(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“After fleeing England in disgrace, Michael ‘Beau’ Geste joins the French Foreign Legion, meeting his brothers in North Africa where their cruel commander proves more dangerous than Arab rebels.”
Speaking entirely from my perception of the reasonably contemporary film industry, it seems that roughly in the late 1980’s or early 1990’s that audiences were exposed to Tinseltown’s latest and greatest fad:
Well, ladies and gentlemen, perhaps it’s time to give a bit of appreciation to one of the first times this was successfully accomplished: 1926’s Beau Geste – based on the 1924 novel by P.C. Wren – was a bit of a cultural phenomenon upon its original theatrical release. Costing roughly $1M to make (a practically unheard-of amount at the time), the project from producers Jesse L. Lasky, Adolph Zukor, William LeBaron, and director Herbert Brenon would earn back its costs and then some (reports suggest it grossed $1.5M total). Then, at the 1926 Photoplay Awards (the industry recognition system that predated the Oscars), Geste would take home four big wins – three for its performances and, of course, the coveted notice for ‘Best Picture Of The Month (November).’
To date, the original story has been remade four times, but there are many who suggest that the original has never quite been given the attention its due. This likely fueled the interest behind this new release from Artcraft Pictures, which even on its cover insert cites theirs as the 100th anniversary collector’s edition. Having heard a fair deal about silent film but having never seen it, I couldn’t pass up the chance to finally give it a spin. Even though I’m not the biggest fan of the Silent Era, I’ve often chalked that up to having never seen enough of the very best. I’m thrilled to say that Geste will have me seeking out others with which to fill in my leisure hours.
The script – attributed to John Russell and Paul Schofield – begins under curious circumstances: in the heart of the Sahara Desert, Major de Beaujolais (played by Norman Trevor) marches his men hurriedly toward the distant Fort Zinderneuf where its rumored that the French Foreign Legion has been overcome by Arab marauders. Upon arrival, Beaujolais finds a horrific scene: the men are all found dead, and there are some signs indicating that something was greatly amiss inside beyond the usual risks of attack. The ranking sergeant is dead from a stab wound, and – clutched in his hand – is the written confession of a jewel thief belonging to Lady Patricia Brandon (Alice Joyce) years earlier. Before Beaujolais can mount an investigation into what may well have been an act of mutiny, he evacuates his men as a mysterious fire suddenly consumes the fort, threatening everyone in its path.
After this expansive set-up, viewers are catapulted back in time to the days of youth for the Geste children. Young Michael, Digby, and John (eventually to be played in adulthood by actor Ronald Colman, Neil Hamilton, and Ralph Forbes) spend their morning with their cousin Isabel re-enacting a naval battle with toy ships in a lake on Lady Patricia’s estate. In the melee, John is ‘shot’ in the leg (with a BB), and his brother Michael – acting as his physician – performs “surgery” to remove the bullet. Because of their shared and witnessed bravery in the line of duty, the promise of a Viking funeral should any of the brothers perish in combat is set in motion … so a good time was had by all.
Years later, Lady Patricia’s ‘Blue Water’ diamond disappears under curious circumstances; and, frankly, the whole kerfuffle with the coveted gem is a bit of misdirection (in my opinion) to the central story. Diamonds being what they are – nature’s beautiful and unbreakable stone – the Blue Water is rather obviously meant to symbolize the bond the Geste brothers share. Theirs is an equally lovely and shatterproof bond to look after one another and their family name, so the jewel is little more than a kinda/sorta MacGuffin around which this classic story of brotherly devotion revolves and evolves. There’s never any doubt that these three will be thrown into situations that test the central devotion; and – to their credit – each actor gives a performance expressive of what adherence to a shared honor requires.
Structurally, Geste opens on the tragedy that took place at Fort Zinderneuf, so the audience definitely knows precisely where things are headed after being flashbacked to the Geste boys’ beginnings. We know – beyond any doubt – that there’s a massacre somewhere down that road, and there are major questions regarding who does and who doesn’t survive. So we’re kept in cleverly nuanced suspense at every step along the way by director Brenon, making the film as much a puzzle as it is a drama. The genius of the set-up is that viewers have no idea of how and/or when things will begin to unravel, so we’re modestly swept up in affairs big and small, hoping for even the smallest suggestion of where Fate would take its awful turn. Alas, even in the darkest developments the brothers remain faithful to one another, and it’s this allegiance that gives Geste’s second half all the narrative weight necessary to find silver linings in the blackest of storm clouds.
There’s a lot to digest with a picture like Beau Geste. It has a bit of everything in it – Drama, Action, some minor social commentary here and there, and even a hint of romance – but nothing rises to the level of importance surrounding its point on family. Do what you must to protect the family. Look out for your brothers (and sisters, of course). In the end, it’s this family that will remain as important as the day one discovered what it meant and what its benefits could be. That arguably is not the case in reality – life being what it is – but Beau Geste works as effectively as it does because this is how things work ‘in the movies.’ As much fantasy as it can be reality, there’s no denying the film’s power, so much so that it’s even easy to see how the trend to adapt only the best didactic novels continues to this day.
Beau Geste (1926) was produced by Famous Players-Lasky Corporation. DVD distribution (for this particular release) has been coordinated by the fine folks at Artcraft Pictures. As for the technical specifications? While I’m no trained video expert, I can still assure readers that – based on the information I’ve both read and seen – this is by far the most impressive restoration (in 4K) possible, what with the flick being in public domain and the rarity of elements available. (If I’m understanding correctly, then there’s still a few minutes of the original release lost to history; so this might very well be the best version audiences ever get.) Lastly, if you’re looking for special features? The Artcraft release is loaded with supplementary materials – commentary track, some technical explanations of the production and the restoration, as well as a spiffy collector’s booklet that details the production and release to small degrees. It’s a respectful assortment for a film much deserving of rediscovery. Well done!
Strongly Recommended.
While never being truly indulgent at its 129-minutes running time, Beau Geste (1926) still could’ve used a snip here or there, some minor excisions that likely would’ve helped the pacing in its more frenetic, action-packed moments. Unlike a great many other silent pictures I’ve enjoyed (or tried to enjoy), it’s thankfully slim on intertitles (or title cards); and the lion’s share of the story is rendered with some surprisingly effective cinematography (shout-out to J. Roy Hunt’s work as its pretty fabulous). Today, some cynics might dismiss the poignant Action/Drama for being a bit too ‘formulaic’ as just another token Hollywood big-budget novel adaptation meant to woo the masses-at-large to the goodness of the cinema; but the problem therein is that this was released back in 1926, making it perhaps one of the first of its kind. Enjoy it on that measure, and its relevance remains unquestionably.
In the interests of fairness, I’m pleased to disclose that the fine folks at Artcraft Pictures (via Allied Vaughn) provided me with a complimentary Blu-ray of Beau Geste (1926) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“After fleeing England in disgrace, Michael ‘Beau’ Geste joins the French Foreign Legion, meeting his brothers in North Africa where their cruel commander proves more dangerous than Arab rebels.”
Speaking entirely from my perception of the reasonably contemporary film industry, it seems that roughly in the late 1980’s or early 1990’s that audiences were exposed to Tinseltown’s latest and greatest fad:
- Some cunning producer – with dollar signs in his/her eyes – would fall head over heels for the latest and greatest popular novel.
- This capitalist would buy up the rights to the tome, and a feature film adaptation would be fast-tracked into the studio system.
- Audiences around the world would be swept up in the frenzy of loving the project equally, so much so that the film would become the ‘definitive edition’ of the story … even though everyone knows full well how much creative license screen adaptations usually take in translating the work into visuals.
- Eventually, the picture would go on to dominate the awards season, proving that ‘there’s gold in them there hills’ only if someone goes looking for it.
Well, ladies and gentlemen, perhaps it’s time to give a bit of appreciation to one of the first times this was successfully accomplished: 1926’s Beau Geste – based on the 1924 novel by P.C. Wren – was a bit of a cultural phenomenon upon its original theatrical release. Costing roughly $1M to make (a practically unheard-of amount at the time), the project from producers Jesse L. Lasky, Adolph Zukor, William LeBaron, and director Herbert Brenon would earn back its costs and then some (reports suggest it grossed $1.5M total). Then, at the 1926 Photoplay Awards (the industry recognition system that predated the Oscars), Geste would take home four big wins – three for its performances and, of course, the coveted notice for ‘Best Picture Of The Month (November).’
To date, the original story has been remade four times, but there are many who suggest that the original has never quite been given the attention its due. This likely fueled the interest behind this new release from Artcraft Pictures, which even on its cover insert cites theirs as the 100th anniversary collector’s edition. Having heard a fair deal about silent film but having never seen it, I couldn’t pass up the chance to finally give it a spin. Even though I’m not the biggest fan of the Silent Era, I’ve often chalked that up to having never seen enough of the very best. I’m thrilled to say that Geste will have me seeking out others with which to fill in my leisure hours.
The script – attributed to John Russell and Paul Schofield – begins under curious circumstances: in the heart of the Sahara Desert, Major de Beaujolais (played by Norman Trevor) marches his men hurriedly toward the distant Fort Zinderneuf where its rumored that the French Foreign Legion has been overcome by Arab marauders. Upon arrival, Beaujolais finds a horrific scene: the men are all found dead, and there are some signs indicating that something was greatly amiss inside beyond the usual risks of attack. The ranking sergeant is dead from a stab wound, and – clutched in his hand – is the written confession of a jewel thief belonging to Lady Patricia Brandon (Alice Joyce) years earlier. Before Beaujolais can mount an investigation into what may well have been an act of mutiny, he evacuates his men as a mysterious fire suddenly consumes the fort, threatening everyone in its path.
After this expansive set-up, viewers are catapulted back in time to the days of youth for the Geste children. Young Michael, Digby, and John (eventually to be played in adulthood by actor Ronald Colman, Neil Hamilton, and Ralph Forbes) spend their morning with their cousin Isabel re-enacting a naval battle with toy ships in a lake on Lady Patricia’s estate. In the melee, John is ‘shot’ in the leg (with a BB), and his brother Michael – acting as his physician – performs “surgery” to remove the bullet. Because of their shared and witnessed bravery in the line of duty, the promise of a Viking funeral should any of the brothers perish in combat is set in motion … so a good time was had by all.
Years later, Lady Patricia’s ‘Blue Water’ diamond disappears under curious circumstances; and, frankly, the whole kerfuffle with the coveted gem is a bit of misdirection (in my opinion) to the central story. Diamonds being what they are – nature’s beautiful and unbreakable stone – the Blue Water is rather obviously meant to symbolize the bond the Geste brothers share. Theirs is an equally lovely and shatterproof bond to look after one another and their family name, so the jewel is little more than a kinda/sorta MacGuffin around which this classic story of brotherly devotion revolves and evolves. There’s never any doubt that these three will be thrown into situations that test the central devotion; and – to their credit – each actor gives a performance expressive of what adherence to a shared honor requires.
Structurally, Geste opens on the tragedy that took place at Fort Zinderneuf, so the audience definitely knows precisely where things are headed after being flashbacked to the Geste boys’ beginnings. We know – beyond any doubt – that there’s a massacre somewhere down that road, and there are major questions regarding who does and who doesn’t survive. So we’re kept in cleverly nuanced suspense at every step along the way by director Brenon, making the film as much a puzzle as it is a drama. The genius of the set-up is that viewers have no idea of how and/or when things will begin to unravel, so we’re modestly swept up in affairs big and small, hoping for even the smallest suggestion of where Fate would take its awful turn. Alas, even in the darkest developments the brothers remain faithful to one another, and it’s this allegiance that gives Geste’s second half all the narrative weight necessary to find silver linings in the blackest of storm clouds.
There’s a lot to digest with a picture like Beau Geste. It has a bit of everything in it – Drama, Action, some minor social commentary here and there, and even a hint of romance – but nothing rises to the level of importance surrounding its point on family. Do what you must to protect the family. Look out for your brothers (and sisters, of course). In the end, it’s this family that will remain as important as the day one discovered what it meant and what its benefits could be. That arguably is not the case in reality – life being what it is – but Beau Geste works as effectively as it does because this is how things work ‘in the movies.’ As much fantasy as it can be reality, there’s no denying the film’s power, so much so that it’s even easy to see how the trend to adapt only the best didactic novels continues to this day.
Beau Geste (1926) was produced by Famous Players-Lasky Corporation. DVD distribution (for this particular release) has been coordinated by the fine folks at Artcraft Pictures. As for the technical specifications? While I’m no trained video expert, I can still assure readers that – based on the information I’ve both read and seen – this is by far the most impressive restoration (in 4K) possible, what with the flick being in public domain and the rarity of elements available. (If I’m understanding correctly, then there’s still a few minutes of the original release lost to history; so this might very well be the best version audiences ever get.) Lastly, if you’re looking for special features? The Artcraft release is loaded with supplementary materials – commentary track, some technical explanations of the production and the restoration, as well as a spiffy collector’s booklet that details the production and release to small degrees. It’s a respectful assortment for a film much deserving of rediscovery. Well done!
Strongly Recommended.
While never being truly indulgent at its 129-minutes running time, Beau Geste (1926) still could’ve used a snip here or there, some minor excisions that likely would’ve helped the pacing in its more frenetic, action-packed moments. Unlike a great many other silent pictures I’ve enjoyed (or tried to enjoy), it’s thankfully slim on intertitles (or title cards); and the lion’s share of the story is rendered with some surprisingly effective cinematography (shout-out to J. Roy Hunt’s work as its pretty fabulous). Today, some cynics might dismiss the poignant Action/Drama for being a bit too ‘formulaic’ as just another token Hollywood big-budget novel adaptation meant to woo the masses-at-large to the goodness of the cinema; but the problem therein is that this was released back in 1926, making it perhaps one of the first of its kind. Enjoy it on that measure, and its relevance remains unquestionably.
In the interests of fairness, I’m pleased to disclose that the fine folks at Artcraft Pictures (via Allied Vaughn) provided me with a complimentary Blu-ray of Beau Geste (1926) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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