The Exile

source: The Exile

Moviecut—The Exile

The Exile

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.

The costuming for this film must bring a smile to the face of anyone familiar with fashions of the 17th century. The film's action occurs in 1660, but Fairbanks and his colleagues wear jerkins fitted to the waist, stylish about 1620-1630, but apparently considered more dashing than the loose smocks and petticoat breeches of 1660. Then Maria Montez arrives, wearing a gown clearly from the 1880 Wild West costume rack in the Wardrobe Department. To atone, her second frock is only a century out of kilter, something from about 1750. I found the sound-stage exteriors very claustrophobic and phony, and I noted only 3 instances when I felt the "Ophüls touch," for example when the shutter blew open and closed, alternately revealing and concealing the lovers as they approach their first kiss. I'm also puzzled why Max Ophüls is listed as "Opuls" in the credits, but perhaps that is a phonetic rendering to eliminate the umlaut?

1660 and King Charles has been removed from the throne by the tyrant Cromwell,vi who never appears as a character in the film. The closest is Henry Danielle, in his usual villainous demeanor. His voice sounded like Richard Burton. The film gets bogged down with Douglas Fairbanks finding refuge in the house of a flower girl and farmer, with true love resulting. There was a guy, an actor pretending to be king, who really confuses things at certain points. The ending reminded me of "The Student Prince," where lovers must part for the king to pursue his responsibility.

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.

In one of his BEST acting roles, Douglas Fairbanks, Jr.'s second stint as a movie producer--and his first as a writer--is an ambitious attempt to dramatize the tale of the restoration of Charles II to the throne of England. An avowed Anglophile, Fairbanks has a strong sense of the history of his adoptive land. (He was born in New York City.) Fortunately, the drama and excitement of the pursuit of Charles Stuart (Fairbanks) after his return from self-imposed exile in Holland by Oliver Cromwell's Puritans is lushly displayed by the producer-author-star's insistence on a deliberate, poetic pace for the story. Much of the film is concerned with Fairbanks' trysting with the luscious Croset--later Paula Corday--in her first starring role, as a Royalist who conceals the fugitive king on her estate. Despite a strong supporting cast and an interesting concept, the film is a forgotten charmer!