With rare exceptions (i.e., 'The Age of Innocence' and 'The Painted Veil,' among a few), too many contemporary movies set in earlier (from Elizabethan to Oscar Wildean) times miss out from a distinct failure to capture apparent period authenticity in manner or speech, be it: 'A Perfect Husband;' 'The Importance of Being Earnest'; 'Moulin Rouge;' 'The Other Boleyn Girl;' etc.
Not so here.
Every moment and character in director Charles Vidor's 'The Swan' (with the possible exception of usually adept Agnes Moorehead) takes one to an aristocratic pre-WW1 middle-Europe - at least, in Ferenc Molnar's stage conceit from 1922.
Fortunate enough to have purchased the laser-disc widescreen issue in the mid-1990s, continue to enjoy every telling exchange among the principals in the exploration of the values of a long by-gone era, politically dated as they might be - which intent might have been the author's, whether Mr. Molnar's or screenwriter John Dighton's. Not for nothing does the introductory scene convey the off-handed delivery of bread from the local baker.
Mr. Guinness is wrong in age as the heir to the throne (after all, 'Kwai;' 'Tunes of Glory,' and 'The Horse's Mouth,' were only a few years away), but acquits himself fairly well, altogether.
Ms. Kelly was slightly past taking on roles of ingénues, but does herself proud in coming across as the well-bred princess but unsophisticated woman in matters of the heart; brought up as she has been in obedient fashion towards her elders, her lack of experience makes feasible her deception towards the initially indifferent Prince Albert, as it certainly does her surprise of the unintentional emotional hurt of Professor Agi (Louis Jourdan), the man whom she makes the unwitting instrument of the deceit.
Jourdan, as a matter of fact, is in best form possible, convincing as he lets down his long-held reserve towards Alexandra and, more importantly for the piece, is assured in the English language, better so than in other performances.
SPOILER: Certain wonderful moments can best be experienced on-screen, particularly during the moment of truth between Alexandra and Professor Agi, as: Alexandra (to Agi): "Don't come any closer Nicholas...I have never seen a man in love...(with sudden awareness) and he happens to be in love with me!" Would not dare spoil any other such quote, such as when Uncle Carl (Brian Aherne), standing near the young lovers, wisely observes that the emotion that they share may never again be as deep or as true, but that nevertheless, it is perhaps already fleeting.
Restoration of 'The Swan' in DVD form is imperative. Leave it to younger audiences to sort out its relevance.
Not so here.
Every moment and character in director Charles Vidor's 'The Swan' (with the possible exception of usually adept Agnes Moorehead) takes one to an aristocratic pre-WW1 middle-Europe - at least, in Ferenc Molnar's stage conceit from 1922.
Fortunate enough to have purchased the laser-disc widescreen issue in the mid-1990s, continue to enjoy every telling exchange among the principals in the exploration of the values of a long by-gone era, politically dated as they might be - which intent might have been the author's, whether Mr. Molnar's or screenwriter John Dighton's. Not for nothing does the introductory scene convey the off-handed delivery of bread from the local baker.
Mr. Guinness is wrong in age as the heir to the throne (after all, 'Kwai;' 'Tunes of Glory,' and 'The Horse's Mouth,' were only a few years away), but acquits himself fairly well, altogether.
Ms. Kelly was slightly past taking on roles of ingénues, but does herself proud in coming across as the well-bred princess but unsophisticated woman in matters of the heart; brought up as she has been in obedient fashion towards her elders, her lack of experience makes feasible her deception towards the initially indifferent Prince Albert, as it certainly does her surprise of the unintentional emotional hurt of Professor Agi (Louis Jourdan), the man whom she makes the unwitting instrument of the deceit.
Jourdan, as a matter of fact, is in best form possible, convincing as he lets down his long-held reserve towards Alexandra and, more importantly for the piece, is assured in the English language, better so than in other performances.
SPOILER: Certain wonderful moments can best be experienced on-screen, particularly during the moment of truth between Alexandra and Professor Agi, as: Alexandra (to Agi): "Don't come any closer Nicholas...I have never seen a man in love...(with sudden awareness) and he happens to be in love with me!" Would not dare spoil any other such quote, such as when Uncle Carl (Brian Aherne), standing near the young lovers, wisely observes that the emotion that they share may never again be as deep or as true, but that nevertheless, it is perhaps already fleeting.
Restoration of 'The Swan' in DVD form is imperative. Leave it to younger audiences to sort out its relevance.