There is a confluence of factors here that upon reflection informs the tenor of the picture should be no surprise. Silent films out of the U. S. industry tended more than not to be more lighthearted in nature, and this was probably never more true than when looking to stories of, about, or set in other cultures. That the very premise suggests adventure somewhat flies in the face of telling the tale of a poet like Francois Villon, about whom little concrete fact is known; saying this offers a "romanticized" perspective on the man is a profound understatement. (Honestly, 'Lawrence of Arabia' can claim more basis in fact.) To sit and watch, it starts to become clear very swiftly that producer, director, and writers alike took inspiration less from Villon's life, specifically, or any sincere biographical interpretation, and more from classic sagas like the legend of Robin Hood and his "merry men," in turn substituting Villon for the Prince of Thieves. Even more to the point, while there is a discrete narrative on hand, a fair portion of the length carries itself with a frivolity that says "court jester" or "traveling medieval theater troupe" more than it does "ardent cinematic storytelling." All this is to say that if you sit for 'The beloved rogue' anticipating a robust adventure more closely resembling contemporary pieces like 'The Sea Hawk' or 'Scaramouche,' you may be surprised by how much irreverent humor and playfulness often dominate instead.
With all this in mind, while the nature of this 1927 feature is unexpected to some degree, it is no reflection of its abject quality. On the contrary: though at some points this may be too insouciant for its own good, favoring sheer revelry over more earnest exploits and weaving of yarns, the fact is that the movie is generally outstanding, and unquestionably a good time. If the worst I can say about 'The beloved rogue' is that it sometimes leans too hard into carefree gaiety for its own good, then it's doing pretty well for itself. The plot is treated lightly, but is nevertheless a delight as we're greeted with a silver-tongued, fleet-footed rascal who runs afoul of powerful people, and further irritates them by falling in love with the wrong person, and working against their designs. Strong, vibrant scene writing and characterizations are complemented with marvelously flavorful intertitles, and there is a treasure trove of wonderful wit in play more than the outright silliness we get every now and again, earning meaningful laughs. The efforts of scribes Paul Bern and Walter Anthony subsequently lay the groundwork for all other contributions - and let there be no doubt that pretty much everything else about this title is phenomenal, and inspired; after its own fashion this does, after all, share much in common with its more serious-minded kin.
There is no shortage of praise to be bestowed in these ninety-eight minutes, and I have difficulty even thinking that one facet stands out more than another. Joseph H. August's cinematography is surprisingly smart and artistic at many times, distinctly impressing; Alan Crosland's direction is splendidly sharp in every capacity, be it blending the comedy and adventure, guiding the cast and orchestrating every scene for maximum effect, or devising excellent shot composition at no few points. There is tremendous, immensely gratifying detail in all the sets, in the costume design, and in the hair and makeup, and I could easily stand to watch 'The beloved rogue' again if for no other reason than to see more of all the stellar work put in by those behind the scenes. The cast is a joy from one to the next, and while John Barrymore naturally stands out most as the protagonist, and Conrad Veidt is an icon with few peers, even those in smaller supporting parts handily make their mark: Marceline Day and Lucy Beaumont as the only two female characters of any prominence; Slim Summerville, Mack Swain, and Angelo Rossitto, as fictional Villon's closest companions; and even those in still tinier roles. The acting is sometimes characterized by notable theatricality, befitting the broad vibe and in line with with more exaggerated body language and facial expressions prevalent in much of the silent era; then again, there are also plenty of instances where more natural, nuanced performances shine through, reflecting the developing trend that would prevail following the advent of the talkie. Add to all this some fantastic stunts and effects, and it's hard not to fall in love with this film.
It doesn't necessarily make the biggest first impression, and if there is any marginal weakness here it's in the storytelling: mostly too light for its own good where problems do arise (chiefly in the first act), but on the other hand, also a tad heavy-handed at some other points (primarily in the last act, building to the climax). This does consequently result in a tinge of gawkiness as the tone shifts from beginning to end. For as fabulously clever as the writing is at its best, however, and for as solid and compelling as the plot is overall, when all is said and done any perceived faults seem rather minor. We can endlessly him and haw about the particulars, yet at the end of the day 'The beloved rogue' is terrifically entertaining, incredibly well made all around, and ably achieves its goals of mixing together adventure and comedy. In no significant manner could it be said that this is anything but a rousing success. While I might stop short of saying it's an absolute must-see, for anyone who appreciates older cinema, and the silent era above all, it would be a sore mistake not to check this out if one has the opportunity. Slightly imperfect, perhaps, and even so, in my opinion 'The beloved rogue' is a gem of a movie that deserves much more recognition and viewership. My high and hearty recommendation!
With all this in mind, while the nature of this 1927 feature is unexpected to some degree, it is no reflection of its abject quality. On the contrary: though at some points this may be too insouciant for its own good, favoring sheer revelry over more earnest exploits and weaving of yarns, the fact is that the movie is generally outstanding, and unquestionably a good time. If the worst I can say about 'The beloved rogue' is that it sometimes leans too hard into carefree gaiety for its own good, then it's doing pretty well for itself. The plot is treated lightly, but is nevertheless a delight as we're greeted with a silver-tongued, fleet-footed rascal who runs afoul of powerful people, and further irritates them by falling in love with the wrong person, and working against their designs. Strong, vibrant scene writing and characterizations are complemented with marvelously flavorful intertitles, and there is a treasure trove of wonderful wit in play more than the outright silliness we get every now and again, earning meaningful laughs. The efforts of scribes Paul Bern and Walter Anthony subsequently lay the groundwork for all other contributions - and let there be no doubt that pretty much everything else about this title is phenomenal, and inspired; after its own fashion this does, after all, share much in common with its more serious-minded kin.
There is no shortage of praise to be bestowed in these ninety-eight minutes, and I have difficulty even thinking that one facet stands out more than another. Joseph H. August's cinematography is surprisingly smart and artistic at many times, distinctly impressing; Alan Crosland's direction is splendidly sharp in every capacity, be it blending the comedy and adventure, guiding the cast and orchestrating every scene for maximum effect, or devising excellent shot composition at no few points. There is tremendous, immensely gratifying detail in all the sets, in the costume design, and in the hair and makeup, and I could easily stand to watch 'The beloved rogue' again if for no other reason than to see more of all the stellar work put in by those behind the scenes. The cast is a joy from one to the next, and while John Barrymore naturally stands out most as the protagonist, and Conrad Veidt is an icon with few peers, even those in smaller supporting parts handily make their mark: Marceline Day and Lucy Beaumont as the only two female characters of any prominence; Slim Summerville, Mack Swain, and Angelo Rossitto, as fictional Villon's closest companions; and even those in still tinier roles. The acting is sometimes characterized by notable theatricality, befitting the broad vibe and in line with with more exaggerated body language and facial expressions prevalent in much of the silent era; then again, there are also plenty of instances where more natural, nuanced performances shine through, reflecting the developing trend that would prevail following the advent of the talkie. Add to all this some fantastic stunts and effects, and it's hard not to fall in love with this film.
It doesn't necessarily make the biggest first impression, and if there is any marginal weakness here it's in the storytelling: mostly too light for its own good where problems do arise (chiefly in the first act), but on the other hand, also a tad heavy-handed at some other points (primarily in the last act, building to the climax). This does consequently result in a tinge of gawkiness as the tone shifts from beginning to end. For as fabulously clever as the writing is at its best, however, and for as solid and compelling as the plot is overall, when all is said and done any perceived faults seem rather minor. We can endlessly him and haw about the particulars, yet at the end of the day 'The beloved rogue' is terrifically entertaining, incredibly well made all around, and ably achieves its goals of mixing together adventure and comedy. In no significant manner could it be said that this is anything but a rousing success. While I might stop short of saying it's an absolute must-see, for anyone who appreciates older cinema, and the silent era above all, it would be a sore mistake not to check this out if one has the opportunity. Slightly imperfect, perhaps, and even so, in my opinion 'The beloved rogue' is a gem of a movie that deserves much more recognition and viewership. My high and hearty recommendation!