The Four Horsemen of the Apocalypse

Besides being a worthwhile and interesting drama, "The Four Horseman of the Apocalypse" is also one of the few Rudolph Valentino films that still holds up well in its own right, rather than as a mere memento of the popularity he held in his own era. The story works both Valentino and the rest of the cast into a good story that contrasts their lives in peacetime with their experiences during the Great War.

The story is set up well in the earlier stages, as the personalities and the relationships of the characters are defined. When the war begins, the story uses it to bring out many different facets of the characters' natures. Their reactions and decisions not only comment on the war itself, but on human nature and on the way that different persons react in times of crisis.

There are a couple of memorable sequence that tie together several of these themes.

The imagery of the 'four horsemen' is rather obvious, but it is used sparingly enough to keep it from being obtrusive. The story, likewise, makes use of a couple of overly convenient coincidences, but overall it is believable and at times compelling, as is the movie as a whole.

The Four Horsemen of the Apocalypse, released in 1921, is so well made that it overcomes the enormous obstacles of technology. The story is of epic proportions. Set immediately before World War I, it deals with a rich Argentine family, one branch recently arrived from France, the other from Germany. After the death of the patriarch each branch returns to their respective homelands as Europe slides into war. Deep, rich subplots abound, with much time spent on the adulterous affair of the indolent French grandson (Valentino) with the young married wife of an older businessman. Quite a surprising treatment of such mature subject matter.

Made when the wounds of WWI were still open and sore, the film's themes are grim and dripping with overt religiosity. But this is what The Four Horsemen of the Apocalypse is all about, the horror of war, and the redemption of man through personal sacrifice.

An excellent film, recommended highly.

An extended family split up in France and Germany find themselves on opposing sides of the battlefield during World War I.

Often regarded as one of the first true anti-war films, it had a huge cultural impact and became the top-grossing film of 1921, beating out Charlie Chaplin's "The Kid". The film turned then-little-known actor Rudolph Valentino into a superstar and associated him with the image of the Latin Lover. The film also inspired a tango craze and such fashion fads as gaucho pants. The film was masterminded by June Mathis, who, with its success, became one of the most powerful women in Hollywood at the time.

Despite this -- the sales, the Valentino connection, and more... this is a little-known film and one that is rarely seen. Even being preserved by the Library of Congress (which is how it got on my to-see list) has not really raised its stature much. And yet, it is a minor silent epic that could be seen as the equal of anything DeMille or Griffith put out.

Pre-World War I, an Argentinian rancher's two daughters marry a Frenchman named Desnoyers and a German named von Hartrott. Desnoyers' son Julio grows up to be a playboy, and moves to Paris to become a painter. Von Hartrott's sons go to Germany and serve the Fatherland. Julio begins an affair with a married woman, Marguerite Laurier. With the outbreak of war in France, Julio feels no responsibility to enlist, while von Hartrott's sons join the German army. Marguerite becomes a nurse for the Red Cross, and, ironically, tends to her injured husband, who was blinded in combat. Julio finally sees the light and joins the French army, and in the climax, comes face to face with one of his German cousins.

Ultimately, this is a depressing film, and somewhat emotionally draining, but it is impressive in so many ways. The cinematography is excellent, and the few battle scenes are realistic and well-staged. The biblical Four Horsemen make several appearances, with some clever trick photography. The romantic leads are fine (Terry is particularly lovely). But what made the film for me was the outstanding supporting cast, many of whom are not remembered today. Although there were so many characters it was sometimes hard to keep track of who was who, each one had an interesting storyline. Josef Swickard, as Julio's father, may well be the most pathetic character in the film. He has to suffer the humiliation of discovering his son is carrying on with a married woman. Later, his French home is virtually ransacked by the Germans. He is initially overjoyed to find that one of his nephews is a German officer, thinking this will spare him any atrocities. Fat chance. In one scene, weird even by today's standards, one of the Germans puts on a dress during a wild celebration in the house, while another officer (Wallace Beery) attempts to molest a young woman.

Alan Hale, as the senior von Hartrott, is gung-ho on having his boys serve Germany, but at the end, he is a broken man, regretting that his family ever left Argentina.

Nigel De Brulier plays a mystical character who seems to foretell what is to happen.

John St. Polis, who could easily have been cast as a villainous character, emerges as a sympathetic hero, and his later scenes with Alice Terry are quite touching.

The Four Horsemen of the Apocalypse is an astonishing and spectacular film. I agree with most of the other comments, that this film is definitely a must-see, though I have reservations about some unevenness in the plotting. But the spectacle, the fire-and-brimstone imagery, and the excellent star-making performance by Valentino more than compensate. In many ways, it DOES tower above 99 percent of what Hollywood throws up today.