Simply A Masterpiece

If you don't like this, we can't be friends.

Bad Acting and worse Bad Screenplay

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Director: GEORGE SIDNEY. Screenwriters: Ronald Millar, George Froeschel, based on the 1921 novel by Rafael Sabatini. Film editor: James E. Newcom. Cinematographer: Charles Rosher. Color by Technicolor. Art directors: Cedric Gibbons, Hans Peters. Set decorators: Edwin B. Willis, Richard Pefferle. Special effects: A. Arnold Gillespie, Warren Newcombe, Irving G. Ries. Make-up: William Tuttle. Costumes: Gile Steele. Technical adviser for magic acts: Dante, the Magician. Montages: Peter Ballbusch. Music: Victor Young. Technicolor color consultants: Henri Jaffa, James Gooch. Master of arms: Jean Heremans. Hair styles: Sydney Guilaroff. Sound supervisor: Douglas Shearer. Western Electric Sound System. Producer: Carey Wilson.Copyright 7 May 1952 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Radio City Music Hall: 8 May 1952 (ran three weeks). U.S. release: June 1952. Australian release: 22 September 1952. 10,323 feet. 115 minutes.SYNOPSIS: A nobleman who is also an excellent swordsman takes delight in provoking duels. Setting: 18th century France. NOTES: A re-make of Metro's 1923 version starring Ramon Novarro, Alice Terry and Lewis Stone, directed by Rex Ingram from a screenplay by Willis Goldbeck.COMMENT: Not as exciting the fourth time around, though repeated viewings cannot dim the brilliance of Rosher's Technicolor photography. True, the climactic fencing duel is also as thrilling as ever. In fact, Granger remains in fine form throughout. Stewart performs some of his own acrobatic stunts, though a double is noticeably used for chases on horseback. The stand-out performer is, however, Mel Ferrer — not only a mean hand with a sword but a villain with charm and social finesse. In the support cast, count Roubert Coote's buffoon, a more than usually animated and even stylish Henry Wilcoxon, an appropriately radiant and queenly Nina Foch, and a characteristic cameo from Howard Freeman. Our old favorite Douglass Dumbrille does what he can with a piddling part as president of the parliament.Alas, Janet Leigh and Eleanor Parker prove poor substitutes for Elizabeth Taylor and Ava Gardner, respectively, who were originally announced. Rosher does what he can with these ladies, especially the former who has the double advantage of more attractive costumes.On repeated viewings, the screenplay does seem a bit over-talkative at times. Fortunately, rich costumes and sets, actual location lensing and a zestful music score by Victor Young help offset much of the needless cackle on the sound track.And, yes, I know "Scaramouche" is an "A" production, but I first saw it on a neighborhood double bill with "Wagon Master", in which the Ford western was billed as the main attraction. Why? Because this was a working-class area where patrons simply didn't like period pictures (unless, of course, they were set in the old American West).

Here it is, sixty-five years after the filming of Scaramouche and I have just completed my first viewing of this gem. It was born the year of my birth.I had no clue, convincing swordfighing could last as long as seven minutes in any film. Having never met a fencer, I grew to consider the sport lacking in swordsmen. After all, this is 2017, not 1952. The genre of swashbuckling, obviously, was more in step with former viewers. At least, that's what I thought.After some reading, my view has changed.I discovered, to my surprise, the sport has returned to the U.S. and is being labeled an exercise to relieve stress, tone up the body and mind, and to give a great workout.This motion picture is certainly the one to watch if one needs that extra push to learn fencing. I enjoyed the fighting scenes immensely, especially the offense and defense that moved André Moreau (Stewart Granger)and Marquis De Maynes (Mel Ferrer) from every inch of the theater balcony, down the stairs, into the fully seated auditorium, to the rear props storage rooms, then onto the stage, to finish with a surprising end.I also discovered Jean Heremans, a European fencing champion, was hired by MGM in 1948 to supervise the swordfighting on The Three Musketeers. I feel all the swordplay sequences in Scaramouche were superbly staged by Heremans.Not knowing anything about pre-French revolution attire, I found the costumes, although elaborate and layered, well able to accentuate the best of one's body. The young women certainly liked to show off their thin waists and cleavage, although I wonder just what was under those dresses to cause their waists to be as thinly attractive and convincing.How most of the cast managed not to sweat profusely amazes me.Both actresses, Aline (Janet Leigh) and Lenore (Elaine Parker) were dressed to stand out in every scene.The storyline is realistic enough and believable to a point. Escapes seemed contrived, a bit deus ex machina, especially the trapdoor scene. Still, I felt satisfied at close of the film.It was two hours well spent.

While I prefer the 1923 version, the 1952 Scaramouche is still one of my favorite popcorn films. It has all the necessary ingredients for a classic old-fashioned swashbuckler: fencing, chases, a sumptuous historical setting, romance, and witty dialogue galore.All the actors do a fine job, especially Eleanor Parker as Andre's lover Lenore. I don't think she ever looked more beautiful than she does here. Janet Leigh is good, but her character is written as your typical smitten ingénue, giving her little to work with. Mel Ferrer is a great charismatic bad guy. Stewart Granger is adequate as the lead. His acting isn't what I would call stellar, but he's athletic and charming, and that's all that really matters.The action scenes are the best part of the whole film. I don't think I really need to sing the praises of the lengthy sword fight at the end, do I? Everyone else already has and in detail too.As fun as this movie is, I do have a few problems with it (SPOILERS DEAD AHEAD): 1) The romance between Andre and Aline is underdeveloped. He goes throughout the film thinking she is his sister, which of course changes his outlook on her entirely. Aline is still madly in love with him though. Andre does not discover the truth until the end and then he dumps Lenore (with whom he had more screen time and chemistry) for Aline. It's very unsatisfying.2) The reveal that Andre and the Marquis are brothers is handled clumsily. When Andre has the Marquis right where he wants him, he hesitates and does not go through with killing him. WHY? Lewis Stone comes on and explains to Andre that he unconsciously knew it was his own brother and could not kill him. That's a bit too convenient for me.(SPOILERS OVER) Despite the sometimes clunky writing, Scaramouche is still a fun and timeless adventure flick. I give it a seven.

André Moreau (Stewart Granger) Sets out to revenge his friends death at the hands of Noel, Marquis De Maynes (Mel Ferrer) Aline (Janet Leigh) falls for André even though she Noel has his eye on her for himself. This film has lots of swashbuckling action as well as romance and comedy. It is a real feel good film that you can watch on a rainy afternoon to lift your spirits. Stewart Granger is at his very best in this film and Mel Ferrer exceptional as the villain and it is one of Cinemas most memorable performances. The sword fight at the end is one of the best ever captured on film. I really love this film and it is in my top ten list of films I can watch again and again. The sword fight at the end is one of the best ever captured on film.