Scaramouche Reviews

• "On your word as a fraud and a fake?"

  
  By A2BD0G4SRK0WMV on 2003-03-31
  What a great movie! Lesser known than many other great swashbucklers, "Scaramouche" is nonetheless a top-notch production in every way.

  Stewart Granger stars as the quick-witted Andre Moreau, a charming drifter who after the murder of his best friend dedicates his life to the destruction of the murderer, the cold-blooded Marquis de Maynes (Mel Ferrer). Along the way he fights many duels, romances sweet Janet Leigh AND fiery Eleanor Parker, and has several close shaves.

  "Scaramouche" features a solid script, beautiful sets, lush costumes and gorgeous cinematography. The cast is excellent, with Mel Ferrer in particular giving shading and nuance to the role of the villain. The last 20 minutes of the film feature a long, spectacular sword fight that is a must-see for fans of the genre. I highly recommend "Scaramouche" to any film buff and especially to those who love adventure films.
  GRADE: A

  (As a side note, I have also read the novel on which this movie is based, and I found it very entertaining. The movie differs from the book in several key areas, so if you have yet to read the novel, don't worry, the movie won't spoil it for you.)
  
  

• A genuinely intelligent swashbuckler.

  
  By A27CFNHYZG6WS8 on 2001-04-27
  Admirers of 'Scaramouche' tend to exult in its action sequences, especially the 'longest ever' sword sequence; these are terrific, but it should be noted that they are also mocked within the film - e.g. the 'duel' between Andre and Lenore in the caravan with pots instead of sabres. What is just as interesting is the way the film takes the familiar swashbuckler trajectory - an essentially decent man is forced outside of society and must overcome a number of obstacles and tests before he is restored - and completely subverted. This is achieved by the use of theatre in the play (director Sidney was raised by travelling players, and the tavern scenes have a vividness rare in Hollywood), both as a source of fragmenting identity, and as a metaphor for the way the working class infiltrated, and eventually overcame the aristocracy (as the troupe move from a provincial tavern to a huge Parisian theatre) - we are on the eve of the French Revolution. The film IS 'lavish', but this is to mistake period detail with the much more fertile 'theatrical' artifice, which reflects the film's themes. Immense fun.
  
  

• En Garde! They Don't Make 'em Like THIS Anymore!

  
  By AALRKZT28YKZT on 2004-07-25
  WHAT A GLORIOUS MOVIE! I've loved it since I was a kid, and somewhere between 20-30 viewings haven't dimmed its lustre for me, especially in the sparkling DVD presentation - I never fail to have my spirits lifted by the end of this grand adventure. Eleanor Parker and Janet Leigh never looked lovelier than in Charles Rosher's glorious Technicolor photography, and Stewart Granger and Mel Ferrer make a fine sparring duo. This is one of Granger's best performances - he makes Andre Moreau eminently likeable, while Ferrer is properly smarmy as his noble nemesis. And boy, do sparks fly between Granger and Parker in their romantic scenes! Parker is wonderful throughout - this is some of her best screen work. Supporting performances by Robert Coote, Henry Wilcoxen and Lewis Stone are also excellent (Stone appeared in Rex Ingram's spectacular 1923 version, playing what was essentially the Ferrer role).
  
  The film's climactic 7-minute sword fight is justly famous and spectacularly staged and photogaphed, but there is much else to enjoy - the Commedia dell'arte sketches are amusingly played, and throughout the film is one of Victor Young's most gorgeously melodious scores, with beautiful themes for the main characters and an incredibly beautiful 'revelation' theme which precedes and ends the famous sword-fight (which itself has no musical underscoring at all). That his magnificent SCARAMOUCHE score didn't even receive an Oscar NOMINATION is a gross oversight!
  
  There's hardly a French accent in sight, and the story has been considerably simplified from the original Sabatini novel and Ingram's film, though the basic plot-line and character motivations remain the same - in fact, the French Revolution sub-plot has been dropped almost entirely, though the film's trailer and production shots in circulation hint that it was originally given more screen-time.
  
  The DVD extra's (2 trailers, an interview with Ferrer) are good, but I really wanted more - perhaps interviews with the 2 leading ladies as well - but believe me, I'm not complaining - this film took forever to get to VHS video and, given the studios resistance to spending much $$$ to get older films in shape for DVD, we're lucky they've honored us with this one already!
  
  This one's a DON'T-MISS!!!!!
  
  

• SWORD PLAY AND SWASHBUCKLING - MGM STYLE

  
  By A1M9DQDGE07Q0U on 2003-07-02
  "Scaramouche" is the somewhat convoluted tale of a womanizing rogue, Andrea Moreau (Stewart Granger) who courts a gypsy player, Lenore (Eleanor Parker) but ultimately falls for the purity and grace of courtesan, Aline de Gavrillac de Bourbon (Janet Leigh). Mel Ferrer appears as the villain, Noel, the Marquis de Maynes. Andrea?s heart is set upon revenge after Noel brutally assassinates his best friend in a dual. But the Marquis has powerful friends who attempt to hunt down Andrea. Masquerading as Scaramouche, the bit player of a traveling theatrical troupe, Andrea draws himself nearer to Noel?s confidence, all the while falling in love with Aline, who is at first erroneously mistaken to be Andrea?s sister. The swashbuckling climaxes with a death-defying dual inside an opera house (actually an MGM set). Both Granger and Ferrer do their own sword play and stunt work, often teetering three stories above the gathered crowd on the edge of their balconies. There's plenty of sword play, excitement and thrills in this lavishly produced spectacle from MGM which, quite frankly, beats most like-minded contemporary fluff by about a mile and a half.
  Warner Home Video has given us an adequate transfer. Even though no attempt has been made to minimize or clean up the age related artifacts that are present throughout, this transfer has held up remarkably well over time. Colors are fully saturated, bold and, at times, incredibly life like. However, there is an inconsistency in the color balancing, not even from scene to scene, but shot to shot. The entire image has a decidedly "warm" look to it which is in keeping with the lushness of its original photography, but several scenes suffer from a mis-registration problem that creates ghostly halos. Nevertheless, pixelization, edge enhancement, aliasing and shimmering are all absent, making for a smooth visual presentation. During the darker scenes, black levels, though deep and rich, tend to lose fine detail, but once again, for a bare bones restoration effort, the visual quality holds up remarkably well. The audio is mono but nicely balanced.
  Extras include Mel Ferrer recollecting the making of the film. You also get the film's theatrical trailer. I recommend "Scaramouche" as a swashbuckling highlight of the 1950's. Though nobody did this sort of picture better than perhaps Errol Flynn, Stewart Granger is an ample successor and the production values associated with this film set it apart from anything seen on the screen - before or since.
  
  

• Crème de la crème of swashbucklers

  
  By A35J4XGRWXVZ00 on 2000-07-09
  This lavish and witty adventure was based (very loosely) on the once-popular novel by Rafael Sabatini. It had been filmed before as a silent, much more faithful to the original. This Technicolor "talkie" takes liberties -- and has a lot more fun, despite its themes of revenge and hopeless love. There's even a Napoleonic sight gag in the final shot. The cast is ideal: Stewart Granger is rugged yet suave as the cynical hero and Mel Ferrer is appropriately icy as his aristocratic nemesis. (Ferrer is dressed in whites and silvers, Granger in warm colors.) Granger is loved by both Janet Leigh and Eleanor Parker, the former a sweet Bourbon, the latter a sexy coquette. To complicate matters, Miss Leigh is adored by both Granger and Ferrer. (One contemporary critic sighed: "It's quite a plot!") The third female is Nina Foch, the most elegant Marie Antoinette you'll ever see. Unfortunately, her role was partially cut in the final editing. The picture moves on several levels. At !the beginning, Granger's character André Moreau ("Born with a gift of laughter and a sense that the world was mad", to quote Sabatini's famous first sentence) is a careless man who knows nothing about politics and cannot use a sword. In seeking vengeance for his friend's death, however, he joins the forces of liberté, égalité, fraternité; and, studying with masters, he becomes the most dangerous swordsman in France. Hiding from the authorities, he takes up with a seedy group of traveling players and, under his influence, it becomes a brilliant commedia dell'arte success (hence the title).The climatic duel takes place in a glittering Parisian theatre, the antagonists moving from the boxes, down a broad staircase, through the crowded auditorium, and onto the stage itself. All this to a dashing Victor Young score. One viewer has called "Scaramouche" a no-music musical. Actually, M~G~M originally meant this remake to be a musical starring Gene Kelly. The director George Sidney alternated between musicals and "straight" films. It isn't flawless: One of Ferrer's victims gets the fatal thrust twice in the opening sequence, once in long shot, then in close up. And don't dwell too long on the "surprise" ending (a variation of Sabatini's) or you may wonder why the marquis has to be introduced to the queen's protégée at the beginning. He would have known her or at least her name for years.
  
  
• Scaramouche - a classic adventure/comedy
  By on 1999-08-15
  Scaramouche is one of the finest films yet made, not in a highbrow art house sense, in a pure entertainment sense. The underlyingthemes of loyalty, equity and "the chances of life" are woven through the film and joined to the awakening spirit of the Pre Revolutionary French people. First the fun! Did I say this film is Fun!! There are many genuinely funny sight gags as well as some very witty dialogue. However, the primary thing that everyone remembers about this film are the sword fights, including the longest (and the best one) ever filmed. The climax of the film is a sword fight between two deadly enemies that even against today's high standards for special effects is very realistic and thrilling. The other neat thing is the casting of every highly attractive woman in Hollywood at the time. I had never appreciated how glamorous Janet Leigh was until I saw this film and Eleanor Parker looks stunning as an actress (in that time a courtesan with a day job).

  Plot The film traces the how one chance meeting can completely change the course of lives bringing death, love, loss and ultimately atonement. Aside from revenge for the murder of your brother, there is a new twist on the boy meets girl, loses girl plot. Andre Moreau (Stewart Granger) begins the film as a man who knows how to have a good time. Events push him to take up a quest for justice; this literally turns his life upside down revealing the "fighter" inside the "lover". This quest forces him to explore his roots and makes him appreciate the utter contradictions which life sometimes throws at you.

  The negatives. Lets face it all films have them (even Citizen Kane has weak spots). Andre has a sword fight with his enemy, which should have been fatal, and one or two more than lucky escapes. But, even though these scenes are a stretch they do help set up the final confrontation.

  Finally, I recommend this film to anyone. I know you will enjoy it! Hopefully, the DVD will be released soon so I can get a good copy of it. I have nearly worn out the video tape!
  
  

• The best swordfight in all movies!
  By A353H0XIOT17HF on 2004-09-15
  Okay, so this is far more than just that swordfight... it's a knockout in technicolor cinematography... and it's beautifully restored. The actors are all terrific, the story is great adventure, and ... well... it's just dear to so many of us that remember it when it came out so long ago that it's just great to see it looking so fresh... and it's complete entertainment from start to finish. I wish movies were made like this today.
  
  
• Fabulous Fun!
  By AZQQVI9RHJYH6 on 2006-03-01
  Finally, it's out on DVD!
  Eleanor Parker was never so beautiful as in this movie. A Technicolor Babe for sure! Janet Leigh ain't bad either. OH, and the guys are hot as well!
  Witty dialogue, super costumes and oh, yeah, there's that sword fight!!
  Despite a few continuity glitches, this movie is fun for all!! Highly recommended for older kids too. I think I was 12 when I first saw this movie!
  
  
• Best Swordfights in movies ever!!!
  By A1ZS6G5U0KDJOE on 2003-12-11
  One of the few instances where the movie is far better than the book which inspired it, this version of 'Scaramouche' has some of the most fantastic sword fights ever put on film.
  A favorite of my childhood, it is still in my 'top ten' list of adventure movies; Hyperkinetic, humorous, it never gets dull.
  Stewart Granger never has been better, even as in other favorites of mine as 'Prisoner of Zenda' or 'North to Alaska'. Mel Ferrer is the suavest villain you can get, Eleanor Parker never has been so attractive, and Janet Leigh is a vision of Heaven.
  Why the current adventure movies are not so enjoyable anymore?
  
  
• wonderful tale
  By AJ00DXOOCDL2C on 2003-07-26
  It's all about the story. Sabatini used to crank these out - Scaramouche, Captain Blood, The Black Swan - and they were great as books and they have made great movies. This is one of the best. Of course, they have to do some movie shorthand. Stewart Granger (Moreau) has to wind up with Janet Leigh (Aline), so what do they do with Eleanor Parker (Lenore) who has saved his life and has been sharing his adventures through the most of the flick? Watch her skirts getting shorter all through the final duel! I'm not making this up! She starts out floor length and winds up in a tutu! She's obviously not the kind of girl the hero settles down with at the end.

  Ignore this, or don't. This is still a spectacular movie. The villain is vile. The setting is exciting. The tale is lurid. The acting is delightfully overdone. Sabatini could really spin a yarn and the old Hollywood could really deliver it.
  
  

• Towering film!
  By A16CZRQL23NOIW on 2005-06-21
  Stewart Granger makes an unforgettable role in this lovely picture, plenty of a splendid fine cast. Eleanor Parker, Janet Leigh, Mel Ferrer and Richard Anderson were outstanding in this ravishing movie.photograph, an enjoyable and dynamic script, an impressive design costume and a very impressive cast completes the whole cycle.
  The final sword duel in the theater is unique in the cinema story.
  A beautiful homage to Beaumarchais and Moliere.
  
  
  
• Oldie But Still Great
  By A1MC7BRV9FJK3Y on 2005-10-17
  I first watched this as a kid, and still remember the wonderful sword fighting. Other than the Star Wars Ep1 and Ep3 (especially Ep3) duels, this was perhaps the best sword duel filmed in history - and without the assistance of computerized special effects. Good story too. A must have for sword-fighing and classical buffs. Hard to find in the typical video store.
  
  
• No Wide Screen When This Was Made
  By AJZNG7JD7AZ0R on 2005-11-12
  Glenn Hirooka states in his review: "A minor criticism, I only wish the DVD was offered in a "letterbox" (wide screen) format." Only problem is, that there were no wide screen films when this one was made. The first "wide screen" film was "The Robe" made later in 1953.
  
  
  
• "But Who Is Scaramouche? And Why Does He Hide His Face Behind a Mask?"
  By A2BDZAU0Y4J6NB on 2008-05-25
  Red-headed Eleanore Parker asks this question to a masked Stewart Granger onstage, when the latter unintentionally joins a tatty traveling troupe of commedia dell'arte actors. She kisses him; recognizes him; and slaps him in the face! Then the rest of the film focuses upon the quest of Andre Moreau (Granger) not only for revenge upon the Count Noel des Maines (Mel Ferrer)--the greatest swordsman in France--for killing his brother, but also in search for his true identity. During the process, Moreau, who plays Scaramouche in the play-within-the-movie, is such a success that the dubious fortunes of the traveling players improve immensely, and they are finally invited to play in Paris before the King and Queen. Meanwhile, Andre takes fencing lessons, and with hard work, he becomes the greatest swordsman in France. In fact, the last part of the movie (which I saw at least a dozen times as a kid) depicts what I think has to be one of the greatest swashbuckling fencing matches ever choreographed and filmed.
  
  I was fortunate enough to be in Paris when "Scaramouche" was re-released in the theatre in the 1990s, and therefore, I saw it in all its restored glory on the big screen. But it is just as good on your DVD player. "Scaramouche," which also features Janet Leigh and Nina Foche as Marie Antoinette, is elegantly costumed and magnificent to view. It represents the best of the Good Old Big Studio movies!
  
  
• Forget the swordplay--LOOK at it!
  By A2FA5N1NV46RSP on 2004-02-22
  Scaramouche has possibly the most beautiful Technicolor cinematography of any MGM film. It's just gorgeous! The film, of course, is a delight in the great Errol Flynn tradition, but with Janet Leigh and Eleanor Parker, it's primarily a feast for the eyes. Incidentally, this is the only film I know of that gives an accurate representation of commedia dell'arte, and the theatrical scenes are a delight.
  
  
• Scaramouche
  By A10ODC971MDHV8 on 2005-09-06
  "Scaramouche" has enough action, romance and color to fill ten movies, and is justly famous for featuring the longest sword duel on film, which takes place in an abandoned theater. Director George Sidney created one of the great romantic adventures at a time when the swords-and-lords genre had slipped out of favor, even honoring Lewis Stone, star of the silent original, with a bit part. This is a movie that never lets up, or lets you down.
  
  
• A lot of funny moments
  By A35HW1VW4GM3A4 on 2005-10-12
  Although I a not a big fan of sword fights, I loved this movie. Stewart Granger and Janet Leigh are good, and Eleanor Parker is excellent! There are a lot of funny moments, you will enjoy yourself!
  
  
• More than the"smirk with a dirk"
  By A3TEI6OR0MBNEY on 2006-09-02
  The boy in me continues to love the swash and buckle genre of films. By the 50s, when I was growing up, Errol Flynn's heyday was long gone; I saw him only in pale imitations of former glories like The Master of Ballantrae and Against All Flags at the tail-end of his career. It was only the revival of Adventures of Robin Hood, The Sea Hawk et al on television that finally made me aware that he was the greatest swashbuckler of them all.In the meantime, the only version of Robin Hood I was familiar with was Disney's (quite decent) account with Richard Todd and Joan Rice, bur neither actor set the world on fire for me as the legendary figures; matinee substitutes and re-runs spawned a few 40s and 50s imitations with Cornel Wilde turning up in the Son of...legendary heroes like Robin Hood and the Musketeers, but these, too, seemed like less than the real thing.
  
  There was always the ubiquitous Burt Lancaster in his "Smilin' Burt" phase, too. I usually found Lancaster's acrobatics authentic and pretty heady stuff but a little too knowingly self-conscious to be completely believable (His Majesty O'Keefe, The Flame and the Arrow and The Crimson Pirate were all deliciously enjoyable romps, but the last-mentioned especially was a little too close to parody).
  
  Rock Hudson, Tony Curtis and Alan Ladd all turned up in historical adventures of one kind or another but I liked each of these performers much better in other genres (Hudson in Sirk melodramas, Curtis in comedy, Ladd in westerns).
  
  However, at age 15, I caught the 1952 version of Scaramouche at a local matinee. Suddenly I became aware that Stewart Grasnger was the only actor around in the 50s capable of taking over the Flynn mantle. In this film, I discovered his flair, notwithstanding the trademark smirk, was beyond question and carried more conviction than Lancaster's or any of the other candidates for that matter.
  
  Here again were great romantic moments being carried off with a stylish swagger recalling Flynn and De Havilland. I was captivated by his recitation of the "Aphrodite in a ditch" doggerel to wide-eyed Janet leigh as well as his bald-faced manipulation of fiery Eleanor Parker as his gypsy lover.
  
  His swordplay, too, ranked with the best competition in the genre-from his first halting encounter with aristocratic villain Mel ferrer to the seven and a half minute climactic duel in the theatre where he at last, in true flamboyant mode, dishes out a well-deserved comeuppance to the man (Ferrer) who turns out to be his brother.
  
  Director George Sidney, a past master of this kind of material (The Three Musketeers-Gene Kelly version), plunders Sabatini's tale set in France on the eve of the revolution for all its worth: Sidney had also made a number of distinguished MGM musicals-including The Harvey Girls and Show Boat, and choreographically stages his set-pieces like musical numbers which include lots of breakneck-paced horse riding and stirring action set around misty rural estates. Janet Leigh, with whom Granger falls immediately in love and who may or may not be his sister, is perfect as the innocent flower waiting to be plucked. Eleanor Parker as the experienced woman who becomes Leigh's co-conspirator delivers an all stops out portrait of a woman scorned, eyes blazing and long red tresses billowing.
  
  The late eighteenth century period costumes and set designs have a kind of genre verisimilitude that constantly delights the eye. Victor Young's score is lush and memorable. And the Commedia dell'arte pantomime into which Granger is literally plunged becomes the focal point for some opulently staged and extended theatre, including a lot of very funny slapstick (in the original sense of the term). This film retains its freshness and delight in the present DVD rendering, from the insouciance of its opening epigraph ("He was born with the gift of laughter and a sense that the world was mad") to its perverse final moments showing Eleanor Parker with her surprising new amatory conquest.
  
  
  
• It is not France.
  By A1GBCUBFZU4ZWN on 2004-02-29
  Film is a`great story but filmed in San Francisco. The out door shots are done in Golden Gate Park.
  
  
• En Garde!
  By A3T3KPW2QE866W on 2007-02-15
  I admit that I assumed this was another typical swashbuckling film. Boy, was I wrong. This is a technicolor spectacular showcasing the charm of Stewart Granger, fiery intensity of Eleanor Parker and the athleticism of Mel Ferrer. Janet Leigh is beautiful but does not have very much to do here. This is a wonderful film with lots of drama and comedy. I really highly recommend this as a family film. Granger really gets to show off his talent as a comedian. Parker is exquisitely gorgeous and high strung as a gypsy woman. The swordplay btwn Granger & Ferrer is exciting. This ranks with "Mark of Zorro" starring Tyrone Power for captivating the viewer's attention.
  
  
• The mask of a clown, the heart of a patriot!
  By A8V74RZY8TIRJ on 2007-03-19
  Andre Moreau (Stewart Granger) strikes a blow for vengeance and the French Revolution while traveling with a theater company, and hides his true identity at night behind the mask of stage clown Scaramouche. The beautiful Lenore (Eleanor Parker) is his love interest in the Theater Company and the lovely Aline de Gaurillac de Bourbon (Janet Leigh) is his love interest in the French nobility. Aline just so happens to be `engaged to Noel Marquis de Maynes (Mel Ferrer), one of the greatest swordsmen in all of France. The swordplay, the wordplay, and the horseplay are all directed beautifully by "The Three Musketeers" (1948) director George Sidney. Granger excelled playing these swashbuckler roles and did a magnificent job here. The period costumes and the sets are especially well done and a film never looked better in Technicolor than this one! Scaramouche is hunted by the French government due to his popularity with the people, and his ability to out fence many of the royal court's aristocratic men. Several have died at his brilliant sword's point. "Scaramouche" is one of the best swashbuckler films of its kind and belongs in every classic adventure dvd library. Special features include: Interview with Mel Ferrer / feature; "En Garde: Great Screen Swordfights" and the films theatrical trailer. En Garde!
  
  
• Colorful Derring Do!
  By A2X44DD1TN0P13 on 2000-05-25
  Stewart Granger does it all in this vibrant and colorul tale of lore. Eleanor Parker is super and Janey Leigh is stunning.

  The final sword encounter at the theater is rich and filled with hues. Look for John Dehner, master of the sword, a young Richard Anderson and a veteran Henry Wilcoxson.
  
  

• Big Dissapointment
  By AQDJTEIDUKK5B on 2002-05-02
  Having just finished Sabatini's classic adventure story, I really looked forward to seeing how Hollywood put the story on film. What a dissapointment! Simply, the book is great and the movie is mediocre. It is almost a completely different story. On the positive side, there is a nice sword fight in an Opera House. I would not recommend this movie for anybody who loves the book.
  
  
• Not bad.......not great
  By A25C6UL3BX7EPD on 2006-01-06
  A bit talky for an adventure story. More of a period costume piece. Not so great for kids or those looking for lots of action. Performances are broad. Great color. Much has been written about the closing sword fight and it is long, 8 minutes as I recall. But to these eyes, not terribly engrossing, almost tedious, almost. Not a terrible film by any means, but difficult to recommend.
  
  
• An underated swashbuckler with a grand-finale swordfight
  By AR6ZJNPYMVRHD on 1999-07-15
  When I was a kid, several of my favorites were Roblin Hood, with Errol Flynn fencing with Basil Rathbone, and the Mark of Zorro, with Tyrone Power fencing with Basil Rathbone. Scaramouche easily joins these with Stewart Granger fencing with Mel Ferrer in a climactic scene set in a theater. With a beautiful young Janet Leigh, and Eleanor Parker as an actress with a heart of gold, it is indeed a good swashbuckler.
  
  
• You won't have a better time...
  By on 1999-07-31
  This movie is, indeed, a great use of one's time.. The duel at the end is truly the best I've seen, a great no-music musical.. But the movie goes much beyond this.. It is witty, the dialogue is nice to hear, colorful and therefore nice to look at; DeMayne is a great suave villain.. I can't see this movie enough... A couple of weeks ago I was willing to see only the duel once again, but ended up watching the whole movie again... For the modern filmmakers, THIS is entertainment.. Watch and learn...
  
  
• Guaranteed, the finest swordplay in motion picture history.
  By on 1999-05-04
  One of my favorite pictures of all time, and possibly the best swashbuckler of all time. Seems that few people today are familiar with this film, and it is their loss. Granger is perfect as the hero, Mel Ferrer is wonderful as the villian, Noel DeMayne and Janet Leigh and Eleanor Parker add the romantic sparks. What I like also, is that the villian is not one-dimensional as the sorry trend in Hollywood today. Don't miss this one!
  
  
• Let's hear it for the Dancing Cavalier!
  By ALHGS1HURADIF on 2002-01-11
  I'm amazed. I guess you really DO learn something new every day!

  First off, let me say I have always loved this movie. I saw it for the first time when I was probably 6 or 7 (don't ask how long ago). I was utterly terrified and completely enthralled by the climactic swordfight.

  As I have grown, it has never ceased to excite me, it's the best part of the movie! But I don't fast forward through any of it, I watch it ALL.

  Second, I'm reading other reviews that this was meant to be a musical starring Gene Kelley -- who just happened to be filming Singing in the Rain, which was a movie about a movie called, "The Dancing Cavalier"... h'mmm... inside joke or what?

  Watch it. It's great fun. Stewart Granger had a GOOD time being Andre Moreau, and Mel Ferrer never looked more devilishly handsome. I like the little joke with Eleanor Parker at the end, as well!

  :o)
  
  

• Be good to her
  By A18BD98SU49UB7 on 2002-04-11
  Pronunciation: (scare-a-moosh-ay)
  When you go through life thinking that there are few classic fight scenes that compare to modern fight sequences, its always humbling to be put back into place.
  For instance, take the different between the WWII films "The Longest Day" and "Saving Private Ryan". Though the Longest day has tense moments, its extremely slim by comparison. (That is my own opinion. I know some would rather watch The Longest Day than Ryan, but, oh well.)
  If you had asked me yesterday to name some of the best sword-fighting sequences, I would have immediately said you could find them in "Rob Roy", "The Princess Bride", and "Ep. 1" Even though that is still true, I was amazed at the quick swordmanship found in Scaramouche. Of the many appealing qualities were the uses of the surrounding props, and how the swords effortlessly chopped up the scenery while the opponents took swift jabs at one another. I also enjoyed the interesting uses of blood. When someone is jabbed in the gut, they don't merely cover up the wound with their hand and fall to the floor, as found in most classics. No, there is an immediate blood dispersal and wet wring that forms and expands. When a long slice is taken on an arm, I had to remind myself how much time the fx took, because as the blade quickly hits the skin there are steaks of blood that appear. I just found it exciting to watch them dance around swinging their blades with seemingly effortless speed.
  Now on with the cheeze. The story somehow created a love triangle then formed a square out of it. And of course everything is alright in the last minute, and I was running to catch up. There are scenes that make absolutely no sense. And as great as the fights were there were "mock-ups" where there should have been fight scenes. Ten second shots of two unrecognizable foes fighting - in a pasture - in the fog. You know its supposed to be the hero and a sub-villain, but the point is never made. This happens three times.
  There is an inopportune "unvailing" of the hero as he removes his play mask, and the villain doesn't even recognise him until he says the infamous, "It is I...!" And in the end everyone is related. The hero ends up with the wrong girl, and Napolean has a cameo, buts thats alright.
  Oh well, cheeze is cheeze, and most movies have it. But, the majority of the movies that do haven't the backbone of Scaramouche.
  But, you tell me, if this isn't a great example of in-hollywood location shooting. There are castles and great halls that I could have sworn were actual locations. But, hey, that's tenseltown.
  
  
• Simply the Best
  By A2FTA4Z7IDS7XJ on 2003-02-22
  This picture has the best sword fight showed at a screen play, this is the best picture of Stewart Granger, don't miss it.
  
  

• The Prisoner of Zenda (1937 and 1952 Versions)
• King Solomon's Mines
• The Black Swan
• Ivanhoe
• Captain Blood