rupert of hentzau ( 1915 film )
jane gail as queen flavia in rupert of hentzau (1915). | lost films 1915 - 1919 | pinterest | films
henry ainley as rudolf rassendyll / rudolf v in rupert of hentzau (1915). | lost films 1915 - 1919 | pinterest | films
several adaptations were made, although not as many as for the film career of zenda. film versions of rupert of hentzau include :
a 1964 british television series rupert of hentzau starring george baker as rudolf rassendyl, barbara shelley as queen flavia and peter wyngarde as rupert of hentzau .
rupert of hentzau was made into a silent film in 1915, and again in 1923 when it was given a happy ending: rudolph ‘abdicates’ to marry flavia, and ruritania becomes a republic! sadly, since the arrival of sound hollywood has not made a film of the sequel, though the prisoner of zenda has been filmed twice, firstly in 1937 (with douglas fairbanks jr. as the most dastardly incarnation of rupert) and later in 1952 (with james mason playing a much colder rupert) .
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rupert of hentzau is a sequel by anthony hope to the prisoner of zenda, written in 1895, but not published until 1898 .
rufus wright’s reading of the sequel, rupert of hentzau, centres on the villain of the earlier piece. interestingly darker than zenda, it draws a more complex picture of rudolf and rupert and raises ambiguous moral issues. great escapist listening .
london film productions production; distributed by jury’s. / scenario by w. courtney rowden, from the novel rupert of hentzau by anthony hope. / standard 35mm spherical 1. 33: 1 format. / the film was released in the usa by bluebird photoplays, incorporated, through the universal film manufacturing company, incorporated, on 6 march 1916. hirschhorn - universal p. 23 mistakenly credits the director as geoffrey l. tucker. [? ] o’leary - silent p. ? lists 1915 as the release year .
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a growing source of silent era film information. this listing is from the progressive silent film list by carl bennett. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
david o. selznick considered making a film version of the novel, as a follow - up to his hugely successful 1937 film of the the prisoner of zenda, using again douglas fairbanks jr. he decided not to because of the tragic subject matter and his commitment to filming gone with the wind. the 1923 silent film version had been produced by his father, lewis j. selznick, and his brother, myron selznick .
1923 selznick pictures film with lew cody as rupert, turning the tragic ending on its head: flavia abdicates to marry rassendyll, and ruritania is declared a republic) .
three years after the events of the prisoner of zenda, queen flavia writes to her true love, an englishman named rudolf rassendyll. the letter is intercepted by rupert of hentzau, an out - of - favour aristocrat, who sees a chance of re - establishing himself at court by bringing news of the letter to the ruritanian king .
british film version, produced in 1915 by george loane tucker, and based on the stage version by edward rose (as were the 1937 and 1952 remakes). tucker also filmed the sequel, rupert of hentzau, with the same leads. while 45 - year - old arthur holmes - gore looks as if he might more plausibly be cast as colonel sapt, it should be noted that he was still young enough to fight in the first world war. he was killed at gallipoli the same year .
the prisoner of zenda and rupert of hentzau spawned many literary imitations. they were known as the ‘sword - and - cloak’ romances, often set in a fictional country, like ruritania, and often vaguely reminiscent of the kaiser’s germany. these became the light fiction of the early 20th century. today we can still recognise the format in the flashman novels of george macdonald fraser, who actually parodied the prisoner of zenda in royal flash in 1970 .
such a prototype story of derring - do has leant itself to several spoof versions, including one starring stan laurel in 1924, called rupert of hee - haw. later, in 1978, the prisoner of zenda became a comic vehicle for the talents of peter sellers. he played multiple parts in the film: the ‘ruthenian’ king rudolph v; the london cab driver, sydney frewin, who is brought in to portray the missing king with whom he shares an uncanny resemblance; and the aged king rudoph iv at the start of the film, before the character is killed in a hot air balloon accident .
an incriminating love - letter from the queen of ruritania to rudolph rassendyll, the hero of the prisoner of zenda, is intercepted by the dastardly villain rupert of hentzau, who is intent on causing trouble for the royal family. rassendyll is forced to return to save the day and again assume his impersonation of king rudolph. once more he is embroiled in a world of deception, intrigue, deadly swordfights and strained loyalties, but will he be able to restore peace to ruritania a second time ?
rupert of hentzau was filmed twice in the silent era. this selznick version had a' happy' ending, with flavia renouncing the throne to marry rassendyll, who doesn' t get assassinated, and ruritania becoming a republic! rupert was played by the rather mature lewis cody, while adolphe menjou made an early appearance as his cousin, count von luzau - rischenheim .
rufus wright has appeared in many west end productions, including journey’s end and the donmar warehouse productions of mary stuart and frost / nixon. his film appearances include quantum of solace and he has worked extensively on tv, in comedies such as the thick of it and extras, and in many plays and readings on bbc radio .
queen flavia, dutifully but unhappily married to her cousin rudolf v, writes to her true love rudolf rassendyll. the letter is carried by von tarlenheim to be delivered by hand, but it is stolen by the exiled rupert of hentzau, who sees in it a chance to return to favour by informing the pathologically jealous and paranoid king. rassendyll returns to ruritania to aid the queen, but is once more forced to impersonate the king after rupert shoots rudolf v. in turn, rassendyll kills rupert, but is assassinated in the hour of triumph by one of rupert' s henchmen—and thus is spared the crisis of conscience over whether or not to continue the royal deception for years. he is buried as the king in a state funeral, and flavia reigns on alone, the last of the elphberg dynasty .
true to the spirit of the adventure novel, anthony hope took an enormous chance by giving up a safe career in the law in 1894 to become a full - time writer. although by most people’s standards hope was a popular success, he suffered bouts of despondency during which he feared his talent would desert him. his masterpiece the prisoner of zenda did not fail him, however; it became one of the most popular english novels ever written, appealing to all classes and nationalities. by the 1930s half a million copies had been sold world - wide, and in that same decade it was re - published in the first wave of the new, cheap paperback editions that emerged; it continues to sell as such to this day. moreover, hope sold the film rights to the prisoner of zenda and to rupert of hentzau, and both have been filmed and adapted for tv and radio a number of times since .
the next moment he had his revolver in his hand – none too soon, for rupert of hentzau’s barrel faced him, and they stood thus, opposite to one another, with no more than three or four feet between the mouths of their weapons. there is, indeed, much that may be said against rupert of hentzau, the truth about him well - nigh forbidding that charity of judgment which we are taught to observe towards all men. but neither i nor any man who knew him ever found in him a shrinking from danger or a fear of death. it was no feeling such as these, but rather a cool calculation of chances, that now stayed his hand. even if he were victorious in the duel, and both did not die, yet the noise of the firearms would greatly decrease his chances of escape. moreover, he was a noted swordsman, and conceived that he was mr rassendyll’s superior in that exercise. the steel offered him at once a better prospect for victory and more hope of a safe fight. so he did not pull his trigger, but, maintaining his aim the while, said :
the story is set within a framing narrative told by a supporting character from the prisoner of zenda. the frame implies that the events related in both books took place in the late 1870s and early 1880s. this story commences three years after the conclusion of zenda, and deals with the same fictional country somewhere in germanic middle europe, the kingdom of ruritania. most of the same characters recur: rudolf elphberg, the dissolute absolute monarch of ruritania; rudolf rassendyll, the english gentleman who had acted as his political decoy, being his distant cousin and look alike; flavia, the princess, now queen; rupert of hentzau, the dashing well - born villain; fritz von tarlenheim, the loyal courtier .
cast: henry ainley [ rudolf rassendy ii / rudolf v ], jane gail [ queen flavia ], gerald ames [ rupert of hentzau ], charles rock [ colonel sapt ], george bellamy [ count von rischenheim ], warwick wellington [ lieutenant bernenstein ], douglas munro [ bauer ], stella st. audrie [ the chancellor’s wife ], jeff barlow, eva westlake
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on screen, rupert as a character has been played by matinee idols such as ramon novarro (1922), douglas fairbanks, jr. (1937), and james mason (1952) .
hope’s first novel, the prisoner of zenda, set in his fictitious kingdom of ruritania, was a victorian bestseller. this equally exciting sequel presses all the topical royal romance buttons. give it to granny .
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a spoof version, rupert of hee haw, was released in 1924. stan laurel plays an alcoholic king, whose queen, mae laurel, deposes and replaces him with an identical salesman named rudolph razz. razz' s manners are so uncourtly that a courtier, james finlayson, challenges him to a duel. (see also lord haw - haw. )
the role of fate and destiny hang like a shadow over this tragic story, but the dark tone gives hope an opportunity to flesh out his characters. rassendyll is pushed to the limits of his heroics, whilst always having a conscience over the deception that he must assume. hope, in common with other writers of the day, infused into his character the 19th - century english public school spirit, where honour and doing one’s duty are paramount, even at the expense of love. hope helped to create the world’s image of the strong, silent, noble englishman. rassendyll became a literary type, and as such is often imitated, perhaps influencing the make - up of later british fictional heroes, such as james bond .
excellent silent version - in the first half perhaps superior to the talkie versions in opening out the story cinematically. colman' s look in the 1937 version was clearly derived very strongly from lewis stone' s in this. ramon novarro is the most malevolent rupert. as usual, michael and antoinette are miscast age - wise: he should be under 27, she at least in her 30s (probably 40 - ish), but they are always filmed as' older man / younger woman'! stuart holmes and the tragic beauty barbara lamarr (she died of a mixture of tb, drink and drugs a few years later at 29) nevertheless give creditable performances and their relationship seems more convincing than in later film versions. there are, however, some annoying comedy touches with the servants josef and hans, and a bizarre addition to the plot with a dwarf assassin trying to kill rassendyll... this isn' t petrine russia! and why the station signs were in cyrillic instead of fraktur is boggling: ruritania is a german - speaking, catholic country ...
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rassendyll is forced to travel to ruritania to help the queen, and is then forced to take the place of the king once more following his assassination .
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this article is issued from wikipedia - version of the 11 / 8 / 2016. the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
this article is issued from wikipedia - version of the 11 / 1 / 2016. the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
‘i’m not a street bully, and i don’t excel in a rough - and - tumble. will you fight now like a gentleman? there’s a pair of blades in the case yonder. ’ (chapter17 )
even in this early us version, the cast was rather, ahem! , mature, as a glance at the advert will prove. james k hackett played both the rudolfs and beatrice beckley princess flavia. the scots actor david torrence played michael, with mina gale haines as antoinette. frank coulter played sapt, and william r randall fritz von tarlenheim. walter hale played rupert. tom callahan and frank shannon presumably played smaller supporting roles .
j. m. barrie said that anthony hope ‘made more people happy than any other author of our time’. the books are still in print today – testament to hope’s ability to provide much - needed escapist happiness far beyond his own time .
like stuart holmes (the 1922 michael), david torrence also played, at around the same time, another doomed young man from an 1890s novel: alec in tess of the d' urbervilles. i can only boggle at that casting crime, too... (now, if we were talking about leigh lawson from polanski' s 1979 tess, i' d have been much happier at the idea of him playing the duke... ! pass the strawberries... )
his image is one that memory holds clear and distinct, though time may blur the shape of greater and better men… such men do not repent; but it may be that he regretted the enterprise which had led him on so far and forced on him a deed so momentous; yet to those who knew him it seems more likely that the smile broadened on his firm full lips as he looked down on the unconscious city. i believe that he asked no better than to cross swords again with rudolf rassendyll and set his fortunes on the issue. (chapter 17 )
references: hirschhorn - universal p. 23; o’leary - silent p. ?: website - imdb .
adventure set in ruritania. when a king is assassinated an english double takes his place and is shot .
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rupert of hentzau is a 1915 british adventure film of the silent era . it was directed by george loane tucker and starred henry ainley , jane gail and gerald ames . it was based on the novel rupert of hentzau by anthony hope , the sequel to the prisoner of zenda . it tells the story of the journey of an englishmen to ruritania in eastern europe where he is forced to impersonate a king to thwart the plans of a villainous aristocrat rupert of hentzau . it was released in the united states in 1916 , which sometimes leads to it being attributed to that year . it was later re-released in 1918 at the end of the first world war . it is believed to be a lost film , no longer known to exist in any studio archives , private collections or public archives such as the library of congress . 
rupert of hentzau is a 1915 british adventure film of the silent era. it was directed by george loane tucker and starred henry ainley, jane gail and gerald ames. it was based on the novel rupert of hentzau by anthony hope, the sequel to the prisoner of zenda. it tells the story of the journey of an englishmen to ruritania in eastern europe where he is forced to impersonate a king to thwart the plans of a villainous aristocrat rupert of hentzau. it was released in the united states in 1916, which sometimes leads to it being attributed to that year. it was later re-released in 1918 at the end of the first world war. it is believed to be a lost film, no longer known to exist in any studio archives, private collections or public archives such as the library of congress.
rupert of hentzau is a 1915 british adventure film of the silent era. it was directed by george loane tucker and starred henry ainley, jane gail and gerald ames. it was based on the novel rupert of hentzau by anthony hope, the sequel to the prisoner of zenda. it tells the story of the journey of an englishmen to ruritania in eastern europe where he is forced to impersonate a king to thwart the plans of a villainous aristocrat rupert of hentzau. it was released in the united states in 1916, which sometimes leads to it being attributed to that year. it was later re-released in 1918 at the end of the first world war. it is believed to be a lost film, no longer known to exist in any studio archives, private collections or public archives such as the library of congress.