SimonJack
Of several versions of Baroness Orczy's "Scarlet Pimpernel" made into movies or put on TV, only two excel. The first is the original sound film of 1934 that starred Leslie Howard and Merle Oberon. The second is this TV movie of 1982, starring Anthony Andrews and Jane Seymour. This is a longer version – by 45 minutes, that allows for a little more development of the characters, including some of the supporting roles. The one most notable is that of Chauvelin, played here by Ian McKellen. This is a rare remake of a film in which the casts are equally excellent all around. The two pluses of the roles in this "Pimpernel" version are McKellen's Chauvelin and Sir Percy Blakeney, played by Anthony Andrews. With the extra time for these two roles, we see much more of their characters. McKellen gives us a better look at the devious, conniving Chauvelin. And, Andrews paints a perfect and hilarious picture of the fop. His mannerism and portrayal of the dandy is almost over the top. Except for we viewers' knowledge of what this story is about – in which we find Sir Percy's character wonderfully funny, I can image that I would have found him as much a bore and nuisance myself. Those pluses are offset by some of the other aspects of this film. What leaps out most are the costuming and the set. Here we see a manicured set and manicured crowds in the square for the guillotine. Notice the clothing of the people in the crowds. It all looks new – like new stage costumes. It's all clean, fresh and looks neatly pressed. No one has anything on that looks crumpled, crushed or ragged. There are no hats, sweaters, pants or skirts with holes or tears. It has a sanitized feel. This was a time of the French revolution when turmoil ruled on the streets for years. Public services were slipshod, buildings and shops were damaged and stayed in a state of disrepair a long time. General sanitation, hygiene, and cleanliness took a backseat to the intrigue, fear and turmoil of the streets. So, when we see Sir Percy in the costume of an old hag in the midst of this, he really stands out. This is most clear when one watches this film after viewing the first one. In it, Leslie Howard's Sir Percy blends into the crowd so well, that we viewers don't pick him out instantly in crowd scenes. I think this is important since the fame of the Pimpernel is in his elusiveness. In the first film, we can see him getting away with it; but not so much in this one where he stands out more from those around him. The most important parts of the story are depicted well in both movies. This second version, however, is based on two of Orczy's novels, the second being "Eldorado" which first was published in 1913. That accounts for the different scenario for the last escape effort in France. Orczy is a wonderful storyteller who prefers to write fiction in a historical setting. She puts her fictitious characters in an actual time, event or place of history, and makes their story a part of that history. So, besides the romance, drama, comedy or other entertainment we get from the fictional story, viewers also get a look at a time, place and event in history. Of course, this is as the film industry (aka Hollywood) makes it, but most such productions try to stick with accuracy on the historical details.However, this is one of those instances when both the author and filmmaker revise history. This has to do with the young son of the king of France. The movie has the Pimpernel's gang getting the Dauphin out of prison and fleeing to Austria. But, that's not what really happened. The reigning king, Louis XVI was guillotined January 21, 1973, at age 39. His son, just seven years of age was kept in the Temple Prison and then elsewhere for more than 2 ½ years. He was beaten, mistreated, poorly fed and kept in filthy dungeon-like rooms with no sunlight or fresh air. Much mystery and chicanery surrounds that time. The family doctor was called to examine the boy after his long imprisonment, but the doctor died mysteriously before he could see the boy. Another doctor examined him and reported the poor conditions of the boy, as noted above. The boy who would have been Louis XVII died in prison of tuberculosis on June 8, 1796. He was just 10 years old. This movie fairly portrays some of the mob hysteria and crazed behavior by the leaders of the French revolution. And, one of the Frenchman who was saved by the Pimpernel has a line that explains the plight of the former royalists. He says that some of the aristocracy were guilty of mistreatment and oppression of the people; but the vast majority of the aristocrats were good people who were fair and kind. So, the many innocent were being killed along with the bad by this tyrannical government. I should end these comments on a humorous note. Sir Percy arrives to see Marguerite in Paris just as Chauvelin is leaving her residence. Percy says, "Sink me. I must apologize for my tardiness. It was next to impossible finding a carriage. Sink me, if everyone isn't so equal in your new society that no one wants to do the driving anymore. Heh, heh."
Hoffmanpmj
The Scarlet Pimpernel is what I imagine Spielberg's classic holocaust movie to be had Oscar Schindler been a debonair douche bag. Witty one-liners and smug insults towards French people are just a few of the classy qualities of the Scarlet Pimp; he also happens to be a savior to the aristocracy of Paris during the French Revolution. What a contrast! A condescending Brit who has a soft-spot for the wealthy, Mr. Pimpernel is strikingly similar to Oscar Schindler, a likable Nazi who has a soft-spot for Jews. Had James Bond started a company and hired Chosen People of Israel to work in his factories and avoid Auschwitz, it would be something like The Scarlet Pimpernel.
slothropgr
GORGEOUS. That goes for the production, Anthony Andrews, and especially Jane Seymour, who by the evidence of this movie was the most beautiful woman in the world--or at least in the movies (still is, as far as I'm concerned). Andrews is letter perfect, handles the dual roles far better than Leslie Howard or Richard Grant, both of whom did the Blakeney fine but fell short as the Pimp. But the real star of the movie is Sir Ian as Chauvelin. Twitchy, repressed, jealous, outraged, and with absolutely no sense of humor, a perfect foil for both Sir Percy and the Pimp. And even attractive enough to justify Marguerite's prior interest in him (prior to meeting Sir P, that is). I'd give it a 10 except for the story, which requires acceptance of some serious stretches of the imagination. The script works like hell to justify Percy's keeping his secret identity from his new wife without appearing a bounder, but doesn't quite manage it. I mean, Clark would sure as heck tell Lois. This focuses in a scene that I can NOT accept period: where Percy stands directly behind Marguerite whispering to her, and she doesn't recognize him! Sorry, it just won't float, especially in a script as witty and fleet-footed as this one. One of the best bosh-swucklers of all time. Oh, and watch Julian Fellowes who plays the Prince of Whales--he wrote the screenplay for Altman's "Gosford Park."
Dave from Ottawa
Finally available on DVD is this excellent made-for-TV version of the great classic romance by Baroness Orczy. It is arguably the definitive telling of the tale, (superior even to the better known 1935 version with Leslie Howard) with its grand sets and sharply, intimate moments. Beautiful production design and great costuming convincingly pull the viewer into post-revolutionary France, there to be captivated by a young and beautiful Jane Seymour and handsome Anthony Andrews, perfectly cast as lovers held apart by a mysterious secret: Andrews' double life as the daring Scarlet Pimpernel! A memorable heroic fantasy and classic romance.
