The Prisoner of Zenda (1922) User Reviews (18)

David Jeffers for SIFFblog.com

[rdjeffers · 7/10 · 13 August 2006]

Monday August 14, 7:00:pm, The Paramount Theater

"While you're unhung, Hentzau, hell lacks its master!"

On the eve of his coronation, Rudolph Elphberg of Ruritania is poisoned by his jealous half-brother, Duke Michael of Strelsau. A distant English cousin, and the King's spitting-image, takes his place to save the throne. Anthony Hope's 1893 tale of romance and swordplay, The Prisoner of Zenda has seen no less than eight adaptations produced for the big screen, including three silent films, an animated Australian version and a television mini-series. The best known of the bunch today is the 1937 David O. Selznick production starring Ronald Coleman, Madeleine Carroll, David Niven and Mary Astor. Without a doubt, the 1922 Metro Pictures production, directed by Rex Ingram, is superior in its cinematic style, acting and production values. Ingram's film stars the exceptionally beautiful Alice Terry as Princess Flavia, and a wonderful newcomer, Ramon Novarro as Rupert of Hentzau. Lewis Stone stars as the irresponsible, drunken and character deficient King Rudolf, and his dignified, stalwart cousin Rudolf Rassendyll. Stone is best remembered as the wise old father of a well-known freckle-faced teenager with the voice of a strangled duck, whose character (Andy Hardy) grew up on screen in the thirties and forties.

Ingram achieved significant success for himself and Metro the year before with The Four Horseman of the Apocalypse (1921), starring Terry and Rudolph Valentino. While filming their next production, The Conquering Power (1921), Valentino became willful and refused direction, at one point storming off the set. No doubt, his new found fame had gone to his head. His charming young replacement was Ramon Samaniegos, who changed his name to Novarro after Zenda's release. As Hentzau, Norarro is quick, clever and a thoroughly likable anti-hero. One of four officers loyal to "Black" Michael (Stuart Holmes), Hentzau is a mischievous young fellow, more playboy and prankster than serious villain, who spends much of his time chasing after Michael's mistress Antoinette (Barbara LaMarr). Ingram introduces Hentzau, as he stands up from the piano, flips his monocle in the air, and into his eye. Novarro virtually steals several scenes, even breaking character once as mugs directly at the camera!

Ingram was able to draw great performances from his actors. As Rassendyl arrives at the coronation, he passes a dumbstruck Michael and pauses long enough to deliver a subtle expression of smug satisfaction with a raised eyebrow. Terry's performance as the future queen is graceful and dignified, a perfect match to Rassendyll, and their final scene is both lovely and heartbreaking. The cast is rounded out nicely with two well-known character actors. Snitz Edwards plays the King's butler and John George who worked with Lon Chaney, John Barrymore and nearly everyone else in Hollywood plays a decidedly darker than average role.

Adding substantial integrity to the production, Ingram used Belgian Fencing Champion and USC coach Henry Uyttenhove as a trainer and consultant for the spectacular sword fight at the end of the picture. Uyttenhove also worked on several Douglas Fairbanks films, including Robin Hood (1922), and again with Ingram on Scaramouche (1923). "God does not always make the right men kings. You are the finest Elphberg of them all!"

Evil Ramon sparks disappointing Ingram film.

[David-240 · 8/10 · 20 November 1999]

Rex Ingram was one of the great visual stylists of the silent cinema, but his version of "The Prisoner of Zenda" is a little slow and ponderous and visually not as interesting as other Ingram films. But it's still pretty good with strong performances from Ingram's wife Alice Terry and the marvellous Lewis Stone. Although Ramon Novarro has top billing, Stone actually has the lead role - Ramon's role is a supporting one - an evil nobleman. But he is splendid - darkly handsome with a little beard and a monocle - and convincingly evil. It is interesting to see him before he became type-cast as the energetic sweet boy - he shows here that he had more range as an actor than he was allowed to show.

The entire supporting cast is excellent and, although the sets are ordinary, the costumes are very fine. I expected more from Ingram, but this film is still worthwhile. Does anyone know if the Ingram - Novarro "Scaramouche" is still in existence?

Overlong spectacle

[MissSimonetta · 7/10 · 30 May 2014]

Rex Ingram was one of the finest directors of the silent era, but unfortunately, he is little remembered today. His most famous film is The Four Horsemen of the Apocalypse, a box office smash in 1920 which put Italian immigrant Rudolph Valentino on the road to full-blown stardom. This 1922 adaptation of The Prisoner of Zenda is one of his better known films among silent movie geeks, but I would not count it among his most outstanding.

There's good scenery and spectacle, and Lewis Stone makes good as the lead. The standout of the cast is without a doubt a young Ramon Novarro as the roguish Rupert of Hentzau. Unfortunately, the rest of the cast is not so memorable. The film is also overlong and the comic relief was mildly painful at best.

Overall, it's watchable, but you'll be better served by watching the 1937 remake. If you want outstanding Ingram, then see Scaramouche or Four Horsemen.

Ingram was an excellent silent film director

[jjcremin · 24 December 2000]

I've seen both Rex Ingram's "Scaramouche" and "The Prisoner of Zenda" and by far "Scaramouche" the more entertaining film. This film though, was very fascinating. Lewis Stone acquits himself well as the hero/drukand king and swordfights quite well. Alice Terry made a very beautiful princess. Ramon Novarro played the monocled villain, somewhat unintentionally funny. Barbara La Marr, the closeups of her face, wow! Seeing Valentino's "cousins" from "The Four Horseman of the Acapolyse" in supporting roles was really cool.

However, the Colman/Fairbanks Jr. version is far superior.

"While you're unhung, Rentzau, hell lacks its master"

[mik-19 · 6/10 · 10 July 2006]

A retiring English country gentleman, Rassendyll, is mistaken for his distant cousin, King Rudolph of Ruritania. When the king is taken hostage by his jealous brother, Black Michael, Rassendyll agrees to act as the king in the coronation ceremony.

It takes a long time for this version of 'The Prisoner of Zenda' to get moving. The first hour or so is stodgy and less than riveting film-making, and then it gradually picks up momentum, and the last half hour packs a decent punch, especially action-wise. But all in all, a rather more lackluster, even crude entertainment than I had expected after the exhilarating 'Four Horsemen of the Apocalypse', also by Rex Ingram.

The script is largely at fault, with the scenes so disjointedly put together that it does not in long stretches make a lot of sense. It has the makings of some interesting psychological insights, but does not explore them. I would have made more - MUCH more - out of the fact that for a long while Black Michael seems a pretty decent fellow, genuinely in love with Antoinette and understandably preoccupied about leaving the fate of his country to his feeble-minded brother. But Ingram makes nothing of it and seems curiously uninspired.

The youngish Lewis Stone is an earnest Rassendyll/Rudolph, and sort of holds his own in the climactic sword-fight with, among others, Ramon Novarro. And now we are getting somewhere. This is Novarro's film. He was hardly a star when it was made, and his role does not take up a lot of screen time, but Novarro eats up the scenery with his monocled, slick diabolism. "While you're unhung, Rentzau, hell lacks its master!", Stone says, and right he is. Novarro is pure evil, and a delight to watch.

Dull, but elaborate

[preppy-3 · 6/10 · 8 October 2002]

Expensive silent film of a king who is marked for assassination. He switches identities with a look alike (both played by Lewis Stone) who takes his place at his coronation. But the real king is kidnapped. While his followers try to find him, the fake king falls in love with Princess Flava (Alice Terry).

Slow moving but the film looks great. No action...just lots of exagerrated looks and people endlessly talking. The sets, costumes and acting helps. Seeing Stone (who went on to play Judge Hardy in the Andy Hardy movies) so young and being a romantic lead is interesting. He's also very good. Terry is regal and also very good as the princess. Ramon Novarro (still an unknown) plays the evil villain. That's quite a shock--he always played heroes in his later films. He pulls it off though.

So, it's beautiful but I can't totally recommend it.

A tale of Hope with little charm.

[anches-725-976306 · 6/10 · 4 April 2013]

As with "Scaramouche", I found this film rather stodgy, with a lacklustre score. Lewis Stone is too old in his dual role and Alice Terry lacked any real charm. This picture belongs to its supporting cast- Barbara LaMarr ("too beautiful for her own good") as Antoinette de Mauban, Colonel Zapt, Captain von Tarlenheim and,of course, Rupert of Hentzau, played with relish and humour by Ramon Novarro. I think I prefer him in this role to any other I have seen him portray; perhaps his popularity with the female audience meant he became stuck in the part of gentle romancer (long after he had become too mature for this) rather than developing his abilities as an actor.

Very impressive for 1922

[HotToastyRag · 7/10 · 12 January 2020]

Can you imagine the perpetually tired Lewis Stone in The Prisoner of Zenda? He has to play the senior advisor to the king, right? He's far too old and patriarchal to play the lead. . . So one would think. Well, in 1922, Lew was neither old, fatherly, nor tired. He played the dual leads, and he was given a brown wig! Full of energy, wonderful expressions to communicate to the audience without words, and the ability to both perform stunts and woo a fair maiden, Lew takes charge and acts like a leading man.

If you've never seen any of the movie versions or read the book, the story is very exciting. Just before a king's coronation, his evil brother plans to drug and kidnap him so that he can't be crowned the king. However, the king's faithful aides find a lookalike, completely by accident, and get him to impersonate the king during the coronation! If you've seen the modern-day comedy Dave, starring Kevin Kline, you'll have a basic understanding of the story.

I've seen three versions of this movie, and while the 1937 version is the best, this one is extremely impressive. It's amazing to see what Hollywood was capable of in 1922: the costumes, the sets, the elaborate action scenes with moats, drawbridges, and swordfights. At almost two hours, this is a lengthy silent movie, and there are quite a lot of title cards for you to read, but if you know the story, you won't be lost. Those who don't like silent movies will be incredibly bored, but if you like the change of pace and different way of storytelling, this is one worth watching, if only to see what Lewis Stone looks like with brown hair. It doesn't feel like it was made so early in the decade; if it had a 1928 timestamp on it, I'd believe it.

Earliest Surviving Prisoner of Zenda Film

[springfieldrental · 7/10 · 13 November 2021]

Actress Alice Terry had worked under Rex Ingram's direction for about a year, rising up the ladder in screen prominence when she received the female lead in July 1922's "The Prisoner of Zenda." Ingram had just received his divorce from actress Doris Pawn and was dating Metro Pictures' executive June Mathis when he became smitten for Alice during the making of 'The Four Horsemen of the Apocalypse.' Harmless flirting between the two led to something more series in their subsequent films together. They both decided to spend their off-day Saturday in the middle of "The Prisoner of Zenda" production and get married. The romantic pair then proceeded to spend a loving honeymoon back at Rex's place watching movies before returning to work on the set on Monday.

The film, where Terry was playing opposite to actor Lewis Stone, was based on Anthony Hope's 1894 novel 'The Prisoner of Zenda.' The book had been brought to the screen twice before, in 1913 and in 1915, but both are lost, making Ingram's 1922 version the oldest surviving movie on the novel. Three other adaptations have been produced since, including the 1952 version with Stewart Granger and Deborah Kerr.

By 1922, moviemakers had perfected the double-images of their actors playing dual roles seen within one frame. The plot concerns the coronation of a king, played by Lewis, related to a distant cousin, also actor Lewis. The English relative, who decides impromptu to attend the royal ceremonies, is a dead ringer in looks and behavior for the prince. The prince's treacherous brother decides to kidnap him and keep him in a Zendan jail so he can take the throne in his stead. The aides discover the cousin and insert him into the disappeared prince's position. One twist giving the plot a romantic tug is the princess Alice Terry, who is totally in the dark on the intrigue and is kissy-wissy to the cousin instead of the prince and fails to notice any difference.

This was a rare amorous role for Lewis Stone, who wasn't known for his romantic parts. Many movie fans are familiar with Stone's most famous performance in the 1932 Academy Award Best Picture 'Grand Hotel,' playing the lodging's permanent resident expressing the immortal lines "Grand Hotel. People coming. People going. Nothing ever happens."

Also receiving his biggest role yet, as the henchman for the king's evil brother, was Ramon Novarro. Ingram and Terry promoted their friend, born José Ramón Gil Samaniego in Mexico, as the sexy rival to Rudolph Valentino. Novarro was able to make the transition to sound as a prominent romantic figure and extended his career as late as his appearance in the 1968 TV series 'High Chaparral.'

Excellent Silent Swashbuckler

[Ron Oliver · 10/10 · 27 August 2000]

Rudolf V, the King of Ruritania, has been kidnapped by Black Michael, his evil half-brother, and locked in the dungeon of the fortress of Zenda on the eve of his coronation. By a wild twist of fate, it falls upon a look alike distant cousin, the Englishman Rassendyll, to impersonate the king and effect his rescue before either one or both of them are killed by Black Michael or his henchman, Rupert of Hentzau. With two beautiful women complicating matters, and danger lurking at every turn, how can THE PRISONER OF ZENDA possibly be saved?

It is unfortunate that this fine silent film is completely overshadowed by its 1937 talkie remake starring Ronald Colman. It is also unfair. Silent films & talkies are two different art forms and should not be put into competition against each other. Each art form is perfect in its own way. And so it is with the 1922 PRISONER OF ZENDA. Excitingly produced, with excellent production values & good acting, this movie stands on its own merits and on its own feet.

Those familiar with Lewis Stone only as a fine character actor during his talkie career at MGM may be surprised to see him here as a romantic lead, and in a swashbuckler no less. But he is very good in his dual roles of Rudolf & Rassendyll. Strangely, at times he closely resembles Colman, but this is a coincidence no one could anticipate.

This was also the breakout picture for Ramon Novarro. Born to a large wealthy family in Mexico, he had arrived in California as a 15-year old looking to become a singer. That led him into dancing & finally to acting and the movies. Working incredibly hard for years, and largely supporting his family (driven North by Revolution) he finally caught the eye of director Rex Ingram. In ZENDA, the 22-year old Novarro plays rascally Rupert, who, with his little beard & moustache & face wreathed in constant cigarette smoke, looks quite sardonic. He does very well with the unsympathetic character. Playing a mid-European, Novarro begins a career which would have him acting every sort of ethnic role, from Hebrew, to Polynesian, to Chinese.

The rest of the cast all lend able support: Stuart Holmes as the wicked Black Michael; Alice Terry as the beautiful Princess Flavia; Barbara La Marr as the lovely Antoinette de Mauban, desperately in love with Michael; and Robert Edeson & Malcolm McGregor as two staunchly loyal officers of the king. Little comedian Snitz Edwards has a small role as a funny butler.

Twin Kings

[iquine · 7/10 · 17 July 2017]

(Flash Review)

This story was so intriguing that there were 4 or 5 remakes and/or adaptations based on this 1922 original. There is a prince who will be coronated king the following day. Some other royals hatch a plan to kidnap him, thus allowing one of them to be crowned king. Once the king goes missing, some of his allies spot a lookalike and decide to have him pose in place of the future king. He has to convince the future king's lovely lady as well as his friends that he is the real guy. The story sets up for some fun obstacles and to see how things play out. The film does a good job of organizing several characters, has some nice castle shots yet the pacing could have shifted up a couple gears.

A crown jewel of silent swashbuckling cinema!

[DrMMGilchrist · 9/10 · 20 March 2003]

As a Ruritanian completist, I made it my mission to seek out this film on tape, and had to find it in the US. It was well worth the effort! There are some spoilers in my comments, but I find it hard to believe there can be anyone around who hasn't already seen at least one version of Hope's classic adventure story or read the books. My main points are comparisons between this version and the better-known talkies.

The first half of this film is more effective than the 1937-1952 versions in opening out the action: it was scripted for cinema rather than being an adaptation of an 1890s stage version. So we start off with Rassendyll at home in England with his brother and sister-in-law, and are introduced to the plotters before we see him arrive in Ruritania - building the suspense. There are more exterior shots and landscapes - perhaps filched from travelogues of Central Europe. The Cathedral is Gothic, as described in the book, but, most strangely, the signs at the railway station are in Cyrillic script: given Ruritania's location and culture, Fraktur (German Black Letter) would have been more appropriate. But at least, unlike the talkies, the country has not been transplanted to the route of the Orient Express! The costumes are striking: late 19C interpreted with an early 1920s sensibility. They are therefore not historically accurate, but their slightly off-key style heightens the sense that the story is taking place in an imaginary realm, an alternative universe version of late 19C Europe. Some of the plot is changed in the second half. Unfortunately, we lose the fight in the summerhouse, and there is an utterly bizarre, positively Petrine plot involving a *dwarf would-be assassin*. The circumstances of the King's rescue and Michael's fate are also altered.

The leads are excellent. Lewis Stone is almost the double of Ronald Colman, but (correctly) lighter-haired. Novarro is a sinister Rupert - more malevolent than Douglas Fairbanks jr. The Rassendyll/Flavia romantic scenes - especially their parting - are played less soppily than in some of the later versions. Some supporting characters omitted in other versions make their appearance: Helga, and old Marshal Strackenz. Sapt and Fritz look exactly as one imagines from the book - Sapt short and burly, more like Bismarck than the patrician C. Aubrey Smith. But the Six are reduced to Four (no von Lauengram or Krafstein). The casting of Johann (here abbreviated to Hans) as comedy relief seemed unnecessary and distracting. And I'm afraid to say that Michael's allegedly dangerous 'Black Cuirassiers' looked about as threatening as the doddery troops from 'Dad's Army'...

I was glad to see some telling details from the book retained, such as the 'All is well' telegram, Michael dropping his helmet in the cathedral when he sees Rassendyll, & c. But as usual, Michael and Antoinette are played as older man/younger woman, instead of vice versa, and Stuart Holmes, as Michael, is on the plain and chunky side. (I still cannot imagine that he played Alec - the "handsome, horsey young buck" - in 'Tess of the d'Urbervilles'...). However, Holmes turns in a creditable performance, more sympathetic than the character has been portrayed in the later versions. He is not a 2-D villain: his shift from specifying that the coup should be bloodless to plotting murder suggests an initially well-intentioned man sinking deeper into conspiracy as Rassendyll's involvement makes his plans unravel out of control. We see and hear, too, that he has supporters: although we do not see the public demonstration, there is a conversation between men in the Cathedral (I could not help but smile at the Michael-supporter being a Karl Liebknecht-lookalike!), and the narration tells us that the city is divided. There was little sense in the later versions that he was the more popular of the brothers.

The tragic Barbara LaMarr is hauntingly exquisite as Antoinette, although much too young. As in all the film versions (and, indeed, the books) she is a far more interesting female lead than the sweet Princess Flavia (Alice Terry). The Antoinette/Michael relationship is established more convincingly, early in the film, than in the later versions. Her betrayal of him is played rather differently, as is his death. In this version, Rassendyll gets the three-cornered fight he had feared, versus Michael *and* Rupert! At least Jacob's Ladder is depicted correctly as a large drainpipe over the moat. But I still wish a version would be made which gave Antoinette her great tragic scene, pursuing Rupert like an avenging angel...

However, the ending is closer to the book than that of the talkie versions, which wrongly (and quite unbelievably) implied that Rudolf V was going to become a reformed character: perhaps a result of the Hays Code's view of authority? I hope this version will get the DVD release it clearly deserves: it is a silent swashbuckling gem!

Adventure in Ruritania

[Paularoc · 7/10 · 11 August 2013]

Based on the hugely popular late Victorian adventure novel by Anthong Hope, this silent version is very entertaining and moves along at a good pace, especially at the last half of the movie. King Rudolph V of Ruritania's coronation is but a day away. The King's brother, the Grand Duke "Black" Michael has a plan to keep the King away from the coronation and have himself crowned King instead. The King is not widely popular with the people and also is a drunkard. Michael drugs a bottle of wine that he sends to the King as a gift. The King gulps down the wine and falls into a stupor which will make it impossible for him to attend the coronation. As it happens, the King's devoted Chief of Staff, Colonel Sapt, meets a distant cousin of the King's, Rudolph Rassendyll, an English gentleman educated in Heidelberg. In appearance Rassendyll is the exact double of the King and Sapt convinces him to take the King's place at the coronation. While impersonating the King, Rassendyll falls in love with the King's intended, Princess Flavia and she with him. The adventure continues with murder, betrayal, kidnapping and a daring rescue of the King. Lewis Stone does an admirable job as Rassendyll. Oddly, in several scenes, Stone reminds one of Ronald Colman. Ramon Navarro sparkles as Michael's henchman Hentzau - he is conniving but also has flair. The actor playing Colonel Sapt is great and his scene late in the movie with Rassendyll and Princess Flavia is wonderfully done and quite touching. The ending of the movie avoids having what we think of as the typical Hollywood ending. Colonel Sapt has the last word when he says to Rassendyll "God does not always make the right men kings. You are the finest Elphberg of them all." What a fine 19th century sentiment that is. And probably small consolation to Rassendyll.

Silent version of the Anthony Hope novel

[Leofwine_draca · 5/10 · 9 February 2017]

THE PRISONER OF ZENDA is an early silent version of the classic Anthony Hope novel about a king who is drugged and locked in a tower by some nefarious characters led by his own brother. The king's lookalike must take the throne temporarily while he attempts to solve the disappearance, rescue the real king, and hold the bad guys to account.

Although the budget must have been modest by modern standards, this is a well-mounted version of the tale with an ample amount of sets and locations to give it that authentic look. The story is entertaining and feels surprisingly modern in places, featuring some classic sword-fighting scenes that wouldn't look out of place in a swashbuckler from the 1940s.

The cast are well chosen and look good in their roles too. My only complaint is that the running time is rather lengthy, meaning that early on some scenes are a slog when not much seems to have been going on. Still, it does pickup for the climax. The version I watched was accompanied by the most monotonous soundtrack ever, a piano tune with 20 or so notes repeated for two hours.

An early version of a great story--but not the earliest.

[planktonrules · 9/10 · 14 April 2013]

"The Prisoner of Zenda" has been filmed about a dozen times...more of less. It's a VERY familiar story to anyone who loves old films. When I heard about this 1922 version coming on Turner Classic Movies, I at first thought it was the original one, though it turns out there was an even earlier version in 1913! Regardless, I was thrilled to finally see a silent version of a story I have long loved. So is this one as wonderful at the 1937 Ronald Colman version? Well, not exactly--but it sure was close.

Another surprise about this one is that is starred Lewis Stone--a guy I'd hardly think of as an action hero! This is the bald Judge Hardy...playing a handsome king! Looking at Stone's hair in the film, I assume he was wearing a wig, as he had A LOT of hair! But he was also quite good in the dual roles of King Rupert as well as his English cousin. Oddly, however, while Stone clearly is THE leading man, Ramon Navarro got top billing--which makes little sense as he's a relatively minor character. No, this is definitely Stone's film.

As far as the plot goes, it's pretty much the familiar story. The new king, Rudolf, is about to be crowned leader of Ruritania. However, his evil but popular brother, Michael, has plans of usurping the throne. First, he drugs Rudolf so he cannot attend the coronation. BUT, coincidentally, a distant cousin is at hand and poses as the king. However, this won't deter Michael, as he's discovered the real king and has taken him prisoner. So, you KNOW another attempt will soon be made on the pretend king's life. Can the evil Michael and his nasty henchmen be defeated? This is a lovingly made silent--with terrific sets and wonderful acting. I particularly loved the king's beloved #1 man--he had such wonderful and soulful eyes. And something unique to the film I really liked--the deadly river and how it plays into the film. Overall, a great silent--and a film that only barely was eclipsed by the great 1937 version (this film is just perfect).

Note: After the FIRST guy gets pulled over the deadly falls, the print's quality degrades VERY quickly. It is very fuzzy and could really use additional restoration.

Riding on the Metro

[wes-connors · 8/10 · 18 June 2012]

English traveler and sportsman Lewis Stone (as Rudolf Rassendyll) decides to attend the coronation of distant relative "Rudolf V." of Ruritania (also Lewis Stone, in a dual role), after the recent death of the foreign land's King. But proposed King Stone has a wicked half-brother, who covets the title. Receiving most of his help from charismatic Ramon Novarro (as Rupert of Hentzau), treacherous brother Stuart Holmes (as Grand Duke Michael) plots to poison Mr. Stone and take his place on the throne. But, due to the royal Rudolf's fondness for alcohol, a switch is made. One who senses something rotten in Ruritania is beautiful Alice Terry (as Princess Flavia), who is expected to marry one, but falls in love with another...

"Towards the end of the day, when the soul is weary and the heart longs for its beloved"...

Anthony Hope's classic adventure story gets the MGM treatment, even though the studio mostly called "Metro" by insiders was only M-G- (no Mayer, yet) at the time. Metro's mega-hit "The Four Horsemen of the Apocalypse" (1921) director Rex Ingram and the principle players gathered here stuck with the company; helping set the standard for MGM productions, Metro/MGM competed successfully with older studios. This film advanced careers, most notably helping propel Mr. Novarro to "superstar" status. There are also fine impressions made by veteran Robert Edeson (as Colonel Sapt), bewitching Barbara La Marr (as Antoinette de Mauban) and debuting Malcolm McGregor (as Fritz von Tarlenheim)...

Notable re-makes in 1937 (all talking, with Ronald Colman) and 1952 (in color, with Stewart Granger) are worth seeking out in a "twofer" package from Warner/Turner. They should have added this 1922 version. It's still entertaining, due to swaggering action, good production values and captivating performances. This non-speaking "The Prisoner of Zenda" was the standard silent film era version. It was the #4 "Best Picture" of 1922 according to the annual "Film Daily" poll of critics. Rex Ingram, Lewis Stone, Alice Terry and Ramon Novarro received director and acting accolades. Stone, at his silent best here, essays a small part in the 1952 version; it was one of the last roles for the perennial Metro-contracted actor.

******** The Prisoner of Zenda (7/31/22) Rex Ingram ~ Lewis Stone, Alice Terry, Ramon Novarro, Malcolm McGregor

If Clint Eastwood had directed Prisoner of Zenda

[ArtVandelayImporterExporter · 4/10 · 26 December 2021]

Zenda is an entertaining story with a very far-fetched premise. The challenge with this version is that is takes nearly a half-hour for the switcheroo. That's way too much setup. Too many twirly-moustached characters from Ruritania and too many explanatory title cards. As Norm MacDonald said (of sub-titled foreign films): It's like reading a novel. I go to movies because I hate reading.

Just open the movie with a shot of Lewis Stone in a tweed jacket getting on a train to attend the coronation of his good cousin Prince Strudleheim. Arrive at the country estate, everyone notices the resemblance, future king falls down drunk, English cousin takes his place on coronation day. Intercut those three very short scenes with a very short scene showing evil Ramon Navarro and a title card explaining his plot to install Prince Dussledorf as king. That's it. Takes 2-3 minutes, not 23.

Then get to the coronation.

All of this early slog is made worse by stiff staging and having every shot go on for a second (or more) longer than it should. I hate when directors cut their own films or fail to hire editors who know how to pace a movie.

It picks up the pace after that, but modern viewers could just read my version of the first half-hour and jump right to coronation day without missing anything visually or plot wise. Nobody cares about the backstory of Ruritania.

Also, don't go into this thinking it's a Ramon Navarro film. He's a scenery-chewing evil-doer but it's really Lewis Stone's picture.

Novarro as the villain! And why not?

[JohnHowardReid · 10/10 · 9 January 2018]

Copyright 29 July 1922 by Metro Pictures Corporation. New York opening at the Astor: 31 July 1922. U.S. release: 11 September 1922. 10 reels. 10,467 feet. 116 minutes.

COMMENT: Selected by The New York Times as one of the best films of the year, the familiar story (re-made with Ronald Colman in 1937 and Stewart Granger in 1952) is given grand treatment here.

Some critics have complained of this version's lack of action. While it's true that Ingram does tend to concentrate more on the romance between Lewis Stone's reluctant Rassendyll and the beautiful princess (charmingly enacted by Alice Terry) and also on a closer examination of Black Michael's political intriguing than do the various remakes, there is nonetheless a fair amount of action-and it is well handled too, particularly the final sword duels between hero and villains with all the players including Stone, Holmes and Novarro doing their own fencing and doing it very ably indeed. In addition to these excitements, as might be expected, cinema stylist Rex Ingram has a grand time with all the sets, costumes and panoply of Zenda. It's amazing how close the remakes follow not only the plot and the various incidents, but even the incidentals like the opening knockabout at the railway station. Ramon Novarro's fans will be a little disappointed to find their hero playing the villain (especially as he is not quite as charming as in other versions), but everyone cheers when the beautiful Barbara La Marr enters. AVAILABLE on DVD through Grapevine. Quality rating varies from 5 to 7 out of ten, but almost all is quite watchable