When Knighthood Was in Flower

Mary Tudor (Marion Davies), younger sister of King Henry VIII, as was the custom of the day for noblewomen, is to have an arranged marriage with a king in a foreign land to help cement alliances with England. But Mary falls in love with the captain of the king's guard, Charles Brandon. Ultimately she is pledged to old King Louis of France. She and Brandon escape with Mary disguised as a boy with the king and his men in hot pursuit - William Randolph Hearst liked Marion dressed as a boy and that is likely why this part is even in the film. Will they ever be together or will statecraft win the day? Watch and find out.

It sags dreadfully in the middle, and then near the end picks up the pace with a rousing and even humorous conclusion. It is reported to be the most expensive film made to date the time, and they get the period costumes just right. And although the story is close to historically correct, King Henry VIII is portrayed as he looked in a portrait by Hans Holbein that was painted in 1536 when Henry was 45 and obese. He was in fact only five years older than his sister Mary, but then audiences would likely not recognize or accept a slender and athletic young Henry VIII as he looked at the time this story takes place.

This was William Powell's second film appearance, and he turned out to be a very effective and menacing villain. And that's with me knowing what a warm and charming voice that he had, so I can just imagine how he impacted audiences of the day. Strangely enough this was both William Powell's and Gustav von Seyffertitz's next film after 1922's Sherlock Holmes.

What can be said about at the time the most expensive movie ever made with cost an estimated at $1.8 million. The pet project of the famous media magnate William Hearst, it is the tale of a woman, sister who defies all royal conventions, especially one; she falls in love with a commoner - Knight Charles Brandon - while bethrothed not of her choice, of course, to King louis XII of France. Action ensues as the forces of tradition conspire to keep them apart. The sets are very good and Marion davies is extremely good. When I watch a silent movie and I wish to hear what the actor is saying, then the performance is classic. Everyone else is adequate and passable. The director who isn't very good throws in a lot of gothic subtext and an unusual editing style of what I'll term "flash cutting" is used. Cinematography is especially wonderful. Deeper meanings or detailing beyond the obvious social strata innuities and foresight castigations of a by-gone era, is pitifully missing. Entertaining yes, action-packed - agreed but a bit quaint, unlike Robin Hood released around the same time but which holds up much better. (It alsao looks as if it cost more; it did not). But Garbo, Shearer and Dietrich did this too and theirs are better. Worth watching but watch out for sappiness in many moments. Just as a note, this movie was the biggest hit of the 1922-23 movie season, ahead of Robin Hood and Safety last.

Mary Tudor (Marion Davies) falls in love with Charles Brandon but is forced for political reasons by elder brother Henry VIII to marry the old and decrepit King Louis XII of France.

Nice, big budget sets and costumes, but Marion Davies seems the wrong actor for her role. As swashbucklers go, rather tame.

I was quite impressed with the restoration of Marion Davies's breakout picture When Knighthood Was In Flower. For its time the film is quite lavish and an awe inspiring spectacle. I wouldn't be surprised if William Randolph Hearst made sure that Paramount had whatever financing it needed to bring his Marion's breakout film to the big screen. The only thing that surprised me was that he didn't get Cecil B. DeMille to direct. But more than likely DeMille did not want to be second guessed by WR Hearst.

With or without DeMille this film is the definition of spectacle. Many of you have probably seen the Disney classic film The Sword And The Rose made during the 50s that starred Richard Todd as Charles Brandon and Glynis Johns as Mary Tudor with James Robertson Justice as Henry VIII. Marion Davies is Mary Tudor, sister of Henry VIII and a pawn in the power play game of medieval Europe.

Lyn Harding is Henry VIII and this is back in the day before he became changing wives like underwear and beheading a pair of them. He's married to Catherine of Aragon aunt of the Hapsburg Emperor Charles V whose many titles also included King of Spain and ruler of the Netherlands as well as all that German and Eastern European territory. Henry VIII thought that if he could get sister Mary hitched to the aged Louis XII of France he'd have things all sewed up alliance wise.

But Mary has a mind of her own. Marion Davies catches one look at Charles Brandon at jousting tournament and she decides this is the guy I want and I don't care if he's not noble.

The long forgotten Forrest Stanley is Charles Brandon. I'm sure WR Hearst didn't want a leading man getting all the attention in Marion's film. Time and the coming of sound have erased our memories of most of the cast. But William Powell plays Francis I of France who succeeded Louis XII when he died. This was Powell's second film and he's properly sinister as Francis. Not that Francis was any more or less bad than any of the other monarchs of the day including Henry VIII in real life. But Powell in his silent years played swarthy sinister villains and Francis I is done in the best Snidely Whiplash tradition.

Historically accurate its not. Anne Boleyn makes a brief appearance here as a girl Henry VIII was beginning to check out. Anne was a mere 13 when all this action is taking place and was not drawing Henry's or anyone else's attention yet.

It's been remarked that Davies's strong suit was a gift for comedy and she has a great old time fleeing from the king with her lover and going to a tavern in male drag. She has a great old time in this part of the film, you could tell Davies was enjoying herself.

I'm glad this film is now restored and we can see both Marion Davies and William Powell in their salad days.

This 1922 production (now restored) was at the time the most expensive picture ever made. It was also a major box-office hit. Marion Davies plays Mary Tudor, sister of Henry VIII and intended bride of old Louis of France. But she's in love with the dashing Charles Brandon (Forrest Stanley). After Brandon is framed for murder, Mary agrees to bargain with Henry: he'll spare Brandon's life if she willingly marries old Louis. She counters that she will agree if she can choose her second husband. Henry agrees.

Mary goes off to France to marry old Louis (William Norris) but his nephew and heir (William Powell) has designs on beautiful Mary. After old Louis dies, the nephew pounces on Mary, but she escapes with Brandon's help in a race across France with an army in pursuit.

The breathtaking restoration on this film, with the original tinting scheme and digital hand-coloring restored, is a great achievement, one that lets us view this film as it was seen in 1922. The fabulous sets by Joseph Urban and costumes by Gretl Urban Thurlow make for a sumptuous film experience that enhances the exciting story of medieval court intrigue.

Marion Davies is nothing short of superb as Mary Tudor. She is willful, impetuous, determined, and throws herself into the role of the princess who, at one point, masquerades as a boy in an attempt to escape the English court of Henry. Forrest Stanley is a suitable Brandon, Lyn Harding is impressive as Henry. William Norris is terrific as old Louis. William Powell is appropriately oily as the king's nephew. Johnny Dooley plays the court jester who has an important scene.

Others include Ruth Shepley as Jane, Theresa Maxwell Conover as Queen Catherine, Flora Finch as a lady of the French court, Ernest Glendinning as Caskoden, Pedro de Cordoba as Buckingham, Arthur Forrest as Wolsey, Gustv von Seyffertitz as the soothsayer, Paul Panzer as captain of the guards, and William Kent as the court tailor. Nicely directed by Robert Vignola.

This is first and foremost a Marion Davies film, and she is spectacular. This new restoration (July 2107) is a must-see film for all fans of Davies in particular and silent films in general.