If I Were King
Page Two

Another Frank Lloyd Triumph ...

Dependable Frank Lloyd has come through with another to gladden the hearts of exhibitors. If I Were King is excellent entertainment primarily because it is one of the finest examples of talkie technique Hollywood has turned out. There is not too much dialogue, and what there is is spoken in tones to match the moods of scenes. Even tempo is maintained throughout, the visual telling of the story being smooth and consistent. Producer-Director Lloyd did not over-build the production until the story was engulfed in massive sets and masses of people, as Metro did with Marie Antoinette. In If I Were King the story has the right of way, and to that fact is due primarily the audience appeal which will make the picture a tremendous box-office success. It is a strong argument in favor of unit production, the only system which permits a screen creation to be the expression of one mind, as every art creation must be to be worthy of the art to which it belongs. Many people make outstanding contributions to this picture, but as a whole, it expresses the mind of Frank Lloyd. His direction throughout is that of a master.

Brilliant Screen Writing ...

The screen play of Preston Sturges is one of the most brilliant examples of screen writing ever handed a director. It is a far cry from the glitter of the court of a French Louis to the gloom of the slums of the French capital, and the characters which inhabit both represent the opposite poles of the social scale, but Sturges handles both with equal authority. Lloyd's direction emphasizes the contrast by the vividness of the characterizations which he develops. The story of Francois Villon is sure-fire box-office, but not unless its potentialities are realized in the script, direction and acting. Sturges's dialogue has box-office value on its own account, many of the lines having marked literary beauty. It is rather an odd coincidence that in the mails on the way to its subscribers when I was viewing the picture, was the last Spectator in which I had this to say: "As long as pictures are composed so largely of dialogue, it might be a good idea now and then to treat the audience to a beautifully worded speech, one which, by developing the charm which words can have, if given to a character who logically could read it would have distinct entertainment value." In If I Were King there are a dozen such speeches as I had in mind, and that they have entertainment value will be demonstrated by the success the picture will achieve.

Ronald Colman's Great Performance ...

Never before in his long and successful screen career did Ronald Colman present us with a more brilliant performance than that of his Francois Villon in this picture. He brings out the intellectual side of the strange character to a greater degree than it was developed by others who have played the part, realizing beautifully all the literary values of the poetic speeches Sturges provided. But no less impressive is Ronnie in his swashbuckling interludes and romantic moments. The story is his from the first, revolves around him and fastens our attention on him, and never for a moment does he let us down. Always a strong box-office favorite, this picture will strengthen the demand for him, make him more than ever a favorite. Opposite him in If I Were King is the lovely and charming Frances Dee whom we do not see as often as we would wish. Mrs. Joel McCrea should not be so stingy with the graciousness of Frances Dee whose presence in If I Were King gives it s romance dignity and charm. Ellen drew, with very little previous experience before the camera, comes through with a dramatic performance which an experience actress might envy. Alma Lloyd also does her bit towards making the picture worthwhile.

Many Deserving of Credit ...

Of the men in supporting roles, Basil Rathbone, by virtue of the prominence of his part and his complete mastery of it, gives a performance which probably will bring him an Academy award when the year's accomplishments are surveyed. His King Louis is an extraordinary study. C.V. France lends spiritual quality and persuasiveness to his characterization as a priest; and the robust and always competent Henry Wilcoxon is another who scores. I would like to see Wilcoxon in a big part that would permit him to show what an excellent actor he is. Walter Kingsford, one of our most dependable players, lends conviction to his role. Others who make their presence felt are Heather Thatcher, Sidney Toler, Stanley Ridges, Ralph Forbes. the sets designed by Hans Dreier and John Goodman have distinct storytelling value. Dreier, for a long time head of the Paramount art department, always builds for the story and not only to please the eye. The slum sets in If I Were King, as built and photographed, have such an air of authenticity that one almost can smell them; and the royal quarters convey the same conviction of fidelity to their period, credit for which is to be shared by the photography of Theodor Sparkuhl. Edith Head faced a great task in dressing the players in costumes of the period and contributed greatly to the visual wealth of the production.

—Hollywood Spectator, October 1, 1938

IF I WERE KING
Romance in the Upper Brackets

Lavishly produced, with plenty of emphasis on spectacular grandeur, the highly romantic story of Francois Villon once more comes to the screen. This time it is Ronald Colman who plays the charming sophisticated Parisian scamp who, by a king's whim, is elevated to the high position of Grand Constable of France.

Delightfully the story tells of his romance with Katherine De Vaucelles (Played by Frances Dee), of his brash violations of court etiquette, and ends as he rouses the rabble of Paris to drive the Burgundians from the gates of their beloved city.

Ronnie is as charming and debonair and English as ever, but it is Basil Rathbone, as King Louis, who wraps the picture up and takes it home. As fine a bit of picture stealing as we have had in many a day.

But too much praise cannot be showered on Basil for his excellent portrayal of the wryly humorous King, who is torn between being a just and witty sovereign on the one hand and a first class scalawag on the other. It's a Rathbone Jubilee.

Ellen Drew is effective as Huguette, the gal who dies nobly for France, and outstanding performances are given by C.V. France (imported from England especially for the role), Sidney Toler, and Ralph Forbes. An entertaining production.

—Silver Screen, December 1938

IF I WERE KING

The 1938 version of the story of Francois Villon bristles so with an admirable social consciousness that the romantic and unregenerate poet has less time than usual to be a great lover, so busy is he championing the down-trodden.

Mild, patient, reasonable and a little sad rather than dashingly romantic is Ronald Colman as Villon. And quite understandable that is, too, because the script keeps the poet busy every minute with saving Paris, improving working conditions and trying to win Katharine De Vaucelles (Frances Dee). Anyone would be exhausted with so much change of mood.

Shining brilliantly among many fine performances is that of Basil Rathbone as the subtle cynical, impatient and impulsive old Louis XI. This performance, complete with spasmodic grimace and evil cackle, guides the imagination back through the centuries far more effectively than do the excellent settings or the handsome costumes. Unless we are very far wrong in a guess Rathbone will be one of the academy award winners for  1938 because of it.

—Hollywood magazine, December 1938

IF I WERE KING

Most moviegoers, no matter how intellectual, are pushovers for a good, rousing, romantic costume picture. Almost every fan likes Ronald Colman, too. Put these together, as in "If I Were King," and you have great cinema. Frank Lloyd has produced this with a long budget; it is perfectly cast and cut to a rapid pace. The sly modern touches adequately save it from being routine and Basil Rathbone, in his characterization of old Louis XI, lifts the entire picture into special brackets.

Colman portrays Francois Villon, poet-philosopher-adventurer, who during the siege of Paris plays at being Lord Constable. Arrested for robbing the king's storehouses, he is raised from rags and vagabondage by the witty Louis for one week: then the scaffold is to be his lot. He sees Frances Dee, beautiful lady-in-waiting, and finds her worthy of his love after his long dalliance with a questionable but loyal lady. Louis' generals are afraid of Burgundy's troops so Colman blithely distributes all the food to the people, them leads them in the final battle. He handles the role capably, with his usual suave charm and presence. Miss Dee is as lovely as ever in a role that offers no opportunity. Ellen Drew has an exciting bit as the wanton. But Rathbone, playing with ineffable finesse the humorous, just, congenitally vicious old villain of a king, easily walks off with the piece. His is the comedy, the drama: to Colman are left romance, poetry and the implication of lusty sex. Exciting, spectacular, well acted—what more do you want!

—Photoplay, December 1938

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