Cynara (pronounced as the Goldwyn publicity department insisted "SIN-ara") is an obscure film from the early Hollywood sound era. It is almost unknown today. However, Cynara was an important film in the careers of five of Cynara's principals, and for that reason is worthy of fresh reappraisal by a contemporary audience.
Samuel Goldwyn and Ronald Colman---the producer and actor made eighteen films as a team, and Cynara was their next to last venture. The partnership was becoming increasingly contentious as exemplified by the fact that Colman did not want to do this film. He felt that the role of barrister Jim Warlock, an unfaithful husband with easily compromised moral values, was inconsistent with his carefully crafted screen image of usually portraying decent, honorable and often heroic leading men. . Goldwyn supported the idea of making a film version of this London and Broadway stage success in spite of Colman's reluctance. Colman's instinct proved to be right---the film failed at the box office, and provided the ultimate basis for a permanent estrangement between the two men. They made one more film together to settle a lawsuit that resulted from their dispute, and then never worked with each other again.
King Vidor--one of Hollywood's greatest directors made his first film in 1919, and had a career as a top notch craftsman that did not end until 1959. In Cynara, Vidor took a rather somber and down-beat story and was able to turn it into a serious yet engrossing drama with complex characters involved in a realistic and believable narrative. Notwithstanding the Colman role's shady behavior and relatively ease at being tempted, King was able to to create in Warlock a man who could also be kind, warm and greatly troubled by his unethical actions. It is one of King's least typical but most accomplished films.
Henry Stephenson--the only actor from the Broadway cast to reprise his role for the film version, Stephenson was one of Hollywood's busiest and most successful British character actors. He and C. Aubrey Smith often took turns playing like parts throughout the 1930s and 1940s. Similar in age and physical appearance, Stephenson and Smith created an extensive gallery of aristocratic Englishmen that defined such characters in the minds of most American moviegoers for generations. Interestingly, they both died at the age of 85 after prolific and distinguished acting careers.
Phyllis Barry---a discovery of Goldwyn, this British dancer's most famous film role was as Doris Lea, the doomed "other woman," in Cynara. Groomed for a major Hollywood career, she never reached anything close to Goldwyn's expectations. Relegated to a succession of nondescript bit parts, she died in relative obscurity of a drug overdose while in her early 40s.
As for Cynara, it is interesting in capturing an uncharacteristic portrayal of a cad by Ronald Colman, and Kay Francis is quite good as Colman's trusting and ultimately betrayed wife. But the best part in Cynara is played by Henry Stephenson in a sly and most entertaining role as Colman's friend who helps to lead him down the road of marital infidelity with considerable demonic charm.
Seek out Cynara.. It is well worth your time and attention.
Samuel Goldwyn and Ronald Colman---the producer and actor made eighteen films as a team, and Cynara was their next to last venture. The partnership was becoming increasingly contentious as exemplified by the fact that Colman did not want to do this film. He felt that the role of barrister Jim Warlock, an unfaithful husband with easily compromised moral values, was inconsistent with his carefully crafted screen image of usually portraying decent, honorable and often heroic leading men. . Goldwyn supported the idea of making a film version of this London and Broadway stage success in spite of Colman's reluctance. Colman's instinct proved to be right---the film failed at the box office, and provided the ultimate basis for a permanent estrangement between the two men. They made one more film together to settle a lawsuit that resulted from their dispute, and then never worked with each other again.
King Vidor--one of Hollywood's greatest directors made his first film in 1919, and had a career as a top notch craftsman that did not end until 1959. In Cynara, Vidor took a rather somber and down-beat story and was able to turn it into a serious yet engrossing drama with complex characters involved in a realistic and believable narrative. Notwithstanding the Colman role's shady behavior and relatively ease at being tempted, King was able to to create in Warlock a man who could also be kind, warm and greatly troubled by his unethical actions. It is one of King's least typical but most accomplished films.
Henry Stephenson--the only actor from the Broadway cast to reprise his role for the film version, Stephenson was one of Hollywood's busiest and most successful British character actors. He and C. Aubrey Smith often took turns playing like parts throughout the 1930s and 1940s. Similar in age and physical appearance, Stephenson and Smith created an extensive gallery of aristocratic Englishmen that defined such characters in the minds of most American moviegoers for generations. Interestingly, they both died at the age of 85 after prolific and distinguished acting careers.
Phyllis Barry---a discovery of Goldwyn, this British dancer's most famous film role was as Doris Lea, the doomed "other woman," in Cynara. Groomed for a major Hollywood career, she never reached anything close to Goldwyn's expectations. Relegated to a succession of nondescript bit parts, she died in relative obscurity of a drug overdose while in her early 40s.
As for Cynara, it is interesting in capturing an uncharacteristic portrayal of a cad by Ronald Colman, and Kay Francis is quite good as Colman's trusting and ultimately betrayed wife. But the best part in Cynara is played by Henry Stephenson in a sly and most entertaining role as Colman's friend who helps to lead him down the road of marital infidelity with considerable demonic charm.
Seek out Cynara.. It is well worth your time and attention.