The Emperor's Candlesticks

The handsome Prince (Robert Young) has been kidnapped and will be killed unless a Polish secret agent (William Powell) is able to sneak a ransom note to the Czar. Unfortunately, he chose a rather silly place to hide the note (inside a specially created candlestick) and it is lost. At the same time, a Russian spy (Luise Rainer) is trying to sneak in letters incriminating Powell as a spy--and also hides them inside the matching candlestick--which also is lost. Lots of intrigue follows--as well as some MGM style romance.

This film should have been better. After all, it starred the wonderful William Powell and had such supporting stars as Maureen O'Sullivan, Robert Young, Frank Morgan and Henry Stephenson--all fine actors. However, despite a decent script idea and such talent, the film was only okay. Much of this is because the script was rather tepid and talky--with too many scenes listening to the characters play verbal chess--trying to outfox each other. There was little 'zip' or excitement.

In addition, some of the blame probably resides with co-star Luise Rainer. While Ms. Rainer only made a small number of Hollywood films, she had the distinction of winning two straight Best Actress Oscars. However, when you see these two performances as well as her subsequent films you wonder why she received such accolades. The performances just didn't age well. In the last week or so I have seen six of her more famous films, I can't help but think that she was a terribly over-rated star. I'm sure she's a nice person and is still thriving today at 98 years-old. But her style of acting usually included staring wide-eyed into space and often reciting her lines in an over-eager fashion--more like a girl in a high school play than someone trying to play a realistic performance. While Ms. Rainer was better in THE EMPEROR'S CANDLESTICKS than in some of her other films (particularly DRAMATIC SCHOOL and BIG CITY), she still was not up to starring against Powell.

Now all this is NOT to say that this is a bad film--it's enjoyable enough. But there just isn't much spark or energy and could have been a lot more interesting. A decent time-passer and that's about it.

Perhaps because I was not very familiar with Luise Rainier performances (beyond "The Good Earth," which movie I didn't like), I was impressed by her in "The Emperor's Candlesticks." I use the conditional because of comments by others here.

Nevertheless, I found her charming, even entrancing.

William Powell gave his usual masterful best and all the other players were intriguing.

There were lots of "other players," too, and that each managed to be individualistic speaks of their own talents and of that of the director and script writer.

The movie was well directed, generally, and the script presented a view of a world long gone that we might otherwise never get to see.

It's a good yarn, with meshing stories of intrigue, and an adventure of an international race against the clock.

I recommend this as a must-see movie on many levels.

Powell, could play any part, so we know it will be good. Deep in the heart of the production code, but JUST prior to the big war... William Powell is Baron Wolensky, who is sent on a two-part mission. First, to deliver a note to the czar; secondly, to deliver fancy, expensive candlesticks to a lady, for Prince Johann. What Wolensky doesn't know, is that he is being set up to be intercepted at the destination as a spy and a thief. Fun co-stars Frank Morgan (The Wizard!), Maureen OSullivan, and Robert Young. Don't forget Henry Stephenson, the stately, prim and proper older gentleman, who was always the wise uncle, or the senator, or the ambassador. There are surprises along the way, for everyone involved. And everything revolves around the candlesticks, which are more valuable than anyone knows! It's a fun one. Made in the mid 1930s, before the ugliness of war. It's a serious drama, but has a sense of adventure about it, especially with Frank Morgan on board. Story by hungarian writer, Emmuska Orczy, who wrote numerous plays and novels. She died in 1947, but hollywood is still making films based on her works. Directed by George Fitzmaurice; started in the early days of the silents, but sadly, died quite young at 55.

By the mid-1930s, the Poles and Russians had been feuding bitterly for nearly 1,000 years. The first two decades of the 20th century had been tumultuous for much of the world, culminating with WWI - the war to end all wars. Near the end of that war, France executed Mata Hari, an exotic dancer from the Netherlands. She was convicted of spying for Germany against the Allies. Espionage was now commonly known to exist between rival countries, especially the Soviet Union and Western Europe.

All of this provided a solid background for the plot in "The Emperor's Candlesticks." It is based on a novel by the same name written by Baroness Emmuska Orczy. The Hungarian-born British author was one of the early female writers of mystery and intrigue. Her best works were in historical fiction. The most famous of these were "The Scarlet Pimpernel" and its sequels. Two excellent adaptations of the Pimpernel have been made into movies - in 1934, and 1982 for TV.

While Orczy's book was published in 1899, the 19th century had much of the same political turmoil as the early 20th century. Orczy moved several times throughout Europe with her family before settling in London. No doubt, she had read or heard about suspected espionage between nations in that time. So, she wove a very nice tale of secrecy and intrigue into this story with a subdued but blooming romance.

For its part, Hollywood's MGM team added some wit and glamour to the story and made it an all-around appealing movie with top stars. Some other reviewers before the time of this writing (Oct. 2013) didn't see much in the plot, or thought it very silly. Certainly, the background for the plot was spot on for the time and geography of the film. The story is fiction in an historical setting. It has intrigue and adventure. It is a subtle romance. And with a nice dose of humor spread throughout, it might be considered a caper comedy. A very funny scene has the Baron (William Powell) and Countess (Luise Rainer) in their adjoining hotel rooms bouncing on their beds several times to make the springs squeak so that the other person will think he or she had retired for the night. Then each one sneaks out to catch the night train to Budapest.

That's just great entertainment, and I found this film very interesting and enjoyable. And, in the hands of William Powell, Luise Rainer, Robert Young, Frank Morgan and supporting cast, it's a superb movie.

There's one piece of trivia that might be of interest to viewers. A scene toward the end of the film has the Russian Czar in it, but we never see the actor's face. At the time of this movie, and well into the 1950s, Hollywood would not show on film the faces of actors in roles of key world figures - such as the U.S. President, or kings, queens or other prominent rulers. Today, of course, it would seem awkward not to show the faces of actors in any roles. Perhaps, in times past those offices were held in higher regard and public esteem than they are today?

Here are some favorite lines from the film.

Baron Stephan Wolensky, "Turn out the lights, turn out the candles and turn in."

Baron Stephan Wolensky, "Where's the best restaurant in town?" Hotel Clerk, "This one, sir." Baron Wolensky, "Are you sure?" Hotel Clerk, "Absolutely, sir. It's the only one."

Countess Olga Mironova, "Were you nice looking?" Baron Stephan Wolensky, "When?" Countess, "When you were young."

Countess Olga Mironova, "I thought you never read newspapers." Baron Stephan Wolensky, "I don't. I listen to what other people read."

Col. Baron Suroff, "Does your highness want me to be exiled to Siberia?" Grand Duke Peter, "I sometimes wonder."

Baron Wolensky, "What time is it, Albert?" Butler, "Half past two, sir." Baron Wolensky, "Ah, ah, good to get to bed early for a change. That enables me to get up early. Call me at eleven."

Mr. Korum, "I have some interesting news for you. The Countess Mironova is in Vienna. She leaves for Petersburg tonight." Baron Wolensky, "Tonight? Well that's interesting. I hear she's very beautiful." Mr. Korum, "And very dangerous." Baron, "Yeah, the words are synonymous."

Mr. Korum, "She's in the Russian Secret Service." Baron Wolensky, "How do you know that?" Mr. Korum, "We don't. We surmise. But you better be very careful. She may not be traveling through Vienna just by chance." Baron Wolensky, "Hmm, well still, there are always people traveling between here and Petersburg. That might be one reason they built the railroad."

Countess Olga Mironova, "You're Baron Wolensky?" Baron Wolensky, "And you're the Countess Mironova. Strange we've never known each other, isn't it?" Countess Mironova, "It is, isn't it? You're Polish, are you not?" Baron Wolensky, "Oh, yes indeed, and you're Russian. We're neighbors, so to speak." Countess, "So to speak."

Baron Wolensky, "Do allow me to look after your belongings. Those candlesticks, for instance, are more precious than you think." Countess Mironova, "Pardon me - they're more precious than YOU think."

Countess Mironova, "I read my newspaper." Baron Wolensky, "I never do." Countess, "Perhaps you're wise." Baron, "I wish I were. The wise are never lonely." Countess,, "Are you lonely?" Baron, "Yes... So are you". Countess, "Why do you say that?" Baron, "You are, aren't you?" Countess, "I've never thought of it."

William Powell is always worth watching carefully for his inimitable understatements capable of turning any serious business into priceless comedy. There is no Myrna Loy here but instead we have Luise Rainer playing a Russian countess and spy and being absolutely irresistible, almost like Greta Garbo in her suavity, but Garbo was too serious for comedy. Luise Rainer is all comedy and almost outrageously charming. The couple is a perfect combination, William Powell playing a Polish baron in precarious standing with the Car and aware of it. Nevertheless he accepts the classified mission of delivering a petition to the Car, and to keep it safe he applies the secret mechanism of an 18th century silver candlestick of elaborate artistry. The problem is there are two candlesticks like this, and the other one is in the care of the Russian countess Luise Rainer, who also has a mission of smuggling a secret message in her sample. Naturally they are confused in the delivery, there are many additional threads to this mess leading more and more astray, compelling the protagonists to travel all over Europe to Vienna, Budapest, Paris and London chasing the candlesticks, and they finally end up in St. Petersburg facing the Car. It's a labyrinth of a crooked sieve involving also Roland Young as the Czar's son Peter and Maureen O'Sullivan as the only serious woman in the play - the film begins in Vienna with a great New Year's Eve ball at the opera in a obligatory masquerade, where Romeo (Roland Young) meets Julia (Maureen O'Sullivan) and they keep crossing each other's paths. It's a delightful espionage play and comedy and a feast for the eyes with many humorous and risky turns on the way, while for once in a spy thriller there is not one single casualty.