the audience applauded

Excellent, Without a doubt!!

Don't listen to the negative reviews

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Peter Sellers made a career mining humor and whimsy from weakish scripts; problem is you have to look hard to find those lesser-if-worthy vehicles where his performances make a major difference, and when you do, you may feel disappointed anyway. But give something like "The Prisoner Of Zenda" a chance, and you may be entertained, albeit fitfully.With the sudden death of Ruritania's ruler Rudolf IV, the crown falls to his clueless, lascivious twit of a son. Already being hunted by a cuckolded count (Gregory Sierra), Rudy (Sellers) now must also escape the murderous attentions of his half-brother Michael (Jeremy Kemp) and his confederates. But help arrives from an unlikely place, a hansom cab driver named Sidney (also Sellers) who is the spitting image of Rudy. Sidney goes along for the sake of a comfortable sinecure for his aging horse, but soon wonders if "this king game" is worth the risk.The clock was running out on poor Sellers, and you can see it. The old manic energy that once drove him visibly flickers as you watch him here. Making his life's dream "Being There" was just around the corner, but being Sellers, he couldn't resist another trip to the light- comedy well first for some quick cash."You might have noticed the king has trouble with his R's," Sidney is told, referencing the speech impediment which Sellers employs when playing "Wudy.""Yeah, I had that once," Sidney replies. "You get it from sitting on damp grass."That's about the apogee for the one-liners offered in "Zenda," which coasts along more on ambiance, colorful supporting characters, a glittery Henry Mancini score, and Sellers impressing by working the corners effectively in his two starring roles. He plays Sidney especially with the same lighter touch he would employ more effectively as Chance the Gardener in "Being There," this time channeling Michael Caine rather than Stan Laurel.I like this film, sometimes a lot, but it's not an easy one to defend. It starts out painfully slow, opening on the soon-to-be-departed Rudolf IV (Sellers again, in what amounts to a cameo in his own movie) taking a balloon ride to celebrate his 80th birthday, a sequence that involves him cackling a lot and playing with a telescope and a champagne bottle before literally ending with a wet splat when the doddering monarch does a full header into a well.Scriptwriters Dick Clement and Ian La Frenais don't offer much in the way of comic setpieces; for the most part they are content simply replaying the familiar "Zenda" storyline and sneaking in light humor where they can. After a while, a long while, it sort of works, as when Sidney finds himself caught in bed with Rudy's mistress and her very angry husband.Sierra is very much over-the-top, but solidly so, as the avenging count, setting up various silly traps that end up hurting only him. Meanwhile, Lionel Jeffries and Simon Williams as a pair of Rudy's loyal aides enjoyably try to keep a reluctant Sidney working for them. Stuart Wilson makes a strong impression as the wicked but sporting Rupert, working against Rudy but playing his own side. His maniacal laugh is one of the movie's more amusing recurring bits.Director Richard Quine supplies his twin Peters with the affectionate attentions of three leading ladies. Elke Sommer and Catherine Schell starred with Sellers in other films, while the third, Lynne Frederick, was at the time Sellers fourth wife, and would become his widow the following year. All add to the general merriment without standing out too much; Schell does so the most when she leads Sidney in an exchange of chicken imitations.By this time, the movie finally kicks in as something worthwhile, but it may be too late for all but Sellers' faithful fans. As I count "The Pink Panther Strikes Again" as my all-time favorite film, I enjoyed the way "Zenda" works in the same spirit, Mancini music and pratfalls involving Sellers doubles abounding. There's even a scene between Sidney and regular Sellers cohort Graham Stark involving a growling dog that brings to mind one of "Strikes Again's" most remembered scenes, even getting its own agreeable payoff.But if you aren't a Sellers fan going in, "Zenda" may not only fail to pull you in but leave you wondering what the fuss with him was all about. It's the subtle stuff that clicks for me, the little moments of grace and dignity from Sidney, and Rudy making randy with Sommer's stately torso ("We have mowtains to cwimb!") The real problem with "Zenda" is not its own fault, but the fact it was about all Sellers would have left to give in the way of silly comedy. I liked what I got, but wished it had been more.

I should probably begin this review by mentioning my familiarity of the source material - or rather, the lack of it. I have never read the novel, nor have I seen any of the previous film versions. Pretty much all I knew about "Zenda" before watching this movie was the basic premise. I also knew the story was originally serious in tone. But I was open to it being done in a comic fashion, because with stuff like mistaken identity, the premise did indeed have comic possibilities.Sadly, everyone involved with this movie drops the ball. I'll start with Sellers. I have found him funny in other movies, but he simply isn't funny here. His performance here simply lacks energy and seems sluggish. I do know he was having health problems at this point in his life, and this may explain his lack of enthusiasm.But even if Sellers was in top form here, it's unlikely he could have saved the movie. The movie is terribly directed - the slow-moving story feels as sluggish as Sellers. And when it comes to delivering the (very sporadic) comedy, there is a curious feel to it. The comedy feels like it's being directed by someone intentionally trying to make it as serious as possible. Though many of the gags would still be dead on arrival even with a top comedy director, since they are predictable and very familiar.Judging by the ragged look of the old print Universal is currently using for the movie's television appearances, they are in no hurry to restore this movie. No wonder.

Anthony Hope's swashbuckling 19th Century novel has been filmed numerous times, perhaps the most successful occasion being the 1937 Ronald Colman version. It's a fabulous story – one of my all-time favourite novels, in fact – and really lends itself well to movie adaptations. Alas, this 1979 remake is a pretty weak affair which is played primarily as a spoof, thereby giving star Peter Sellars the chance to indulge in some risqué double entendres and slapstick swashbuckling. Various rumours abound that Sellars was difficult on set, sabotaging the entire production with his outlandish behaviour. Despite this he still has some priceless scenes along the way, but between the infrequent highlights it emerges a leaden and largely ineffective film that does justice neither to its marvellous source material nor its amazing cast.Victorian cabbie Sidney Frewin (Peter Sellars) inadvertently saves the life of a soon-to-be-crowned European prince named Rudolph (Sellars again). Since there are many in Rudolph's home nation of Ruritania who plot to see the prince assassinated, Sidney is hoodwinked into travelling to Ruritania as a "decoy" target. Along the way, the real prince is kidnapped by the agents of Black Michael (Jeremy Kemp). Michael plans to seize the throne himself when the prince fails to turn up at his coronation…. but his plan is thwarted when the prince's loyal sidekicks Fritz (Simon Williams) and Sapt (Lionel Jeffries) persuade Sidney to attend the coronation posing as the prince. Reluctantly, Sidney carries out the charade but is unable to convince the prince's future wife, the gorgeous Princess Flavia (Lynne Frederick), that he is who he claims to be. Gradually, others begin to figure out the deception – including Black Michael himself – and Sidney's game of switched identity escalates into a desperate struggle to protect the throne and rescue the real prince.A few things about the film really jar with me. Firstly, as much as I like Sellars - and as funny as I find him in many of his comedy films - The Prisoner Of Zenda simply isn't the right choice of story for a spoof movie. Secondly, the book concludes with one of the most heartbreaking scenes ever written – a scene that would make for deeply moving cinema if handled in the right fashion – but this film completely neglects the original ending and opts for something unsuitably light and fluffy. Thirdly, the film is punctuated with some absurd slapstick violence that would fit better in a Road Runner cartoon – especially the ludicrous scenes featuring Gregory Sierra as a jealous Count trying to kill Sidney (a la Wile E. Coyote). There are a handful of compensations to be found – Sellars is enjoyable, especially in his "Sidney-scenes" (has anyone noticed how remarkably like Michael Caine he sounds from time to time?) Also, the film has a sprightly score by the dependable Henry Mancini, and some attractive sets and cinematography. It's just a shame that the occasional bright spots are far outweighed by the misfiring elements, making this version of The Prisoner Of Zenda perhaps the weakest of them all.

This is a very lavish looking, picturesque romp that should have been a sure fire hit. "Porridge" scriptwriters Dick Clement and Ian Le Frenais were the men responsible for turning the classic Anthony Hope into a comedy, which shouldn't have been too difficult bearing in mind the ridiculous scenario linked to the main story. However, this scenario is all they went for, and any characterisation or satirical touches are abandoned and a lot of cartoonish setups such as Gregory Sierra's role and also other segments such as the explosive bowls game and the early scene in the restaurant replace any serious comedy. Therefore, in his dwindling health and sorrowful state, Sellers looks a bit out of place amongst the diving into the water routines and the jumping of a tall castle stints. It is very similar to his Fu Manchu experience two years later (when he also played two roles) in that he's still putting the work in but to little effect. The film is a reminder of his earlier years and really backfires as a poor man's Pink Panther. However, he still proves that he can act (which is a lot more than most actors these days) despite the poor material and backed by a host of regular artists such as Catherine Schell, Elke Sommer (both stars of Pink Pantherfs), Graham Stark, John Laurie, Jeremy Kemp (who had starred in Sellers' The Blockhouse in 1972) - it should have been better considering the quality of Sellers' other films at the time, but it does fall very flat.