Swedish filmmaker Victor Sjöström was one of the early greats of cinema, an icon whose name deserves to be remembered alongside the likes of F. W. Murnau, Erich von Stroheim, Buster Keaton, and so on. I've watched several of his silent films and have found each to be absolutely perfect. It's a shame that more haven't survived, and that the sound era didn't agree with him, but we can at least treasure those works of his that remain. 'Under the red robe,' Sjöström's last directed feature, doesn't necessarily impress right away the way some of his other works do. Exposition in the first ten minutes or so is rather gawky, in fact, not articulating with total clarity all the history that is relevant to the tale to come, and this is on top of audio and picture quality that is a tad difficult to bear (though in fairness, that's hardly the director's fault). On the other hand, despite a rougher start the title quickly starts to prove its worth thereafter. I don't know if I'd say this is wholly flawless as so many of Sjöström's other features are, but it's nonetheless quite well crafted and entertaining, and continues to stand fairly tall even almost ninety years later.
As ever the man demonstrates a keen sense for orchestrating shots and scenes. Between his vision, and the eyes of James Wong Howe and Georges Périnal with their vivid, dynamic cinematography, we see the same especial talent for allowing the setting to somewhat become a character in its own right. Rich detail in each exquisite set, and careful use of light and shadow, helps every space to stand out and lend flavor to the scene. The effect isn't as pronounced as in early classics like 'A man there was' or 'The outlaw and his wife,' but still one must commend Sjöström, his photographers, and the crew for such splendid work. The production design and art direction really are terrific, and so is the costume design and hair and makeup. Those sparing stunts or effects that are employed look great, and I'm further pleased with the humor and cleverness that fills small corners of the screenplay (not least with supporting character Marius). Nothing about 'Under the red robe' is so remarkable as to leap out and grab our attention, perhaps, yet like those tinges of particular wit, little bits and pieces scattered throughout together comprise a viewing experience that is highly enjoyable and solidly satisfying.
One does wonder what this might have looked like had it been produced as a silent movie. I can't help but think at times that Arthur Benjamin's music, though pleasant, is superfluous; there are times when even dialogue and sound effects seem excessive and unnecessary. Maybe this says more about me and my love of the silent era, but I'm also inclined to think Sjöström is likely to have agreed that the earnest simplicity of those bygone techniques are missed here. Whether as a product of his direction or the cast's own similar notions, there are points when even the acting feels needlessly embellished, or possibly a smidgen forced, with the administration of spoken dialogue. Still, for what it's worth - despite any such thoughts that might enter one's mind - overall I believe the Swede shaped a fine, absorbing title, and the cast give strong performances. That includes premier silent star Conrad Veidt, firmly commanding the lead role; mononymous Annabella, shining brightly as love interest Marguerite; and Romney Brent, as silver-tongued and five-fingered sidekick Marius. Moreover, 'Under the red robe' ably balances facets of drama, adventure, and romance, with touches of comedy peppered on top, and the result really is a reliable good time.
If I'm being honest I had mixed expectations when I sat to watch. Despite my adoration of Sjöström, this was both a sound feature and his last one after all, and for a man who excelled so greatly in the silent era those two notes are ill harbingers. Ultimately I feel this film does distinctly stop short of the pure brilliance of, say, 'The wind,' or 'He who gets slapped, and that includes a certain looseness in the narrative writing, with sometimes weaker connections between ideas. Yet though imperfect, by and large I think it's one last grand testament to the Sjöström's skills, that he was able to push through his own misgivings and craft a movie that does still stand rather tall. To the extent that 'Under the red robe' is in any way lesser than, I'd argue it's only a step behind. For anyone who is a fan of older cinema this remains well worth checking out if one has the chance, and it earns my glad, hearty recommendation.
As ever the man demonstrates a keen sense for orchestrating shots and scenes. Between his vision, and the eyes of James Wong Howe and Georges Périnal with their vivid, dynamic cinematography, we see the same especial talent for allowing the setting to somewhat become a character in its own right. Rich detail in each exquisite set, and careful use of light and shadow, helps every space to stand out and lend flavor to the scene. The effect isn't as pronounced as in early classics like 'A man there was' or 'The outlaw and his wife,' but still one must commend Sjöström, his photographers, and the crew for such splendid work. The production design and art direction really are terrific, and so is the costume design and hair and makeup. Those sparing stunts or effects that are employed look great, and I'm further pleased with the humor and cleverness that fills small corners of the screenplay (not least with supporting character Marius). Nothing about 'Under the red robe' is so remarkable as to leap out and grab our attention, perhaps, yet like those tinges of particular wit, little bits and pieces scattered throughout together comprise a viewing experience that is highly enjoyable and solidly satisfying.
One does wonder what this might have looked like had it been produced as a silent movie. I can't help but think at times that Arthur Benjamin's music, though pleasant, is superfluous; there are times when even dialogue and sound effects seem excessive and unnecessary. Maybe this says more about me and my love of the silent era, but I'm also inclined to think Sjöström is likely to have agreed that the earnest simplicity of those bygone techniques are missed here. Whether as a product of his direction or the cast's own similar notions, there are points when even the acting feels needlessly embellished, or possibly a smidgen forced, with the administration of spoken dialogue. Still, for what it's worth - despite any such thoughts that might enter one's mind - overall I believe the Swede shaped a fine, absorbing title, and the cast give strong performances. That includes premier silent star Conrad Veidt, firmly commanding the lead role; mononymous Annabella, shining brightly as love interest Marguerite; and Romney Brent, as silver-tongued and five-fingered sidekick Marius. Moreover, 'Under the red robe' ably balances facets of drama, adventure, and romance, with touches of comedy peppered on top, and the result really is a reliable good time.
If I'm being honest I had mixed expectations when I sat to watch. Despite my adoration of Sjöström, this was both a sound feature and his last one after all, and for a man who excelled so greatly in the silent era those two notes are ill harbingers. Ultimately I feel this film does distinctly stop short of the pure brilliance of, say, 'The wind,' or 'He who gets slapped, and that includes a certain looseness in the narrative writing, with sometimes weaker connections between ideas. Yet though imperfect, by and large I think it's one last grand testament to the Sjöström's skills, that he was able to push through his own misgivings and craft a movie that does still stand rather tall. To the extent that 'Under the red robe' is in any way lesser than, I'd argue it's only a step behind. For anyone who is a fan of older cinema this remains well worth checking out if one has the chance, and it earns my glad, hearty recommendation.