Bardelys The Magnificent, Monte Cristo Streaming
Vendredi, juillet 23rd, 2010
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Once again Flicker Alley has done peaceful film fans a substantial favor by compiling and releasing this DVD of two John Gilbert movies from different stages of his career. BARDELYS THE Elegant dates from 1926 and reunites Gilbert with his THE Mammoth PARADE director, King Vidor. It’s a typical MGM relate of the day with lavish sets, quiet camerawork, and brilliant supporting players. Gilbert, in an attempt to outdo Douglas Fairbanks, swashbuckles his blueprint through this Rafael Sabatini sage in sizable style but Sabatini was no Dumas which is why I rob MONTE CRISTO out of this dwelling. I have always loved this legend of the unjustly accused Edmond Dantes getting his revenge on those who wronged him even if takes 20 years. It’s also grand to glance another “lost” Fox film turn up. While it lacks the polish of the later MGM anxiety (it was shot in 1922 when Gilbert was 25), the film contains an emotional resonance the other doesn’t have and Gilbert gives more of a performance here.
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Both films were reconstructed from incomplete prints which some may obtain a distraction but we’re lucky to have these titles at all so a gigantic round of thanks to everyone keen for making it possible. The Mount Alto Orchestra provides a resplendent pick up for BARDELYS (there’s an alternate piano net by Antonio Coppola) while Neal Kurz’s piano win for MONTE CRISTO is an absolute delight as well. Rounding out the status are lots of supplements that include an audio essay for BARDELYS and a featurette REDISCOVERING JOHN GILBERT with Gilbert’s biographer (and daughter) Leatrice Gilbert Fountain who is now in her 80s. Like other Flicker Alley releases, this one is a must for quiet film aficionados. Don’t let the designate set aside you off. Remember, you derive what you pay for (especially with calm film releases) .
This heavenly 2-disc location by Flicker Alley is one of the year’s most gripping still film releases, bringing us two outstanding films previously believed to be lost. Such a rediscovery is always spirited, but when it concerns a neglected mute conceal account and two of his best early films, then this plot simply cannot be missed. Until now, John Gilbert has been remembered mostly as Greta Garbo’s co-star in several sultry and unforgettable soundless films of the slow 1920s such as “Flesh and the Devil” and “A Woman of Affairs”, at which time it was John Gilbert who received first billing in the credits. Rivaling Rudolph Valentino in popularity, it was after Valentino’s premature death that Gilbert attained the set Valentino held as the screen’s titanic romantic lover and hero.
It is therefore critical to stare these two earlier films of another genre and style by this calm star whose brightness shone only briefly yet brilliantly, and I found his performance in both films surprisingly and delightfully refreshing and different. In the King Vidor production of “Bardelys the Beautiful” he rivals Douglas Fairbanks in his noted swashbuckling action-adventure, “The Three Musketeers”, with a similar setting and many provocative action scenes. It is a fine yarn told beautifully with light humour which blends perfectly with the romance, suspense and adventure of the whole film. Although one reel is missing from this appealing rediscovery, the consume of stills and extra intertitles fills the gaps nicely and does not detract from the overall unruffled, stylish and sophisticated feeling of the film. An outstanding and perfectly-suited orchestral musical accept by Rodney Sauer and the Mont Alto Motion Record Orchestra enhances the quality of this already very satisfying Hollywood-style race.
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My personal favourite of the two films in this status however is the second film, “Monte Christo”, being one of many versions based on the ever-popular Alexandre Dumas fresh, and of all the ones I’ve seen, this is by far the best, in my belief. If not for the slightly wrong characterize quality and a piano acquire instead of the chubby orchestral treatment, it would proudly stand on its occupy as a colossal film, ranking among the best early versions of The Count of Monte Christo. As Edmond Dantes, Gilbert goes through various stages of appearance, circumstances and emotions, showing that he was a competent actor in other roles besides romantic leads. The first half of this legendary anecdote allows Gilbert to play the role of the prisoner whose hair and beard have grown wild and long, desperately trying to obtain a device out and contemplate revenge on those who caused his unjust imprisonment. When he is rewarded with fancy and becomes the Count of Monte Christo, he again takes on a unique aura and manner as he plots to raze the lives of those who ruined his. It is a serious yet satisfying yarn told especially well for a peaceful film made in 1922, and greatly contributes to completing the characterize of John Gilbert, the actor.
A top quality glossy brochure with many magnificent photos accompanies this plot and provides more background information on the films and Gilbert himself, along with the audio commentary and half-hour documentary, which is basically an interview with John Gilbert’s daughter, Leatrice Gilbert Fountain, who wrote a biography of her father some years ago. All together, this is a fabulous station about a charming actor of the quiet era whose films deserve to be remembered and enjoyed once again in this restored condition.
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