The Exile

Maria Montez plays a French Countess in this film and headlines the show. She's barely in the film, for goodness sake! Her role could have been completely written out - it has no relevance to the story whatsoever. She must have been very important. Can someone explain?

The story is set in Holland during the exile of England's King Charles II in 1660. Douglas Fairbanks Jr. plays the king and spends the film wooing farm girl Rita Corday (Katie). He, of course, is undercover. An interesting sub-plot is introduced when Robert Coote shows up at the farm claiming to be King Charles II and demanding food and lodgings. Cue humour. Unfortunately, there is too much humour in this film - it exists in nearly every scene which is not what I was wanting. I hoped for some actual historical fact so if you expect any truth you will be disappointed. It's basically a love story with some sword fighting. It could be set anywhere. However, I am glad that the Cavaliers won. I am a Cavalier as defined by my boys school changing-room etiquette. You showed your willy and that put you in either the Roundhead or Cavalier camp. We were only 5 years old and there were no teachers involved!

Max Opuls does a good job of directing, Douglas Fairbanks Jr is fun to watch, and Henry Daniell is absolutely superb as the ruthless villain, but the ending is much too serious and monarchic, especially in view of the fact that Charles II was ready to help out in the kitchen and be a farmhand. I could see this film being made prior to WWII with all the bowing to the British crown and empire, but by 1947 it seems out of sync with its time.

Wonderful photography, great duel between DF Jr and Daniell. Some clever dialogue, especially from DF Jr.

Above average, worth watching despite the drawbacks pointed out above which, of course, might even be positives from the standpoint of someone of more aristocratic leanings.

Max Ophüls is one of the greatest directors of all times, he started as assistant director to Anatole Litvak and learned very much from him, which you can see and feel in his films: they had a unique great efficiency of direction in common, but Ophüls added to his supreme mastery also a knack for moving cameras. You see that almost hallucinatory camera-work in every one of his films. His Jewish origin (his real name was Maximilian Oppenheimer) gave him problems with the German Nazi regime although he was an established leading director, so he changed his name and went to France - Ophüls is an old German aristocratic name, which he felt suited his image. He made no films between 1940 and 1947, being practically exiled but working in France and Italy and even America but returned to the screen in 1947 to make this flashing virtuoso film of exuberant romantic intrigue - the exiled king of England in constant fear of his life by the wicked roundheads escapes to a farm in Holland where he cultivates tulips with a charming country girl, with whom he naturally falls in love. Another exiled Englishman, an errant actor out of work, exuberantly played by Robert Coote, poses to be the exiled king to be treated thereafter but is visited by a French countess who knew the real king, which complicates matters, which are further complicated as the farm is invaded by roundheads who come to root out the king dead or alive. The film is actually written and produced by Douglas Fairbanks Jr, so it's really very much his film, and he makes the best of it in superb classical Fairbanks style with dashing duels and much kissing in between - especially impressive is the great hullabaloo with all the roundheads falling over each other in the desperate chase for the king in the windmill. There are great windmill acrobatics here. In brief, the film is a feast to the eyes, the story is mounting in intensity and interest all the way, the music is perfectly suited to illustrate the moods, the idylls, the drama, the tension and the high romance, it's in most ways the perfect adventure film where nothing is missing, and Max Ophüls' supreme direction and marvellous use of details crowds the film with opulent excellence from beginning to end. In brief, after seven years' absence Ophüls was back on the screen, and his next film would be the masterpiece "Letter from an Unknown Woman".

I remember seeing the preview of THE EXILE when I was 9 years old, but never actually saw the film till last night. Reminded of this rare and all-but-forgotten picture via this website, I sought it out on the internet and purchased it for a modest price. No disappointment. A romantic adventure film set in 1660 combines real history with highly entertaining story. Douglas Fairbanks Jr. was a great leading man and he plays this role with ease and vigor. The re-creation of the era was perfect and the film has not a trace of today's annoying Attention Deficit Disorder editing. They didn't make any good movies in 2005, as evidenced by the trashy 5 lefty-spin pictures nominated as Best Picture. If you want to see a classic, don't give up on it. Seek it out and with tenacity you can find it and see it. I've only failed once, but still looking for that rarity.

This is probably the least appreciated of the series of masterpieces Max Ophüls made in his too-short stay in Hollywood. Superficially it is a fairly silly, light-hearted historical romp, and it is enjoyable enough on that level. But this only throws into sharper relief the expressive mastery of Ophüls' style - by the end of the movie a single elegant camera move is enough to turn the mood to high tragedy. This is sublime filmmaking.