy with Colman’s casting, but his father, Douglas Fairbanks, convinced him that the villainous role of Hentzau was more interesting. Young Fairbanks listened to his advice and played the role of the morally corrupted sidekick who obviously enjoys his wickedness with gusto. His performance is so good that Raymond Massey, who is supposed to play the chief villain, looks quite bland.
The Prisoner of Zenda had everything the audience in the 1930s wanted – action, romance, and humour, although the plot near the end gets a little too melodramatic for today’s more cynical viewers. Apart from great acting, it had good direction. When Selznick was displeased with the way Cromwell, his old associate, had directed some scenes, he simply brought his colleagues George Cukor and W. S. Van Dyke in for reshoots. This, together with very good black-and-white cinematography by James Wong Howe and a likeable musical score by Alfred Newman, made The Prisoner of Zenda one of the more memorable works of Classic Hollywood. Its quality was so high that the next version, made in 1952 in Technicolor, used the same music, script, costumes, props, and even shot composition.
The 1937 film left a very strong impression on future generations of filmmakers. In 1982, while making Star Trek II: The Wrath of Khan, Nicholas Meyer insisted that his costume designer Robert Fletcher make Starfleet uniforms based on the uniforms used in The Prisoner of Zenda.
RATING: 7/10 (+++)
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