“He was born with a gift of laughter and a sense that the world was mad. And that was all his patrimony.” So begins Rafael Sabatini’s best-known (though not best) novel, Scaramouche. It is the tale of the young lawyer André-Louis Moreau in the early days of France’s (first) revolution, who inadvertently becomes, in order: a firebrand, an actor, and a fencing-master-cum-politician. It is a rollicking tale told with verve and humor.

mv5bmtyxody4mzczov5bml5banbnxkftztgwmjayotyymje-_v1_ux182_cr00182268_al_This movie is great, and when I first saw it at the age of ten or so at fencing camp, I loved it. Tons of swashbuckling, Mel Ferrer at his most gloriously supercilious, French revolutionary nonsense, Eleanor Parker….

Unfortunately, as with Howl’s Moving Castle, this movie is only great if you have either never read the book or are capable of keeping the book and the movie in different compartments in your brain. It’s not so much that Stewart Granger is a bad André-Louis Moreau as that the script makes no attempt to make him be any kind of André-Louis Moreau. To be sure, it would be bad casting regardless, but he was all right as Rudolf Rassendyll in The Prisoner of Zenda. (Or at least the most abominable miscasting in that film was James Mason as the villainous Rupert of Hentzau.)

In turning André into a middle-aged womanizer, the film misses most of the point of him. It is the touching naïveté underlying the pose of ironic detachment that is his charm, not the pose itself. The real André is both too high-minded and too incompetent to get himself involved in a love triangle, even if presented with the temptations of Eleanor Parker and Janet Leigh, which are many and mighty. The politics–and thus André’s principles–get short shrift as well, but, to be fair, they are complicated, and this movie is not the first to shirk their involvements.

So…a 3 for nostalgia’s sake, and also: who could play André, then or now?

Director: George Sidney
Rating: tame
Length: 115 minutes
Score: 3/5

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