User reviews

John Gilbert is in his dashing prime as the great lover in Bardelys the Magnificent. Adept at both swordsmanship and seduction Gilbert intersects the careers of Fairbanks and Flynn with a dash and panache equal to them in their heyday.

In the court of Louis Xlll no one is more gossiped about than the charismatic Bardelys, an insatiable rake who literally has women lining up on his doorstep to be seduced. The fun loving Bardelys delights in deluding the ladies with the same pick-up lines sending each away with the feeling they are that special one. Bardelys enviable talents however draws the enmity of Chatterault (Roy D'Arcy) a recently spurned suitor of the the lovely Roxanne (Eleanor Boardman). In a devious attempt to even things up with both he challenges Bardelys to seduce her sight unseen. What Bardelys expects to be another day at the office, however, turns into passionate love and Chatterault vows revenge on both.

Gilbert is perfect fit as Bardelys. With dark piercing eyes he conveys both a hard to resist charm and noble resolve. In addition to his expressive features Gilbert displays a wily limberness in some action scenes where he does some challenging stunt work. As the venal Chatterault Roy D'Arcy aquiline features bespeaks iniquity. Eleanor Boardman's sedate beauty and restraint as Roxanne brings counterpoint to Gilbert's rakish Bardelys and it's all good chemistry.

Director King Vidor who made a star out of Gilbert in The Big Parade the previous year injects Bardelys with his signature crane and exposition shots to bring grandeur to the court as well as depict the hedonistic existence of the let them eat cake crowd. Dividing the film with ample amounts of action, romance and humor Vidor keeps Bardelys moving and magnificent most of the way.

It is always a pleasure and a joy for silent film fans ( German aristocrats experience those primal human feelings everyday; coarse people from time to time ) to know that in spite many various 20thcentury misfortunes such as inclement weather, the inexorable passage of time, long haired carelessness and the Azores trio, finally and miraculously some silent nitrates emerge from oblivion hidden in lost vaults.

The last year one of those old nitrates was found in France, an almost intact copy ( lacking reel 3 )of "Bardelys The Magnificent" (1926) directed by Herr King Vidor. The film was superbly restored, fulfilling the missing scenes with stills, providing a great opportunity to almost complete the silent film career of such an important American director, who filmed many silent masterpieces.

"Bardelys The Magnificent" it is not a masterpiece but a very entertaining film, starring John Gilbert and Dame Eleanor Boardman. It tells the story of Herr Bardelys ( John Gilbert ), a ladies' man, irresistible to women and admired by men but Bardelys will have to fight against his evil rival, Chatellerault ( Herr Roy D'Arcy ) for the love of Dame Roxalanne ( Eleanor Boardman ) in a story set in the decadent French court and surroundings.

"Bardelys The Magnificent" is an impeccable work, careful in details but light in the story; it is not exactly a swashbuckler film although it includes some acrobatics and action scenes and there is a scaffold scene filmed from an impossible angle but this is really more of a romantic drama, not surprising given the presence of Herr John Gilbert, the ladies' man par excellence during the 20's in many American movies.

Herr Gilbert plays convincingly his character, an ironic, cynical seducer; at the beginning of the film Bardelys is depicted in a satiric vein as a French dandy but he will suffer many hardships to win Dame Roxalanne heart ( Dame Boardman is charmingly and beautifully photographed by Herr William H. Daniels-obviously, given the fact that she was the director's wife… As this German count pointed out, Bardelys' only purpose is to win Roxalanne and that's what really matters most to Herr Vidor, so consequently the adventures and suffering of our hero are focused on that unrequited love or paradigm of the art of wooing, displayed superbly in a romantic, splendid and famous boat scene ( it was until last year the only surviving scene of "Bardelys The Magnificent" because it was shown in Herr Vidor's "Show People" (1928) ), artfully filmed by Herr Vidor and itself an excellent reason to watch the film.

"Bardelys The Magnificent" is a charming oeuvre, a light piece of work by Herr Vidor, skilfully directed and with the sole purpose of entertaining. Given that the film includes some action, old France and its decadent court and a romantic and classical love story starring two lovely actors, isn't that more than enough?.

And now, if you'll allow me, I must temporarily take my leave because this German Count must attend a magnificent supper.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

I thought this was a great film. It's got everything. There's plenty of tongue-in-cheek humor (as with Sabbatini's MONSIEUR BEAUCAIRE, one of Valentino's more underrated films) and also some terrific action sequences.

John Gilbert and Eleanor Boardman are great together. Roy D'Arcy has another memorable role as the bad guy (see THE MERRY WIDOW). Karl Dane and George K. Arthur provide comic relief (so does Gino Corrado in the opening duel sequence). Lionel Belmore and Emily Fitzroy are solid as the Lavedans. Try to find John Wayne and Lou Costello as extras.

The missing reel (?) seems to leave us without the story of Lesperon (whom Gilbert masquerades as), but the missing footage doesn't ruin the story.

As has been pointed out, the river seen among the willows is lushly romantic and beautifully done and reminds one of scenes from SUNRISE. The escape scene is terrific with great closeups of Gilbert as he swings on tapestries from the castle walls. It would be interesting to know how they shot these scenes.

There are enough comic and action scenes here to dispel the image of John Gilbert as merely some pale and insipid "great lover" of the silent screen. Gilbert was a solid actor who had appeared in around 70 films by 1926. Gilbert did everything: westerns like HELL'S HINGES with William S. Hart, sports films like THE BUSHER with Charles Ray and Colleen Moore, comic roles like the manic hayseed dancer in HEART O' THE HILLS with Mary Pickford. When he finally reached stardom in the early 1920s, Gilbert continued to explore a full range of roles. He was also a writer and director.

BARDELYS THE MAGNIFICENT ranks among Gilbert's best and most entertaining silent films.

Based on a 1906 novel by Rafael Sabatini and subsequently dismissed as hack work by director King Vidor, 'Bardeleys the Magnificent' was a lost film until 2006, nearly a quarter of a century after Vidor's death.

It's certainly no 'Big Parade', although Eleanor Boardman (who married Vidor the same year it was made) would play the female lead a couple of year's later in Vidor's next major achievement, 'The Crowd', and is here a very attractive if too modern heroine (although that may be what makes her so attractive).

The emphasis is on romance rather than action, although enlivened by a last minute escape from the scaffold obviously based on Fairbanks but embellished (as elsewhere in the film) by Vidor's accomplished use of the camera.

Roy D'Arcy is a marvellous, sneeringly urbane villain who drops out of the film for quite a while; although during his absence an overdressed, baby-faced George K. Arthur enlivens the proceedings as a would-be villain hopelessly not up to the job.

"In an age of light loves and lively scandals, a certain gentleman of France excelled in the noble art of getting himself talked about," introduces us to womanizing swashbuckler John Gilbert (as Bardelys). When Mr. Gilbert meets beautiful and rich Eleanor Boardman (as Roxalanne), he is dared to settle down and get married, on a bet. However, Gilbert's "rival in fashion and love" Roy D'Arcy (as Chatellerault) is also determined to win Ms. Boardman's hand, on orders from the King...

If "Bardelys the Magnificent" had not been lost for most of the 20th century, it would have built a reputation as a highly regarded and influential classic. The MGM personnel is first class, led by director King Vidor and cameraman William Daniels. Writer Dorothy Farnum gives Rafael Sabatini's story a very witty adaptation. Comic relievers George K. Arthur (the original Mike Myers) and Karl Dane are used well; it was after this film that they teamed up as a successful comic duo.

Gilbert's rambunctious sensuality is at its peak. It may not have been discussed, but Greta Garbo admired this film and had Gilbert do a version of his "Bardelys" character for "Queen Christina" (1933); her relationship with Gilbert has been documented, but she was also close with underrated co-star Boardman and Mr. Daniels, who photographed both films. A great cast and crew doesn't always guarantee high art in motion pictures, but it happens here. Everyone and everything is stupendous.

Some great moments tease along the way to a majestic (approximately five minute long) sequence involving Gilbert's escape from beheading. Don't miss this part (after about 75 minutes of running time), you'll want to play it again. Helping make "Bardelys" magnificent, the "3-D"-like escape sequence is certainly one of Mr. Vidor's greatest accomplishments. Thanks to everyone who worked with Eric Lange, Serge Bromberg and David Shepard in making "Bardelys the Magnificent" available.

********** Bardelys the Magnificent (9/30/26) King Vidor ~ John Gilbert, Eleanor Boardman, Roy D'Arcy, George K. Arthur

Bardelys The Magnificent which put John Gilbert in strong competition with Douglas Fairbanks for screen's best silent swashbuckler is based on a novel by Rafael Sabatini who gave us much good material for those action adventure swashbucklers on the silent screen and in sound. We're far more familiar with work like Captain Blood, The Sea Hawk, and The Black Swan. Sad Bardelys The Magnificent never got a sound remake, the role would have fit either Tyrone Power or Errol Flynn perfectly. Especially Flynn because the story has elements of Don Juan which Flynn so successfully brought to the screen.

As the Don Juan of France, Gilbert as Bardelys is tricked into a wager with his court rival Roy D'Arcy that he can't get the hand of a young woman widely known for her virtue in those bawdy times of the court of Louis XIII. Later on through a combination of circumstances Gilbert arrives at Eleanor Boardman's estate incognito in the guise of a rebel to Louis XIII. He woos and wins her and as is usual in these romance stories actually falls for her. But you can already see he's got some real problems to win her.

John Gilbert was as dashing as any of the other noted swashbucklers of the screen. When dialog was given him when talkies started it was in these kind of roles that his voice did not record well and his career took a tumble. But seeing this you have no doubt of why he was considered a great screen lover. Eleanor Boardman is as virtuous as Mary Pickford or Lillian Gish ever were in their films and she wound up marrying the director of Bardelys The Magnificent, King Vidor.

For completists the restoration of Bardelys The Magnificent is of great interest to fans of John Wayne. The Duke no doubt under his real name of Marion Michael Morrison was an extra in this film. But with all the men wearing beards and mustaches as befit the period, I doubt you could spot him in crowd scenes. And Lou Costello probably under his birth name of Louis Cristillo is also an extra.

For Costello this would prove ironical because the actor playing Louis XIII is Arthur Lubin who later became a director of some note and he directed several early Abbott&Costello features, most notably their breakthrough film, Buck Privates.

The action highlight of the screen is John Gilbert's escape from the gallows which rivals anything that Douglas Fairbanks did in his film. There is some really clever use of a pike to aid Gilbert in his escape and I wonder if Gilbert did any of that work himself. No doubt MGM frowned on injuring his rather expensive body with these deeds.

Of course the real beneficiary of this restoration is John Gilbert and the legacy of work did for the big screen. Bardelys The Magnificent is an expertly staged well done piece of cinema.

John Gilbert and Elenor Boardman make a beautiful pair, and their scene at the lake, boating under willow trees, is romantic and rather steamy for 1926. That scene alone makes the film worth watching, and it's fun to see the dashing Gilbert later make a great escape, scramble up a castle, and engage in sword fights that may remind you of Errol Flynn a decade later. Gilbert seems underrated today given how popular he was in the 1920's, and his personal story - clashing with studio head Louis B. Mayer over his high salary ($250,000 for each of six films), his near marriage to Greta Garbo in what would have been a double ceremony with Boardman and director King Vidor, etc - is fascinating. While the film has its moments, it also trundles along at a slow pace, and the plot is rather mundane, so keep your expectations grounded.

The way foreign directors treat French history since DW Griffith and Vidor to Sofia Coppola has always been "personal ": King louis XIII appears as a jolly good fellow whereas le cardinal de Richelieu is overshadowed ,duels are not forbidden (whereas Richelieu thought that they were ruining the French aristocracy ,"these who fight (for their country)" ) and the hero is to be hanged (whereas nobles were always beheaded).

But it's true that Louis the Thirteenth (and le cardinal) would fight both reluctant nobles and protestants; there were rebellions among them,predating the Fronde ,during Anne D'Autriche's regency .

Forget history and you 've got a marvelous swashbuckler with plenty of go and plenty of humor : in spite of an occasional dramatic scene (the lovers in the dungeon where the hero waits for his execution) , playing is a bit tongue-in -chick and most of the time it's comic,sometimes even burlesque : the words Bardelys says to all the ladies he seduces ,the lockets with a locks of hair,churned one after another by the servants , the duel ending with a smack on the bottom (with a sword), the final acrobaties around the gallows,so skillfully filmed (spears points around the drifter) , that one almost believes in this implausible escape.

The movie was restored,but there's a long passage missing ,replaced by photographs and snatches of dialogues:the meeting between the hero,en route to the castle of the lady he covets ,and a dying René De Lesperan , a rebel against the king's authority whose name Bardelys usurps .

John Gilbert is a dashing handsome gentilhomme , a womanizer who is never inconsiderate towards his conquests ,noblesse oblige ; Roy D'Arcy is a delightful villain ,who savors his revenge during the trial ,half-closed eyes, refusing to know his former rival ("Chatellerault" is a town in Poitou) and sending him to the scaffold with an incredible pleasure.

Very entertaing ,action-packed , lots of humor and a screenplay full of sudden new developments :who could ask for more?

Dashing John Gilbert is a charming rogue in the Court of the Crimson King (or whomever, who cares). After he's caught in the boudouir with the wife of a local nobleman he goes for drinks with the King and some wiseacre bets him his castle that he can't seduce Madame de Eleanor Boardman. That's your setup.

What follows is Gilbert mosly standing about in drawing rooms, trying to seduce Boardman. It's all poncey nonsense. Sure, the leads are beautiful, but they are inert. Gilbert's character isn't a real person, he's a preening caricature. Boardman - wildly effective as the impoverished wife in The Crowd - is so downbeat that it's hard to believe, despite her under-rated beauty - that Gilbert would be spending so much time in her except for that bet he made. She's just not dynamic enough.

Compared to The Crowd, where director King Vidor wowed us with the photography, the story, the pacing, the acting - everything - Bardelys is not so Magnificent in each of those respects.

An entertaining prototype of all those '30s swashbucklers sees an athletic John Gilbert playing the title role of a womanising aristocrat who reluctantly enters into a wager that he can marry a glacial noblewoman within three months. Gilbert's a lot of fun and Eleanor Boardman is the charming subject of his wager (although Dorothy Farnum's screenplay never addresses the fact that Boardman and her family are firmly opposed to Bardelys's close friend, King Louis VIII). Worth watching for the stupendous action sequence in which Gilbert makes a spectacular escape from the gallows (and appears to be doing much of his own stuntwork).

Bardelys the Magnificent (1926)

*** (out of 4)

Adapted from a Rafael Sabatini novel, this lavish MGM production features John Gilbert as Bardelys, a wife stealing rebel who defies the wishes of the King and just does things his own way. He eventually meets and begins to fall in love with the beautiful Roxalanne de Lavedan (Eleanor Boardman) but the evil Chatellerault (Roy D'Arcy) has his own plans for the lady. This swashbuckling saga was lost for many decades until a print turned up in 2006 and in pretty good shape. There's a small section that is still missing but the restorers just used some scenes from a trailer and a photo recreation to help fill these segments in. This is certainly well worthy of being discovered because this is a rare case where a lost movie turns up to be a major find and a good movie at that. The flick is what I'd call a spoof because I think both Vidor and Gilbert are having fun and making fun of folks like Fairbanks and all their swashbuckling action pictures. Just take a look at a hilarious scene early on where Gilbert is kissing a man's wife when the husband comes in the room screaming at him. Gilbert, calmly, tells him that it's rude to be speaking so loudly and then goes back to kissing his wife. The love story between Gilbert and Boardman is actually pretty good and believable as is the hatred between he and D'Arcy. The ending goes out with a major bang that I won't ruin but some of the stunts here are extremely impressive and especially one where Gilbert must walk up the side of a castle. Gilbert, as expected, is perfect for the role here as I've never seen him so dashing or charming. I'm not sure what type of make up was used by he seems to have a glow around him as he dashing from one scene to the next. Both Boardman and D'Arcy are good as well even though they can never match Gilbert. Vidor does a fine job at keeping the film moving as the pacing is very good as are the action scenes.

Well first of all, M. BEAUCAIRE is Booth Tarkington and not Sabatini but it's still a pleasure to see this as an early entry in the MGM Sabatini cycle, along with a couple of Scaramouches, especially when it had been lost for so long. The copy seems incomplete outside the missing reel. Where is Edward Connelly's Cardinal Richelieu? The subject is not a good match with the talents of King Vidor. La BOHEME is a much better film and it appears perverse to have him do it, when Victor Seastrom, one of the originators and masters of the costume movie was on the MGM pay roll.

Vidor gives it good try and seems to have a nice rapport with the leads. Gilbert was at his peak and radiates star power here and Eleanor Boardman is a nice departure from heroines in ringlets. Their relationship makes the piece agreeable and the action climax, while it is sub Fairbanks, is ingeniously staged, making great use of the lances and having some striking downward shots.

This is an agreeable missing piece in the film history jig saw.

John Wayne made his screen debut in this Rafael Sabatini adaptation titled 'Bardelys the Magnificent'. Sabatini was one of many novelists who was used to bring historical dramas to the big screen mobilising the careers of Errol Flynn and Stewart Granger.