In France just prior to the French Revolution, Queen Marie Antoinette asks her cousin Noel, the Marquis de Maynes, to uncover the identity of "Marcus Brutus", a dangerous pamphleteer rousing hatred of the aristocracy. She also pressures de Maynes to marry to preserve his line, and at his request for her to choose his bride is introduced to Aline de Gavrilac, one of the Queen's wards.
Meanwhile, minor nobleman André Moreau kidnaps his beloved Lenore to keep her from marrying another man. After the two decide to get married, Moreau learns that his best man, Philippe de Valmorin, is in hiding for promoting revolution and distributing pamphlets under the allonym Marcus Brutus. Moreau tells de Valmorin to leave Paris, taking Lenore with him. At the same time, Moreau visits his lawyer, Fabien, and forcefully threatens him to disclose the name of his father in order to learn why he has stopped sending an allowance. When Moreau and de Valmorin rendezvous in the woods, it is without Lenore, who, not knowing the identity or motive of de Valmorin, escaped the carriage. They continue on their journey to meet Moreau's father, who is revealed to be the Comte de Gavrillac. Moreau runs into Aline de Gavrillac when her carriage breaks down in the road. They are strongly attracted to each other, but Moreau's ardor suddenly cools when he learns that she is his half-sister. He hides that information from her, partly because of sympathy, when they both enter the House of Gavrillac to see that the Comte has died.
By chance, de Maynes encounters de Valmorin. A master swordsman, de Maynes provokes de Valmorin into a duel, then toys with his inexperienced opponent before finally killing him. Enraged, Moreau attacks, but does no better than his dead friend. After de Maynes easily disarms him several times, Moreau seizes a pistol and vows to kill de Maynes the same way he slew de Valmorin, then flees for his life.
Chased by de Maynes' henchmen, led by the Chevalier de Chabrillaine, Moreau hides out in the commedia dell'arte troupe in which Lenore performs. Forced to disguise himself as the character Scaramouche, he discovers a hidden talent as a performer. Burning for revenge, Moreau seeks out de Maynes' fencing instructor, Doutreval of Dijon, and trains diligently in secret for weeks, while also performing with the troupe. However, de Maynes appears during a training session, and they fight for a second time. Moreau is still overmatched, and is saved only by Aline's unexpected arrival, enabling Moreau to escape (with Doutreval's assistance).
He decides to seek out Doutreval's teacher, Perigore of Paris, the man who according to Doutreval "is the master of all swordsmen." Moreau takes the troupe to Paris for that purpose. There, Dr. Dubuque, a deputy of the new National Assembly, seeks his help. The aristocrats in the assembly are systematically killing off the deputies representing the common people by provoking them into duels. Moreau is not interested, until Dubuque mentions that de Maynes is one of the duelists; then he eagerly accepts the seat of a deceased deputy. Each day, he shows up at the assembly to challenge de Maynes, only to find his enemy absent on trivial but official duties, arranged by Aline, who works with Lenore to protect the man they both love. However, other nobles in the National Assembly are eager to fight the newcomer, challenging him on a daily basis. Moreau wins every duel; the Chevalier de Chabrillaine barely escapes with his life.
In the meantime, de Maynes becomes engaged to Aline. Overhearing de Maynes' intention to confront Moreau that night, Aline persuades him to take her out instead. At the suggestion of de Chabrillaine, they attend a performance of the De Binet Troupe, where Andre seizes his opportunity for revenge. The two men engage in a prolonged duel (reputedly the longest in screen history at about eight minutes) that ranges throughout the theater and finally back onto the stage itself. At the end, Moreau has de Maynes at his mercy, helpless as Philippe de Valmorin had been, but something he cannot explain stays his hand. Moreau stalks off, leaving de Maynes bloodied but alive.
Later, Moreau learns from Philippe's father that he is not the son of the Comte de Gavrillac but the old Marquis de Maynes, the Comte de Gavrillac's friend; Noel then is his half-brother. He then realizes that he is not related to Aline after all, so they can be married. Lenore concedes him to Aline, but consoles herself with a certain Corsican officer, Napoleon Bonaparte.
The studio planned to adapt the novel in late 1938, with production set to commence in early 1939, though pre-production did not start until 1950.[2]
Initially, the film was meant to be a Metro-Goldwyn-Mayer (MGM) musical starring Gene Kelly, with Ava Gardner as Lenore and Elizabeth Taylor co-starring as Aline before it was changed to more of a swashbuckling adventure film.[3] Their commitments to the film were confirmed in early 1951.[2] At one point, other than Kelly, Fernando Lamas and Ricardo Montalbán were also considered for the lead.[2]
"I always felt that Scaramouche should have been a musical", said director George Sidney. "It would have needed the most crafty score but it could have been terribly exciting."[4]
However, when Stewart Granger was contracted by the studio after his success in King Solomon's Mines, one of his stipulations was that he star in the then-upcoming Scaramouche project.[3][5]
Gardner was announced as Granger's co-star.[6] Montalbán was signed to play the Marquis de Maynes, the villain.[7]
Eventually, Montalbán was dropped and it was announced Granger would play both the hero and the villain.[9] Taylor was mentioned as a female lead in addition to Gardner.[10]
Granger was then cast in Constable Pedley (later called The Wild North) which required location filming in snow. This meant he left Scaramouche entirely; Montalbán returned to the film as the hero, and Lamas was cast as the villain.[11] Granger went on to shoot part of The Wild North, then production was halted. He made The Light Touch, and then completed The Wild North. MGM then decided to reassign him to Scaramouche, with Lamas staying on as the villain.[12]
Gardner and Taylor became unavailable for casting and were replaced by Eleanor Parker and Janet Leigh. Mel Ferrer replaced Lamas as de Maynes.
Sidney had Parker dye her hair red for the film.[4]
Lewis Stone played the villain, the Marquis de la Tour d'Azyr, in the 1923 silent version.
Shooting
Granger, who performed most of his stunts himself, took fencing lessons with Jean Heremans when preparing for the role.[3] The 8-minute-long duel in the theater between Granger and Ferrer took eight weeks of preparation, including memorizing eighty-seven fencing passes.[3] Filming this scene left Granger with a wrenched knee, a damaged shoulder, and an injured back.[3] Other accidents on set included Jean Simmons– who was visiting her husband Granger– almost receiving a sword in her face, and a chandelier hitting a mattress upon which Granger was supposed to lie and embedding itself in the stage.[13][14] He insisted on seeing the chandelier dropped once before shooting the scene.[3]
Parker later said that Granger was the only person in her career that she did not get along with:[15]
It wasn't a conflict between the two of us. Everyone disliked this man ... Stewart Granger was a dreadful person, rude ... just awful. Just being in his presence was bad. I thought at one point the crew was going kill him. Jean visited him on the set and would leave his dressing room in tears. He humiliated her. It was terrible. All of the dueling scenes in Scaramouche were wonderful, though. I'll give Granger credit for that. He didn't know how to do any of that, but worked hard and learned. Mel Ferrer, his counterpart in the movie, was extremely adept at the swordplay, but was a gentleman. He could have taken advantage and upstaged Granger, the star, but he never did.
Parker's perception of the fencing in Scaramouche appears to be mistaken. According to Ferrer:[16]
I'd been playing a lot of goody-goodys, making pictures for Metro; and they asked me to do this one. They asked me if I fenced, and I told them, "No." They said, "We thought you were a fencer." And I said, "No, I'm a dancer." They said, "So, what do we do about that?" I said, "It's very simple. I'll learn to fence the way a dancer would learn a routine. If I were learning a ballet, I'd learn it by number. One, two, three, four ... four, you're on this spot; five, six, seven, you do that; that's the way you learn choreography." And I learned how to fence in six weeks.
We did seven duels in the picture, and each one was different; we never repeated a sequence. And that's like learning seven ballets; it's very, very difficult ...
Jimmy [Stewart Granger] knew how to fence already. He'd been in the theater in England, and that's part of the training for actors on the London stage; they learn to fence. They learn how to ride, most all of them learn how to ride horseback. They're so much more developed as performers than we are; they get so much better training.
Reception
Critical
Bosley Crowther wrote in his The New York Times review, "A cheekier attitude toward romance and a great deal more play with the swords [than the 1923 version] are in this latter-day whip-up, and these are the things that make it fun. ... A little bit slow in getting started—a little bit on the pompous side, with a few rather efflorescent speeches and solemn respects to the queen—the business gets moving in earnest when the leading swashbucklers first cross swords and keeps moving, ever more gaily, until the end of their big climactic duel."[17]
Box Office
The film earned $2,739,000 at the North American box office in its first year of release.[18] MGM records put its foreign earnings at $4,007,000, and overall the movie made a profit of $1,062,000.[1] The movie was particularly popular in France, with admissions of 2,975,521.[19]
Eleanor Jean Parker was an American actress. She was nominated for three Academy Awards for her roles in the films Caged (1950), Detective Story (1951), and Interrupted Melody (1955), the first of which won her the Volpi Cup for Best Actress. She was also known for her roles in the films Of Human Bondage (1946), Scaramouche (1952), The Naked Jungle (1954), The Man with the Golden Arm (1955), A Hole in the Head (1959), The Sound of Music (1965), and The Oscar (1966).
Young Bess is a 1953 Technicolor biographical film made by Metro-Goldwyn-Mayer about the early life of Elizabeth I, from her turbulent childhood to the eve of her accession to the throne of England. It stars Jean Simmons as Elizabeth and Stewart Granger as Thomas Seymour, with Charles Laughton as Elizabeth's father, Henry VIII, a part he had played 20 years before in The Private Life of Henry VIII. The film was directed by George Sidney and produced by Sidney Franklin, from a screenplay by Jan Lustig and Arthur Wimperis based on the novel of the same title by Margaret Irwin (1944).
Scaramouche or Scaramouch is a stock clown character of the 16th-century commedia dell'arte. The role combined characteristics of the Zanni (servant) and il Capitano, with some assortment of villainous traits. Usually attired in black Spanish dress and burlesquing a don, he was often beaten by Harlequin for his boasting and cowardice.
Stewart Granger was a British film actor, mainly associated with heroic and romantic leading roles. He was a popular leading man from the 1940s to the early 1960s, rising to fame through his appearances in the Gainsborough melodramas.
Scaramouche is a historical novel by Rafael Sabatini, originally published in 1921. A romantic adventure, Scaramouche tells the story of a young lawyer during the French Revolution. In the course of his adventures, he becomes an actor portraying Scaramouche. He also becomes a revolutionary, politician, and fencing-master, confounding his enemies with his powerful orations and swordsmanship. He is forced by circumstances to change sides several times. The book also depicts his transformation from cynic to idealist.
Melchor Gastón Ferrer was an American actor and filmmaker. He achieved prominence on Broadway before scoring notable film hits with Scaramouche, Lili, and Knights of the Round Table. He starred opposite his wife, actress Audrey Hepburn, in War and Peace and produced her film Wait Until Dark. He also acted extensively in European films and appeared in several cult hits, including The Antichrist (1974), The Suspicious Death of a Minor (1975), The Black Corsair (1976) and Nightmare City (1980).
Moonfleet is a 1955 Eastman Color swashbuckler film shot in CinemaScope directed by Fritz Lang. It was inspired by the 1898 novel Moonfleet by J. Meade Falkner, although significant alterations were made in the characters and plot.
Beau Brummell is a 1954 British historical film released by Metro-Goldwyn-Mayer. It was directed by Curtis Bernhardt and produced by Sam Zimbalist from a screenplay by Karl Tunberg, based on the 1890 play Beau Brummell by Clyde Fitch. The play was previously adapted as a silent film made in 1924 and starring John Barrymore as Beau Brummell, Mary Astor, and Willard Louis as the Prince of Wales.
Henry Levin began as a stage actor and director but was most notable as an American film director of over fifty feature films. His best known credits were Jolson Sings Again (1949), Journey to the Center of the Earth (1959) and Where the Boys Are (1960).
The Little Hut is a 1957 British romantic comedy film made by MGM starring Ava Gardner, Stewart Granger and David Niven. It was directed by Mark Robson, produced by Robson and F. Hugh Herbert, from a screenplay by Herbert, adapted by Nancy Mitford from the play La petite hutte by André Roussin.
Bhowani Junction is a 1956 British adventure drama film of the 1954 novel Bhowani Junction by John Masters. The film was directed by George Cukor and produced by Pandro S. Berman from a screenplay by Sonya Levien and Ivan Moffat.
The Prisoner of Zenda is a 1952 American Technicolor adventure film version of the 1894 novel of the same name by Anthony Hope and a remake of the 1937 sound version and the 1922 silent. This first color version, made by Loew's and Metro-Goldwyn-Mayer, was directed by Richard Thorpe and produced by Pandro S. Berman. The film stars Stewart Granger, Deborah Kerr, and James Mason, with Louis Calhern, Robert Douglas, Jane Greer, and Robert Coote in supporting roles.
King Solomon's Mines is a 1950 Technicolor adventure film, and the second film adaptation of the 1885 novel of the same name by Henry Rider Haggard. It stars Deborah Kerr, Stewart Granger and Richard Carlson. It was adapted by Helen Deutsch, directed by Compton Bennett and Andrew Marton and released by Metro-Goldwyn-Mayer.
The Three Musketeers is a 1948 film directed by George Sidney, written by Robert Ardrey, and starring Gene Kelly and Lana Turner. It is a Technicolor adventure film adaptation of the classic 1844 novel The Three Musketeers by Alexandre Dumas.
Scaramouche (1923) is a silent swashbuckler film based on the 1921 novel Scaramouche by Rafael Sabatini, directed by Rex Ingram, released by Metro Pictures, and starring Ramon Novarro, Alice Terry, Lewis Stone, and Lloyd Ingraham.
Neptune's Daughter is a 1949 American Technicolor musical romantic comedy film released by Metro-Goldwyn-Mayer starring Esther Williams, Red Skelton, Ricardo Montalbán, Betty Garrett, Keenan Wynn, Xavier Cugat and Mel Blanc. It was directed by Edward Buzzell, and features the debut of the Academy Award–winning song "Baby, It's Cold Outside" by Frank Loesser.
The Whole Truth is a 1958 British-American thriller film directed by John Guillermin and starring Stewart Granger, George Sanders, Donna Reed, Gianna Maria Canale and Peter Dyneley. It was written by Jonathan Latimer based on the 1955 play of the same title by Philip Mackie.
Swordsman of Siena is a 1962 French-Italian adventure film directed by Étienne Périer and Baccio Bandini and starring Stewart Granger, Sylva Koscina and Christine Kaufmann. The film is set in Spanish-controlled Italy during the sixteenth century.
Yes Sir, That's My Baby is a 1949 American musical comedy film directed by George Sherman and starring Donald O'Connor and Gloria DeHaven.
The Light Touch is a 1951 American crime drama film directed by Richard Brooks and starring Stewart Granger, Pier Angeli and George Sanders. It was produced and released by Metro Goldwyn Mayer.
References
1 2 3 The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study.
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