Forumrxes
Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.
Zandra
The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.
Guillelmina
The film's masterful storytelling did its job. The message was clear. No need to overdo.
SimonJack
Baroness Emma Orczy was still writing sequels when this first film was made of "The Scarlet Pimpernel." The British novelist, playwright and short story writer was born Sept. 23, 1865 in Hungary and died Nov. 12, 1947 in England. She first wrote "Pimpernel" as a short story and then as a play in 1903. Once it became popular, Orczy wrote a dozen sequel stories either as novels or as plays. I have enjoyed all three of her stories that have made it to the silver screen. "The Scarlet Pimpernel" is her best known work, and has the most renditions on film "The Emperor's Candlesticks" in 1937 and "Pimpernel Smith" in 1941 are very good films as well. Orczy preferred to write historical fiction, which I especially like. She puts her fictitious characters in an actual time, event or place of history, and makes them a part of that history. Besides the romance, drama, comedy or other entertainment we get from the fictional story, we also get a look at history. Of course, this is as the film industry (aka Hollywood) makes it, but most such productions try to be accurate on the historical details. Viewers can watch for errors and post corrections on IMDb. "The Scarlet Pimpernel" is a story with a lot of variety. It's an action drama in a historical setting. It has intrigue and mystery. It has deceit and deception. It has somber moments that look at a dark period in French history, and the barbarism of humanity gone mad. It is a sure- fire romance, and it has wonderful humor. I can think of very few films with stories that combine so much and come off so successfully. This first film version is hard to beat. The only later rendition that comes close is the 1982 TV movie with Anthony Andrews and Jane Seymour. But, this 1934 London Film movie is the masterpiece. The cast is outstanding, and all roles are played superbly. Leslie Howard as Sir Percy Blakeney, Merle Oberon as Marguerite (Lady Blakeney) and Raymond Massey as Citizen Chauvelin shine in their roles. The set, scenery, props and costumes all look real for the time and circumstances. The scenes of public executions with the guillotine are a good look at how mob rule can lead to barbarism and treachery. An opening scene shows a newspaper with a close up of an item dated June 5, 1792. It reads, "On Wednesday last no fewer than fifty-three persons, including young girls, were guillotined by the order of Citizen Robespierre, the self-styled Dictator of France. An eye-witness described the scene as heart-rending." We also see the mob cheering and applauding each execution. It is a necessary look at history more than 200 years ago that we should not forget. Tens of thousands were executed by mob rule during the historic Reign of Terror. Unfortunately, the film quality is not very good on the DVD I have. This is a classic film that should be digitally remastered for posterity – and future sales. Movie buffs often quote the clever and funny poem that Sir Percy has written and recites in the film. It's an easy one to remember. I like some of the other witty exchanges Percy has at times with others. At the Blacks Club, Percy is going to recite it to some gentlemen sitting in high-backed chairs. Percy, "Would you believe me? I've just written a masterpiece?" Col. Winterbottom, "Who sir? You sir?" Percy, "Me, sir." The colonel, "No, sir." Percy, "Yes, sir. All about this mysterious pimpernel fellow." Later, at a party they are giving, Percy says to Marguerite, "Forgive me, my dear. Take our friend around and tell him who everybody is. If anybody is anybody."While this is a very entertaining film, it's also one that shines a light on the dark side of the French Revolution. Westerners are quick to celebrate the birth of democracy in late 18th century France, and at the same time turn a blind eye to the different tyranny it brought and the greater upheaval it fostered. The film has a poignant scene and line that puts the time in perspective. Nigel Bruce is playing the Prince of Wales. At a grand ball in England, a French woman who had been rescued from the guillotine approaches the prince. "Your highness, I have accepted the … invitation belatedly to implore your highness to do something to save my husband." The Prince of Wales replies, "Madame. The government does everything in its power to save those who are threatened by death in the prisons of the French Republic. But if a country goes mad, it has the right to commit every horror within its own walls."
Michael Neumann
"They seek him here, they seek him there, those Frenchies seek him everywhere..." He's the cunning English spy code-named Pimpernel: master of disguises, savior to guillotine-bound aristocrats during the French Revolution, and most likely to be found in London making as big an ass of himself as credulity will allow. No one (not even his wife) would ever suspect the idiotic Sir Percy Blakeney of being the leader of an underground network of anti-Republic rebels, and it's still a joy to watch Leslie Howard, in the title role, successfully negotiating the ruse under the disdainful noses of his enemies. Without the unexpected element of farce the whole thing would be just another dated exercise in derring-do and low adventure, but the Pimpernel's foppish alter ego makes him one of the more unique (and hilarious) heroes ever to grace the silver screen. The poetry is, by the way, Sir Percy's own: "Is he in heaven, or is he in hell, that damned elusive Pimpernel?" ("It has a certain something..." he tells a giggling audience of landed gentry, "which gives it a certain...something.")
Clayton Van March (Hallows_Eve_Chocologic)
I just finished watching it on TV, it was shown minus the commercials too, so that was excellent.The film is so incredibly real. Although it is black and white, this is the closest thing you are going to get to that period of time. More so than most modern period pieces, I feel. Most modern period pieces are so full of special effects, unbelievable characters and situations that push the boundaries of suspension of belief too far, and most importantly, often overlong running times, that you do not find yourself engrossed in the film as much as you should.This is not the case here. Oh, by golly no! When you see this film, you not only behold spectacles of rich and of splendour, of dense halls, candlelit niches of magic in all it's purest...foggy waters, great barges, and damp cabins that force you to breath in the salty winds of the sea. Oh no, you go back in time. You go on a highly pleasant outing back in time to dwell for a little while--in the realm of dreams.
Clifford04
I first saw this movie when black and white-television had first arrived, and was captivated by the plotting as well as by Leslie Howard's genius and beautiful Merle Oberon's eyes. This is romantic adventure at its peak, and considering the early stage of the industry in which it was made, sound still a novelty, it remains magnificent. I have seen it since, of course, although it has been some time now. And, oh yes, the greatest villain of all times is here too. Who could ever have done better than Raymond Massey in the role of Citizen Chauvelin, whom I also remember as Sherlock Holmes in The Speckled Band (1931)? And the eminently lovable Nigel Bruce, later paired with Basil Rathbone in a whole series of memorable Sherlock Holmes movies. I may be nostalgic, but have they ever been bettered? Anyway, he is a suitably silly Prince of Wales here, adding some of that comic relief that could easily spoil an adventure if not rightly done, but this one, like Leslie Howard's acting balances on the finest of edges with supreme precision. They will never do stuff like this anymore. Too bad.
