The House of Rothschild

Before Paul Muni was doing biographical films at Warner Brothers, George Arliss was doing them before. Arliss a veteran of the British theater was one of the first to recognize the importance of film in preserving the actor's art. He did even more silent films than sound which took advantage of his magnificent speaking voice and perfect English diction. His acting today is considered hammy by many, but for me I like the idea of being able to understand every enunciated word.

In The House Of Rothschild Arliss plays the dual role of patriarch Meyer Rothschild and later Nathan, one of the five sons whom he dispatched to various European capitals to establish the family banking business. This was in the 1780s-90s. By 1814 the House is well established throughout Europe and even when countries are at war, The House Of Rothschild acts as a unit. Though the Paris branch has to be a bit discreet with Napoleon Bonaparte making war on all the rest of the places the brothers have set up shop.

The money lender is never a popular figure. It's the reason why when Jews were forbidden to own land and frozen out of certain businesses and trades, they were allowed to be bankers. That way it was a double whammy in unpopularity for them.

The House Of Rothschild even with Napoleon making entreaties to the Jewish people backs the Allied cause to the hilt. It wins the gratitude of someone no less than the Duke of Wellington played by Sir C. Aubrey Smith. But Prussian banker Ledranz played by Boris Karloff makes no secret of his anti-Semitism. Quite a daring piece for 1934 as Hitler was starting his war on the Jews and few were speaking out.

Florence Arliss the real life wife of George Arliss plays his wife Hannah in his Nathan persona. But Helen Westley is mother Rothschild and she gives a lively performance. It is she whom you will remember best from this film after George Arliss.

Robert Young and Loretta Young play a Wellington aide and a Rothschild daughter who fall in love and are the secondary romantic plot in this film. But it's Arliss's portrayal of the shrewd and intrepid Nathan Rothschild and the story of the fortune that is the heart of the film. And it is a big heart in every sense of the word.

A dramatic, inter-generational history of the House of Rothchild. Most people have a vague notion of the Rothchild banking dynasty, but like me, probably didn't know the history and pain that went with it. This story covers the origin and evolution of that dynasty and an explanation of it's motivation. The story centers around the elder brother, Nathan, played by George Arliss and his four brothers. I have to admit that I never saw the George Arliss magic until I saw this picture. He really was a major talent, although he was quite old when he did this. We see the family breaking out of "Jew Street" in Frankfurt, and establishing banks throughout Europe while struggling to overcome anti-semitic attitudes and actual pogroms. There are some personal vignettes involving Loretta Young as Nathan's daughter and her goy suitor played by Robert Young that tend to humanize the family but really don't amount to much. The real story is the family drive to help stabilize a war ravaged Europe and through it, command the respect of a deeply anti-semitic aristocratic European society. The picture paints a rather pastel version of what was probably a grueling battle for acceptance, but it managed to convey a feeling of warmth and respect for the underdog. There are some very nice touches. The family members all touch the mezuzah each time the enter or leave the house. Everybody kisses Mama, and George Arliss shows what appears to be a real tenderness whenever he interacts with Loretta Young. The brothers never appear to be avaricious, but rather an integrated force of will, determined to succeed, yet determined to play by the rules. All in all, an enjoyable and informative docu-drama. Well worth the 90 minutes.

... which is appropriate since he had the talent of at least two actors of any era. In this case Arliss plays both Mayer Rothschild and son Nathan after the house of Rothschild has begun to flourish into a huge banking enterprise. What makes these precode biopics of Arliss fun to watch is his mischief, the precocious energy of a five year old and the wisdom of a sage observer of human nature all packed into one lean unimposing frame. The precode era also allowed Arliss to make a comment here and there that likely would be censored in the production code era.

The time is that of the Napoleanic Wars and the Rothschilds, after funding the British in the first defeat of Napolean, find the British aristocracy develops a not so startling case of amnesia and begins treating Nathan Rothschild as an outsider - a Jew - and excludes him from their most lucrative deals. When Nathan Rothschild initially outsmarts them in business, the vindictive Count Ledrantz (Boris Karloff) incites riots against the Jews throughout Europe, even putting Nathan's own mother at risk back at the ancestral home in Germany. However, what nobody knows at the time is that Napolean will escape and a second campaign against him will be necessary. Will the Rothschilds go after their own best interests and back Napolean or will they again side with those that have discarded them - the British. Watch and find out.

Also watch George Arliss' other biopics of the early sound era - Disraeli, Voltaire, and Alexander Hamilton are the ones I've actually been able to see so far. All of these are very much worth your time.

This interesting early talkie from 1934 is a biopic of Nathan Rothschild, the British-German-Jewish banker from the times of Napoleon that is considered one of the founders of international finance. Rothschild is famous among many things from making a fortune in the London Stock exchange by speculating successfully on Wellington's victory over Napoleon at Waterloo (this is in this film, though apparently according to recent historians it probably never happened).

Rothschild, as portrayed in the film by George Arliss, is not a very likable person: unabashedly ethnocentric (he is adamant that his daughter must not marry a gentile suitor), he is always ready to take offense, views almost every non-Jew as anti-Semitic, is willing to use money to exercise power, etc. Probably because of this, the Nazi propaganda minister Joseph Goebbels was an unlikely fan of this film, releasing an edited version in Germany (that emphasized the most negative aspects of the protagonist) and in 1940 he used an unauthorized clip from this film in the infamous anti-Semitic documentary "The Eternal Jew" and also had his own German remake, "The Rothschild's shares in Waterloo". The German film, by the way, despite its obvious propaganda intentions, is well made and has a literate, intelligent script. In a way, Rothschild is a more sympathetic character in the German film than in the Hollywood version! The Hollywood film is also notable for the last scene (in which Rothschild is knighted by the King) being shot in an early Technicolor process.

The House of Rothschild had a great cast, which was what made me watch it in the first place. And I'm glad I did. Maybe there are lapses in the pacing, and some of the romantic parts felt a little trite. There is much to recommend about The House of Rothschild though. The lavish costumes and sets and the skilled photography makes it a beautiful film to watch. Alfred Newman's score always compliments and even adds to the drama rather than detracting from it, while the script is very intelligently written(Nathan talk on financing and war was really quite powerful) and the story, of which the subject was fascinating to begin with, is thoroughly absorbing with a beautiful ending. The acting is very good. George Arliss is wonderful in his dual role, Loretta Young is the epitome of youthful loveliness and Boris Karloff is commanding in both menacing and subdued mode. C. Aubrey Smith and Reginald Owen are similarly excellent.

Overall, beautiful to watch, well-written and acted and fascinating. 8/10 Bethany Cox