A major event in its day, and considered of sufficient historical value to qualify for an entry in the first edition of 'The Filmgoers Companion'. Although it unfortunately floundered both critically and financially (Rachel Low predictably dismissed it as "monumentally slow and dull"), 'The Glorious Adventure' by one of those happy chances film history is prone to miraculously survives and can now be viewed on YouTube.
Of considerable interest for its role in British film history, as a film in its own right it frankly resembles the nonsense Herbert Wilcox would soon be making with Anna Neagle. Lady Diana Manners like many society beauties of yesteryear makes little impression in the lead, but compensations can be found in the supporting cast, including Victor McLaglan bearing his teeth and rolling his eyes as 'notorious rogue' Bulfinch, Lennox Pawle - best remembered as Mr Dick in MGM's 1935 version of 'David Copperfield' - as a cherubic Samuel Pepys, and the Hon. Lois Sturt as a saucy young Nell Gwynn; while the Prizma Colour process (a direct lineal descendant of Cinecolor) does a satisfactory job of rendering both moonlight and the Great Fire of London in the obligatory conflagration that had already become the usual way to conclude early colour productions.
Of considerable interest for its role in British film history, as a film in its own right it frankly resembles the nonsense Herbert Wilcox would soon be making with Anna Neagle. Lady Diana Manners like many society beauties of yesteryear makes little impression in the lead, but compensations can be found in the supporting cast, including Victor McLaglan bearing his teeth and rolling his eyes as 'notorious rogue' Bulfinch, Lennox Pawle - best remembered as Mr Dick in MGM's 1935 version of 'David Copperfield' - as a cherubic Samuel Pepys, and the Hon. Lois Sturt as a saucy young Nell Gwynn; while the Prizma Colour process (a direct lineal descendant of Cinecolor) does a satisfactory job of rendering both moonlight and the Great Fire of London in the obligatory conflagration that had already become the usual way to conclude early colour productions.
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