If I Were King (1938) User Reviews

What Golden Age Hollywood Did Best

[juvenalxx · 8/10 · 15 June 2005]

Ronald Colman and Basil Rathbone, two wonderful actors having the time of their careers playing wittily written opposites who are also spiritual soulmates -- Francois Villon, the poetic rebel, born into poverty with a noble soul, and Louis XI, King of France, born into privilege but with a rebel's iconoclasm. Add a witty script by that poetic comedic rebel Preston Sturges, who hits all the crowd-pleasing buttons without condescension and no-nonsense direction by Frank Lloyd, and you have a top Hollywood product -- a crowd pleaser with intelligence.

Rathbone is a particular delight. Pre-Holmes, he revels in playing an unprepossessing cynic to whom everyone must bow because he happens to be the king. Colman is doing what he does best, playing an intelligent, superior man, without losing the common touch. A delight all the way around.

Entertaining story of Francois Villon and Louis XI

[blanche-2 · 8/10 · 8 September 2007]

Ronald Colman gets his wish in "If I Were King," a 1938 film also starring Basil Rathbone and Francis Dee. Colman plays the vagabond poet Francois Villon, who is overheard by the disguised King (Basil Rathbone) criticizing His Highness and talking about what he would do if given the chance. He and his entire party are arrested, and Louis makes Villon the Lord High Chancellor. Villon gets to work immediately and elevates the king's reputation among the people. He opens up the stores of food at the palace and gives it to the citizens - they have no food because the city is being held by the Burgundians. The sentences he passes out to anyone arrested are merciful and fair. It seems as if he has succeeded. But what the King has failed to inform Villon is that he is only Chancellor for a week - and he has that week to convince the French army, who are refusing to fight the Burgundian army, to do so and win.

"If I Were King" is a great deal of fun, and Ronald Colman is delightful as Villon. But first, in response to a previous post, a word about accents. The previous poster asks if there was a vocal coach available, as there were people speaking in British and American accents - no French accents. Hollywood often confuses the accent issue of films set in foreign lands by casting one or two people who have some type of accent while the rest do not. The rule in acting is that no accent is necessary when doing a film or a play set in a foreign country. Why? Because the people of that country are not speaking English. They are speaking their own language. They are NOT walking around France speaking English with a French accent. This is why when actors perform Russian plays, or Hollywood did films set in Nazi Germany, Budapest, Spain or anywhere else, the actors did not have to use an accent of that country. An accent would only be necessary if a German were in America speaking English, for instance.

To get back to the cast, led by the wonderful Colman, Basil Rathbone is excellent as the hated Louis, and Frances Dee is lovely as Katherine de Vaucelles, who falls in love with the Lord High Chancellor.

Someone complained because Errol Flynn did not play this role. Flynn would have been marvelous, as he was a very charismatic actor, but I think Colman is marvelous. His Louis is not only energetic and charming, but highly intelligent, and Colman is able to shade the role in a way that Flynn, who tended to be much more superficial in his characterizations, could not.

An enchanting film, highly recommended.

Ronald Colman and Basil Rathbone and a Preston Sturges script can't be beat.

[Art-22 · 8/10 · 18 November 1998]

I knew I was in for a treat when I saw Preston Sturges was scriptwriter for this film, which was clever and energetic, but I didn't expect such wonderful performances from both Basil Rathbone (who received an Oscar nomination) and Ronald Colman. I always felt Colman didn't pick up his lines fast enough (at least in his later years), but he's perfect playing the poet François Villon. Colman sounds like a poet whenever he speaks in all his roles! You've never seen Rathbone in any role quite like that of Louis XI. He sounds at first almost childlike, but it is a mask - he's pretty wily and knows what he is doing all the time. The script, of course, is pure hokum. You can't imagine for one moment that a king would make Grand Constable a man who was caught stealing food from the royal storehouse. As Grand Constable, he runs France! The extended scene where he, while hidden, metes out sentences to his friends who were also caught stealing, is pure delight, and very worthy of Sturges. I found fault with Villon's earlier escape, as it was too easy, and with the casting of Ellen Drew in the role of one of the wenches at the Fir Cone tavern, and who loves Villon. There was too much to enjoy in the film so those were easy to forgive. His other love is Frances Dee, playing one of the nobles at court, and she is always stunningly dressed in Edith Head's costumes. The rest of the cast was all first rate, and the Oscar-nominated sets were excellent. Curiously, the film is set in 1463, the approximate year that Villon died at the age of 32. Also, William Farnum, who plays General Barbezier in this film, played Villon in the 1920 silent of the same name as this film.

Classic Colman Swashbuckling Adventure!

[cariart · 5 March 2004]

Hollywood certainly had reason to thank their lucky stars that Ronald Colman's career straddled both silent and sound films, and that he was of an age where he was still believable as a romantic leading man as sound became the industry standard. Silent films had made him a major star; sound revealed that amazing, distinctive voice, oft imitated but never surpassed, that made him legendary.

Of his amazing output of classic films in the 1930s, IF I WERE KING is one of the most audience-friendly, and, with THE PRISONER OF ZENDA, stands as two of the best swashbucklers of the decade. With a wryly engaging script by the legendary Preston Sturges (based on the famous operatic play by Justin Huntly McCarthy), and the 'no frills' directorial style of veteran director Frank Lloyd (who specialized in action films), the fanciful adventures of vagabond poet François Villon (Colman) may lack the sweep of the Michael Curtiz/Errol Flynn spectacles at Warner Brothers, but makes up for it with humor, a sense of the absurd, and Colman, himself, who could act rings around the younger Flynn.

As fifteenth century Paris is besieged and slowly crushed by Burgundian armies, all that holds the city, and the dream of a united France together, is the iron will of doddering old King Louis XI (brilliantly portrayed by frequent Flynn nemesis Basil Rathbone, who is obviously having a ball in the character role). Meanwhile, the rabble of the city, victims of the corruption of the court, are stirred by the writings of poet/revolutionary Villon, who steals from the rich, dodges authorities nimbly, and is unafraid to speak the truth. While drinking stolen wine with friends at a local inn, he presents such an eloquent case of how he'd change things "If I were King", that Louis, watching in disguise, and well aware of his government's shortcomings, decides to put Villon to the test. Capturing the revelers, he surprises the poet by appointing him Lord High Chancellor for a week, daring him to improve things...and Villon delivers, demanding the Burgundians to surrender(!), opening the food coffers to the starving masses (and forcing the aristocracy out of their well-fed complacency), dispensing justice tempered with mercy, and creating among the lower classes a sense of patriotism and greater purpose towards King and Country.

As the King cackles at the turn of events, the military and aristocracy despise Villon (other than beautiful Katherine de Vaucelles, portrayed by Frances Dee, who falls in love with the Lord High Chancellor, while suspecting him to be the penniless poet who once pledged his love as she attended Mass). As the week draws to a close, and plots and machinations against Villon reach an explosive climax, the future of not only Paris but all of France will depend on the poet's quick wit, decisiveness, and ability to rouse the masses.

While the history portrayed is fanciful, Ronald Colman is the perfect embodiment of the charismatic Villon, and Rathbone's cranky gruffness offers the ideal compliment to Colman's suave persona.

If the film has a fault, it is in the print itself, which is showing signs of deterioration and aging. One hopes that it will be a candidate for restoration, soon.

IF I WERE KING should be preserved for future generations to enjoy!

NOT a history lesson, that's for sure!

[planktonrules · 6/10 · 20 January 2016]

François Villon lived during the 15th century in Paris. He was one of the most famous writers of his age and was also something of a rogue...though exactly how criminal his activities were in real life is a bit vague today. Regardless, his reputation has lived on and he's been immortalized in more than a dozen and a half films-- stretching from the silent days to today. A couple of his most famous portrayals were in "If I Were King" (1920) and "Beloved Rogue" (1927) and this 1938 film is probably the most famous of the talking films about the guy. But, since his exact history and nature is vague (we're not even sure how or when he died), the films obviously are mostly fiction.

When the film begins, Louis XI (Basil Rathbone) is in trouble. His capital city is surrounded and his people are beginning to starve. But instead of focusing on this directly, the king decides to sneak out of the palace to spy on the people. He suspects they are all disloyal jerks. He comes upon Villon and his associates and instead of killing them, Villon entertains him with his rather disloyal and bold comments. Plus, Villon helps the King to realize that his trusted aid is actually a spy. Bizarrely, the King rewards Villon by making him one of the most powerful men in the land. Sadly, he later learn that the King only will let him have this job for one week.

When this film debuted, it was obviously well thought of because it received four Oscar nominations. The only major nomination was for Basil Rathbone. I thought his performance was a bit over the top, but tastes change and his scene-chewing was popular at the time. I thought his makeup was really interesting...and VERY heavy. I think when seen today, the film comes off a bit more poorly mostly because the story is utterly ridiculous and audiences today are likely looking for more realism. Not a terrible film by any means but a bit on the silly side.

Literate & Intelligent Entertainment

[Ron Oliver · 10/10 · 30 July 2002]

A cunning king of France allows a rapscallion poet to become Lord High Chancellor - for the space of only one week...

IF I WERE KING is a fascinating film based on the fictionalized lives of two very real personages, Louis XI and François Villon. The performances are impeccable, Preston Sturges' script is literate and Paramount Studios provided excellent production values.

As Villon, Ronald Colman makes full use of his most magnificent talent - his beautiful speaking voice. Like honey flowing over velvet, it caresses the dialogue & adds emotional heft to the lines of Villon's poetry used in the film. While perhaps a bit mature to swashbuckle altogether convincingly, he plays the lover very creditably in the romantic scenes.

Obviously determined not to acquiesce the entire film to Colman, Basil Rathbone is hilarious as King Louis. Gaunt, wizened & cackling like a crone, he effortlessly steals his every scene. Eschewing the use of his own superb speaking voice, Rathbone plays a character that will remind some viewers of the disguises the actor would use shortly as Sherlock Holmes. The sequences between Rathbone & Colman are very enjoyable, especially since in their only other joint appearance, A TALE OF TWO CITIES (1935), they had no scenes together.

The two women involved in Villon's life are portrayed by Frances Dee & Ellen Drew, one an aristocrat, the other a wench - lovely ladies both. Smaller roles are filled by fine character actors Henry Wilcoxon, Walter Kingsford, Sidney Toler, John Miljan & Montague Love. Way down the cast list is the always reliable Ralph Forbes, playing the king's toady.

Movie mavens will spot an uncredited Lionel Belmore playing the Chief Steward of the royal palace.

**********************************

Fat & ugly, Louis XI (1423-1483) was nicknamed 'the Spider' as a grudging tribute to his remarkable skills at plotting & scheming. Although he showed talent in administration from an early age, he also was quite adept at angering his father, Charles VII, and ultimately had to take refuge at the Burgundian court until the time of his succession to the throne. Almost universally unpopular, he set up an elaborate spy network which kept him informed as to nearly all that went on in his kingdom. His overriding mission was to crush the power of the great nobles, especially Burgundy - now ruled by the successor to Louis' former protector - and this he was largely able to do, thanks to his policy of encouraging the minor nobles and the middle class. The might of the French crown was significantly strengthened during his despotic reign.

François Villon (1431-1463?) was both France's greatest lyric poet and a complete scoundrel & ruffian. Raised by a chaplain, Villon absorbed none of the virtues of the Church, consorting with the basest of companions and involving himself in numerous scrapes, misdeeds & robberies. His murder of a priest during a street brawl was but one of several outrages. Imprisoned many times both in Paris and other French municipalities, Villon was almost preternaturally fortunate in being able to take advantage of various pardons & amnesties - all undeserved. After one final clemency, he was banished from Paris for life - whereupon he completely disappears from the historical record.

Although stained by a most unsavory reputation, critics have long admired Villon's poetry and have extolled both the exquisite imagery of his tender verses and the unremitting detail in the poems describing his coarser experiences.

The bulk of the tale told in IF I WERE KING is a complete fantasy. There is no indication that Louis XI & Villon ever even met.

A heady role for Colman that grows on you...to a degree

[vincentlynch-moonoi · 7/10 · 27 June 2014]

This is my least favorite of all the Ronald Colman talkies, and I consider myself a huge fan of Colman. But, at least through the early parts of the film, this is not the Colman most of us want to see -- handsome, suave, sophisticated. Instead, until later in the film we have an unshaven and shabby figure...though of course, the voice shines through. So I will take "A Tale Of Two Cities", "The Prisoner Of Zenda", "Lost Horizon", and especially "Random Harvest" (and several others of Colman's films) over this one.

Yet, I must admit that, perhaps, this is as good acting Colman does in any of his films...because early on it is so against character. Here, Colman plays François Villon -- a real (and popular) 15th-century French poet who disappeared in 1463 after banishment...and at the end of this film, the character is banished from Paris. Google describes him as a "ne'er-do-well who was involved in criminal behavior and got into numerous scrapes with authorities, Villon wrote about some of these experiences in his poems". No one claims this film is an accurate biopic of Villon, but it loosely follows a tale about him and King Louis XI. It's my impression that Colman had a great deal of fun with his depiction of the rapscallion.

I'm not usually a fan of Basil Rathbone, although I admit he was a good heavy. I really disliked him here...or was it the way the director had him play the king? If you don't know it's Rathbone, it won't occur to you! Other supporting character include Frances Dee as a lady-in-waiting whom Villon falls in love with, Ellen Drew as Villon's sort-of girlfriend (and wench), and C. V. France as Father Villon. Henry Wilcoxon is interesting as Captain of the Watch -- a type of role he played later in "The Ten Commandments". All these supporting actors do their jobs in this film, but none are particularly outstanding. The multi-untalented Sidney Toler is also here in a small part as the owner of a tavern (not a mistake...I actually meant multi-untalented).

The production is a handsome one, with quite a few relatively elaborate sets.

As the film proceeded, I got more into it, and more and more into Colman's performance. It's definitely worth watching, and although far from my favorite Colman picture, it's on my DVD shelf.

Rousing the Rabble of Low Degree

[bkoganbing · 9/10 · 4 October 2005]

Francois Villon, born 1431 was all that If I Were King makes him out to be. Poet, satirist, duelist, and consorter with the rabble of low degree as Brian Hooker's lyric from The Vagabond King, he was all this. His satire brought him some big time trouble, a death sentence. But a last minute commutation by the monarch he satirized, brought him banishment in 1463. Villon went so far into obscurity that we do not know when he died after leaving Paris.

From these facts Justin Huntly McCarthy wrote a popular romantic play that premiered in 1901 and was later made into an operetta with score by Rudolf Friml and Brian Hooker. McCarthy took into account the politics of the time in medieval France. Louis XI was only King for two years, ascending the throne in 1461. The monarchy after leading France to an ultimate victory in the Hundred Years War against the English, was leader of a shattered land with many of the lesser lords quite a bit more powerful than the king. Chief among these in France at the time was the Duke of Burgundy. Whoever held that title ruled an area about a third of modern day France.

It's those Burgundians who have Paris surrounded and are dictating terms to Louis XI when the story opens. Villon and his sidekicks have broken into one of the King's warehouses and helped themselves to some food. Taking it back to the tavern owned by Robin Turgis, Villon makes a few choice comments about Louis XI. Unbeknownst to him, Louis himself is there on a mission to ferret out a traitor among his counselors. The traitor turns out to be the Constable of Paris. When a fight breaks out, Villon kills the constable.

This puts Louis in a dilemma as he sees it. Villon has killed a traitor, but he's insulted the person of the king. Since Villon brags about how much better a job he can do, Louis makes him Constable of Paris and gives him a noble title.

No man on the silver screen ever spoke the King's English better than Ronald Colman. I could listen to that man recite the Yellow Pages. He's a perfect Villon.

Basil Rathbone was nominated for Best Supporting Actor in 1938 for Louis XI. Louis XI was known as the spider king because the man was the craftiest of schemers. He usually had about 5 or 6 options given any situation, most of us are lucky if we have one alternative. Dealing from weakness as he was, he had to be a man of cunning, guile, and deception.

Interesting talking about the King's English when dealing with a pair of figures from medieval France. But the contrast between the romantic Villon and the crafty Louis is what drives the film. That and the partnership of necessity they form and the later grudging respect they develop for each other. Colman and Rathbone have the classical training needed to make If I Were King work.

The two main female characters acquit themselves well. Frances Dee as noblewoman Katherine DeVaucelles and Ellen Drew as the tragic Huguette are just fine. And among the supporting cast, I particularly like Sidney Toler as tavern owner Turgis. It's quite a contrast from playing Charlie Chan.

For me watching If I Were King is like watching The Vagabond King without the music since I know where the songs go. It's like watching a production of Pygmalion after seeing My Fair Lady. You keep waiting for the songs to start.

Particularly I listen for Colman to break into the Song of the Vagabonds as he rouses the citizens of Paris. It's a great moment in both the play and the musical.

You will thrill when you hear Colman rouse that rabble of low degree even if he doesn't sing.

Where is fat Margot?

[AAdaSC · 7/10 · 8 May 2023]

Ronald Colman (Villon) stars as the subversive poet during the reign of King Basil Rathbone (Louis XI) in 1463. Rathbone is a scheming king and invites Colman into his government to run the show. Colman has been arrested as part of an underground group representing the people of Paris in opposition to the King, who is currently under siege from the Duke of Burgundy and starving his population whilst ensuring food supplies for his inner circle. Rathbone has challenged Colman - "What would you do better?" Now is the time for Colman to prove himself. However, Rathbone has a twist to the deal...

The cast do well and Rathbone, whilst portraying his usual intelligent schemer, takes on a different character, mannerisms and appearance that will make you suddenly realize - "That's Rathbone!". You may not identify him at first. He plays the role with a degree of fairness and sympathy and it is almost a buddy-buddy movie even though the two main actors are in opposition camps. Colman gets to respect Rathbone and Rathbone acts fairly and has a heart.

There is a love interest - as always - with 2 women shown to be in love with Colman. However, the main woman of interest isn't in the film! Where is fat Margot?

One of Ronald Colman's greatest performances

[wbrighenti · 10/10 · 22 November 2012]

Colman was not only good looking, suave, sophisticated, and dashing, but he had a lyrical voice, an absolute necessity for a great actor. Recall the speech and voices of Peter O'Toole, James Mason, Richard Burton, Laurence Olivier: when they spoke, it was not mere prose but verse. So who better to play the poet, Francois Villon, than Ronald Colman, who possessed the voice of a poet.

Ronald Colman is my favorite actor of all time. I loved his performance in this film as well as his performances in "Random Harvest", "The Prisoner of Zenda", "The Lost Horizon", and "The Talk of the Town".

There were other great performances in this film besides that of Ronald Colman. Basil Rathbone's performance as King Louis XI is perhaps one of his finest, and deserving of an Academy Award as best supporting actor, while Frances Dee's performance as Villon's beloved is mesmerizing, the images to relive forever in one's dreams: the perfection of beauty and femininity. And Ellen Drew's portrayal of Huguette is touching without being maudlin.

Great film, great performances. Hollywood at its very best.

The Poet and the King

[st-shot · 7/10 · 15 March 2021]

Tasteful 30s epic costume drama specialist Frank Lloyd (Mutiny on the Bounty, Berkeley Square) offers up another well detailed work in If I were King. Based on historical characters Francois Villon and King Louis XI of France, it may not stick to historical fact but does offer some rousing action as well as some pithy dialogue courtesy of Preston Sturges.

Poet and rapscallion Villon (Ronald Colman) robs the king's (Basil Rathbone) store but is captured in the process. Instead of torture on the wrack the king makes him the replacement for the constable he killed. When the Bourguns threaten the city of Paris, Villon rallies the rabble to defend it while cowardly generals favor capitulation. In between saving France, Villon takes time out to fall for a court beauty (Frances Dee) but a bargain with the king may prevent its fruition.

Colman's mellifluous voice reciting poetry, seducing women and making stirring speeches is worth the entry fee alone but Basel Rathbone, at first unrecognizable, equals him as a sadistically giddy king with a wild imagination. A solid costume drama with highly entertaining performances from Colman and Rathbone.

A Witty Swashbuckler

[robertguttman · 8/10 · 14 December 2015]

"If I Were King" has a lot going for it. Based upon a 1901 play by Justin Huntly McCarthy that was subsequently transformed into a successful operetta by Rudolph Friml, the screenplay for this version was written by Preston Sturges. That means it includes a significant amount of Sturges' unique brand of sophisticated and sly wit. This was early in Sturges' career, before he emerged as a successful combination writer and director. Sturges' later films included such classics as "The Great McGinty", "Sullivan's Travels", "The Lady Eve", "The Palm Beach Story", "The Miracle of Morgan's Creek" and "Unfaithfully Yours".

"If I Were King" also included superior performances by two great actors at the top of their game. Ronald Coleman was the perfect choice to play the swashbuckling poet-rogue, Francois Villon. For the benefit of those not familiar with French literature, Francois Villon really was a 15th Century French poet, he really did graduate from the Sorbonne and he really was a petty criminal who seems to have been constantly in trouble with the law. Born in Paris in 1431, Villon is described as having "disappeared from view" in 1463. To this day nobody really knows for sure what became of him, although the presumption is that he came to no good end. However, there is absolutely no evidence that he ever did anything even remotely heroic. Ronald Coleman possessed more than enough swashbuckling charm to carry the role, as well as the mellifluous voice to make the poetry work as few other actors, even in his day, could have done.

Usually known for playing either villains or Sherlock Holmes, Basil Rathbone, was given a rare opportunity to demonstrate his acting virtuosity by playing an aging King Louis IX; the clever, conniving and cynical French monarch who has become known to history as "Louis the Spider". At one point in the movie Preston Sturges has the King self-deprecatingly remark that, "The people of France already have one 'Saint Louis', another would only confuse them".

Must see for Basil Rathbone fans

[drjgardner · 6/10 · 22 July 2017]

Was there ever a greater villain than Basil Rathbone, who gave us such great performances as the abusive Mr. Murdstone in "David Copperfield" (1935), the deadly Tybalt in "Romeo and Juliet" (1936), evil Sir Guy in "The Adventures of Robin Hood" (1938), Baron von Frankenstein in "Son of Frankenstein" (1939) and the evil Captain Esteban in "The Mark of Zorro" (1940).

From 1939 to 1946 he focused on Sherlock Holmes films with only an occasional second film in any given year. He made the transition early to TV where he was a popular guest star, and continued to do films (e.g., "We're No Angels", "The Last Hurrah").

Yet in all the excellent work he did over the decades, you've never seen him like he appears in this film. You may not even recognize him despite his distinct looks and voice.

The rest of the film is pretty ordinary, but fans of Basil Rathbone need to see it.

Decent story but with a good performance in the lead

[blott2319-1 · 5/10 · 5 August 2022]

If I Were King is a somewhat familiar story about an unlikely man who gets put into a high position, and he ends up rocking the boat for the other elites. I think the key to making the main character likable is entirely in the casting of Ronald Colman. I don't typically like this type of cock-sure rogue who has an exaggerated careless attitude. Yet, I found myself liking François because Ronald Colman makes him so much fun. There is also something fun in the idea of royalty being shown up by a commoner. I generally found the plot to be a little by-the-numbers and predictable for my taste, but this is an older film, so it might have set some of those precedents for all I know.

I thought it was an interesting choice for Basil Rathbone to play Louis XI as such a weaselly person. He makes for a strange character as he shifts from friend to enemy as the film goes on. I kind of wish Frances Dee was more of a unique or distinct character so I could get more invested in the romance that drives many of the main character's actions. The ending of If I Were King is where it shines the most. I like the way the people unite and get things done that the royals won't bother to deal with themselves. Even though I was losing some interest in the middle of the film, I was hooked again by the end and found it to be somewhat redeeming for a film that I would have called sub-par otherwise.

Without the Rudolph Friml score

[theowinthrop · 23 April 2004]

If English Medieval history is unevenly shown in Hollywood films (see my comment on YOUNG BESS), French Medieval history is non-existant. The sole real centers of films on France from 1000 to 1500 are those dealing with Joan of Arc and those dealing with that contemporary pair of Louis XI (the "Spider King") and Francois Villon, the great vagabond poet. In short, the period of roughly 1429-1431 (with a brief look into the future, via George Bernard Shaw, into the 1450s), and 1471 - 1477). The rest of the fifteenth century is ignored. As for preceeding eras, BECKET, THE LION IN WINTER, and THE CRUSADES all deal with the tangle of French and English politics in the years 1160 - 1199, and the two films of HENRY V do deal with the invasion of France in 1415, and the battle of Agincourt (but no films about Crecy or Poitiers).

Louis XI was one of the most astute, crafty monarchs of France or any other nation in history. He is not a loveable figure (as his nickname of "Spider King" shows). But loveability was not a viable policy for any French monarch. England was a constant threat, even after the final defeat of the English in the Hundred Years War in the 1450s (long after Joan of Arc was burned). The monarchs would insist on keeping the Kingdom of France among their titles (after England, Ireland, Wales, and Scotland) into the 18th Century. There were dynastic marriages between the Burgundian royal house (modern day Belgium and Holland and the Rhineland make up what was Burgundy) and the British. Louis had to constantly balance friendly relations with realism about British aims (and Burgundian aims for that matter). Things came to a head in 1470 when Phillip of Burgundy, a wise leader, died and his son Charles the Bold (more accurately "the Rash") became Prince of Burgundy. Because of certain French lands near Paris owned by the Burgundians, Charles was a subject of Louis. But Louis's government was poorer than Charles's and he kept toying with either breaking his liege position with Louis or seizing the French throne. This latter policy led to a series of wars, including a siege of Paris. Remarkably, due to superior leadership qualities, Louis beat Charles - or rather Charles beat himself. In 1477 Charles died in a battle against another target - the Swiss republics. Louis died in 1483, the first really great modern French monarch or leader.

He was suspicious, and ever ready to use torture. But given the general standards of his period (the same time as the Wars of the Roses, and of the likes of Cesare Borgia) his use of torture was actually consistant with his contemporaries. Louis popped up in other stories aside from IF I WERE KING - he was the king in THE HUNCHBACK OF NOTRE DAME (in the 1939 film played, more kindly, by Walter Hampden). In a silent version of IF I WERE KING, BELOVED ROGUE (with John Barrymore as Villon)Conrad Veidt played him as more crafty and dangerous - and superstitious. He would also show up as the monarch fighting Charles the Rash in the film of QUENTIN DURWARD (after the novel of Sir Walter Scott) that starred Robert Taylor. In the present film he is played by Basil Rathbone, for once not tied down to sleuthing or to using a sword against Tyrone Power or Errol Flynn. He is able to demonstrate the frustration of a wise monarch, hampered by traitors and by a lack of popular support. The screenplay by Preston Sturges gives him some good lines of humor as well (he was a capable comic actor - see his pompous dried-out composer in RHTHYM ON THE RIVER, or even his greedy relative in WE'RE NO ANGELS). The make-up on his face makes his eyes look constantly rhumey and nearly unrecognizeable.

Villon is a great poet, of whom we know much but not enough. We don't know when he was born or when he died. We know he was a criminal (a thief and a murderer) but was able to avoid the scaffold - at least in known recorded history. In this film and BELOVED ROGUE he is forced to come to the aid of France, taking over the key job of High Constable (the previous High Constable, whom he killed, was a traitor to Louis). As this is a fiction, we are led to believe Villon manages within a week to instill spririt into the people of Paris, and to lead them to defeat the Burgundian army. Actually it was Louis who did that, with Charles's incomparably bad choices helping him. Still it makes a good story, and an enjoyable historical fantasy. The only thing missing is the Rudolph Friml score from Friml's operetta version, THE VAGABOND KING which did not appear until 1954 on screen. But even without that music it was enjoyable.

Hollywood swashbuckler at its best

[clanciai · 9/10 · 24 November 2020]

Basil Rathbone is phenomenal as king Louis XI, the shrewd old king who tricked his way among countless treasons among his closest kin and allies and became the supreme survivor among French kings, and he is tilted here against the rascal poet Francois Villon, the thief and rogue number one in French history, and they have made a marvellous play and party of it. The Burgundians are besieging Paris, and the king's generals are reluctant to fight and advise him to surrender, while Francois Villon challenges him and succeeds in rousing the rabble of Paris against the Burgundians, but there are many complicationsa on the way, one of them being the fair Frances Dee, who anyone could fall in love with and who Francois Villon least of all could resist. It's a great rogue's tale fitting perfectly as another of many Villon legends, and it is well written at that, doing probably both Villon and the king more justice than they ever could dream of. The script is intelligent and witty throughout and as flamboyant as any of Errol Flynn's flashing adventures, but here even the plot and the story is a great success. Ronald Colman always beats everyone, but here he actually has worthy counterpart for a challenge in Basil Rathbone. Ronald Colman is always the same, no problem ever in recognizing him, but you have never seen Basil Rathbone in a great jinx part like this.

Excellent and Rousing Adventure from Film's Golden Age!

[vitaleralphlouis · 10/10 · 1 August 2007]

I found this movie by happy accident when looking for another title at Video Vault. What a fortunate find, an excellent Middle Ages romp made by multi-Oscar master filmmaker Frank Lloyd.

Dealing with a fictional encounter between Louis XI of France and a rouge Villain, these two roles are wonderfully played by Ronald Colman and Basil Rathbone --- possibly the best roles these two great actors ever did. With Paris surrounded by the army of the Dukes of Burgundy and slowly being starved into submission, the king's plans are falling short of success --- with battle-shy generals and no back-up plan. Into this mess comes the rogue Villain with a different approach......

There isn't a dull minute in this fine production and the reproduction of French architecture, costumes, et cetera, is beyond perfect.

It isn't easy to see this movie; it's a Paramount Picture released on VHS long ago by Universal/MCA. That means you can find it eventually, either at a specialty video store or by tenacious search on eBay.

Classic romantic tale of class and political conflicts, and an unlikely love match

[weezeralfalfa · 8/10 · 30 October 2017]

This classic romantic story of a divided 15th century France is based upon the 1901 romantic novel and play of the same name. There were 2 musical film versions, as well, in 1930 and 1956, entitled "The Vagabond King". I've seen the '56 version, which was filmed in Technicolor and is 15min. shorter, plus allowance for the musical numbers further reduces the time available for the story. Preston Sturges wrote the present version, and Frank Lloyd directed it. The plot concerns the conflict between the king of France: Louis XI(Basil Rathbone), and Duke Charles of the large, nearly independent, province of Burgundy. An army from the Burgundians has laid siege to Paris for some time, and is waiting for the mass of people to get so hungry that they depose Louis, and surrender to the Burgundians. Thus, the commoners of Paris are prepared to support the Burgundians should they succeed in entering the city. That is, until poet, thief, and murderer, Francois Villon convinces them that if they instead support Louis' troops when the Burgundians enter the city, they can defeat the Burgundians, they will again be able to trade with the outside world. This is, in fact, what ensues, after Villon, as the Lord Constable, opens the royal food stores for the rabble to pillage.

While we are waiting for this to happen, attention is focused on the opposing adversarial and cooperative relationships between Villon and Louis. Villon has displeased Louis by claiming(in the unknown presence of Louise) that he, himself, could do a lot better job of governance. Also, he led a raid on some crown food stores. However, Villon did expose and kill the traitor: the then Lord Constable; the second most powerful official in Paris. On the one hand, Louis wants to hang Villon. On the other hand, he wants to make him the new Lord Constable, so that he can come to appreciate the difficulties of ruling. Thus, Louis decides to make him the Constable until the Burgundian menace is decided, then hang him. However, after Villon's plan against the Burgundians works, Louise softens a bit and changes his sentence to permanent banishment from Paris.

As a sideshow, Villon develops a romantic relationship with Lady Katherine(Frances Dee), she not suspecting that he is of underclass origins. Villon also has a thing going with tavern wench Huguette(Ellen Drew). These 2 women represent the polar extremes of Villon's character, as a courtly poet and temporary high official, or as a common thief, fraternizing with other riffraff. He quotes a Villon poem to Lady Katherine, beginning with "If I were king"

A major believability problem with the above scenario is that Villon's only evident means of hiding his true identity as the Lord Constable is growing a moustache. Thus, those who know him as Villon should easily recognize him as Lord Constable!

In one of the more bizarre scenes, as the Lord Constable, Villon tries his associates involved in the royal food stuffs robbery. Instead of sentencing them to some draconian punishment, he gives each a number of gold coins taken from the previous subject on trial!

Coleman is OK as Villon, but I think the much younger Errol Flynn would have been more dynamic. Unfortunately, he was contracted to the wrong studio, and probably was playing Robin Hood for Warner at this time. The similarities between Villon and Robin Hood are evident, despite one being a city dweller and the other a forest dweller.

So, which do I prefer: this version or the '56 version? Probably, the '56 version, with its music and Technicolor. However, the 2 are sufficiently different in their details that a viewing of both might be warranted if you like the basic story.

See it on YouTube.

Clever script, direction, editing; peerless Rathbone, Colman

[adrianovasconcelos · 9/10 · 16 September 2023]

Director Frank Lloyd certainly cranked out some high caliber films, including MUTINY ON THE BOUNTY (1935) and FOREVER AND A DAY (1943), but in my view IF I WERE KING rates his finest achievement.

To that end, he is immensely assisted by top cinematography and editing from Theodor Sparkhul and Hugh Bennett, respectively, and a clever, lively dialogue script from Justin Huntly McCarthy that to me has lost no freshness nearly 90 years on.

Needless to say, peerless acting down to the smaller parts. Ronald Colman delivers one of his more famous roles as poet and thief François Villon, Frances Dee radiates beauty and grace, and Basil Rathbone simply steals the show with his canny, suspicious, intrigue-loving Louis XI.

To be honest, I do not see IF I WERE KING as a swashbuckler. Lead Colman does very little sword fighting, Rathbone none, the crowd engages in most of it and it is difficult to discern who fights who. Instead, I find this an interesting glimpse at social values of the time, and how even at this early stage the seeds were being planted in Paris for the 1789 revolution. That said, there were clear government-convenient moments, such as when Louis XI asks of Villon what he would do if he were king; "Would you abolish taxes?"

Villon vibrantly and convenient replies in what must be music to all governments' ears: "No!" and he lists the steps he would take, namely distribute food among the populace of Paris to stave off the attack by the Burgundian forces. Which I regard as a pity, as I have never understood the reason for having to pay taxes, and if I were king that tax abolition would be my first move.

That costs IF I WERE KING a star. Still a must-see. 9/10.

**

[edwagreen · 4/10 · 20 July 2017]

Ronald Colman and Basil Rathbone both starred in the memorable "Tale of 2 Cities," an outstanding film dealing with revolutionary France. 3 years later they appeared in this 1938 production and with his sort of meek way of speaking, a memorable walk but the hidden viciousness of the usual sinister Rathbone, it garnered him a supporting Oscar nomination.

This film does not compare with the 'Cities' class of 1935. The writing in this film is not as good and with treachery abounding here, we should have seen more of a devilish attitude by all concerned here.

Even the priest is subdued here in a part that could have shown a lot more relevance.

If I Were Critic

[Varlaam · 19 November 1998]

This is a legendary story about François Villon, the mediaeval French poet and adventurer probably best known in English for his line, « Mais où sont les neiges d'antan? » / "But where are the snows of yesteryear?" Some may recognize the line from Joseph Heller's Catch-22 take-off, "Where are the Snowdens of yesteryear?"

As I first began watching this, my immediate reaction was, "What an obvious attempt to cash in on The Hunchback of Notre Dame!", the film whose look and feel most closely resemble this one. But my chronology was backwards. The Laughton Hunchback is 1939. If you have ever seen the Chaney Hunchback from 1923, you may have been struck by how different many of the characterizations are from the more familiar version, especially that of the King. The 1923 French King is a nasty piece of work, just the sort of thinly disguised Napoleon III that Victor Hugo would conceive of. So where did the doddering but dear-hearted 1939 King played by sweet old Harry Davenport come from then? Well, that's easy. From Basil Rathbone's King in this film. They even look the same!

Rathbone, by the way, is completely unrecognizable. If he's played an impish character elsewhere, I've never seen it. He gets most of Preston Sturges's best and most typical lines of dialogue.

Sturges is the reason I was watching the film in the first place. Telltale signs are everywhere in the script, but we definitely do not get effervescent dialogue issuing forth from every mouth the way we expect from the later, classic Sturges films.

I am not a great fan of Ronald Colman ordinarily but he brings a lot of spirit to his part, even if he doesn't have quite the dash of an Errol Flynn. But he does have a lot to do with this film's overall success.

Frances Dee demonstrates once again that she is quite probably the best-looking American actress of the 1930's, although she has all the acting prowess of an Andie MacDowell. (If you insist on talent with your set decoration, then you probably would have preferred to see Paulette Goddard playing the part of the lady-in-waiting who catches Villon's eye.)

Well worth seeing!

[JohnHowardReid · 8/10 · 28 February 2018]

Copyright 11 November 1938 by Paramount Pictures, Inc. New York opening at the Paramount: 28 September 1938. U.S. release: 11 November 1938. Australian release: 11 February 1939. Sydney opening at the Prince Edward: 11 February 1939 (ran 5½ weeks). 100 minutes.

NOTES: Basil Rathbone was nominated for a prestigious Hollywood award for Best Supporting Actor, losing to Walter Brennan in Kentucky. Also nominated for Best Sets (Adventures of Robin Hood); Best Original Music Score (Adventures of Robin Hood); and Best Sound Recording (The Cowboy and the Lady).

COMMENT: Usually the trouble with historical spectacles is that they tend to be lavish but dull. This one is lavish all right but, aside from some tediously obligatory romantic escapades between Colman and Dee - which somewhat pale by comparison with the earlier more vital ones with Ellen Drew - it has a fascinating, witty and literate script by Preston Sturges. The character of the king has been drawn with sharp, acerbic strokes, enabling Basil Rathbone a right royal time with his witty, eccentric dialogue. Here is one of Rathbone's few character roles in which he has successfully buried his usual mannerisms - and accent. He is almost unrecognizable both in speech and figure - yet the change in his usual stance and delivery is highly effective.

Colman is his usual self, perhaps a trifle more animated than usual. Contributions from the large support cast, particularly Walter Kingsford, John Ridgely, Sidney Toler and Heather Thatcher are more than a match for the script.

As usual, the director excels with the staging of crowd scenes and the execution of scenes of pageantry and action - the arrival of the Burgundian envoy at court, the attempted flight from the palace, the rout of the invaders. So far as its wit, its delight in eccentricity, the historical self-consciousness of its characters and amusing tables-are-turned situations, the script is modeled along Shavian lines. Alas, it is less than Shaw in its conventional romantic notion of its poet/thief hero, in its wearisomely prolonged trial in masquerade (a stale situation which is played as if it were both amusing and new), and especially in its routinely dull romance.

Still, the film is elaborately dressed, the visuals have a splendid drive, thanks to Lloyd's deft pacing and astute camerawork. Photography, art direction, costumes, special effects, music, film editing, sound recording are marvelous.

A political experiment

[jarrodmcdonald-1 · 12 December 2022]

If anyone else were king of the Paramount lot in the late 1930s besides Cecil B. DeMille, it would probably be director Frank Lloyd whose career stretched back to silent films. He was an expert at helming historical dramas, especially biographical ones that included an array of acting styles and presented rousing yet thoughtful spectacles for audiences to enjoy.

In this particular history tale, Ronald Colman is cast as Francois Villon, a French poet whose liberal ideas put him at odds with King Louis XI (Basil Rathbone). The monarchy seeks to retain its hold on the common people of Paris in the Late Middle Ages. But Villon, whose behavior and many encounters with law enforcement, works to subvert the influence of such government.

Colman's character is a bit of a rascal, causing trouble in the streets. He is also prone to rob the king's storehouses. It's not that he fully disrespects Louis XI, he just doesn't have much use for most of the king's policies which discriminate against the poor and downtrodden.

After admitting to some of his recent misdeeds, Villon is taken to church to pray by a priest who has looked after him since he was six years old. Inside the church, his mind wanders and so do his eyes-- he is now focusing on a spiritual lady-in-waiting (Frances Dee). She is kneeling near the altar, deep into her own prayer.

He follows her outside, anxious to learn more about who she is and possibly interact with her. He realizes as she steps into a fancy horse drawn carriage, that she must be associated with the royal court. Still, this doesn't put him off and he manages to slip a poem to her before she leaves. And so begins their unusual romance.

Colman seems to enjoy the more irreverent aspects of the unconventional character he is playing. His attempts at romancing Miss Dee benefit him almost immediately. For she provides him with an alibi when the police arrive near the church and accuse him of the robbery which he did commit.

Colman handles these scenes tongue-in-cheek, since Villon is indeed guilty and hopes to get away with his various infractions. Villon is also someone who struggles with his feelings for those whose station in life is higher than his own.

Another actor having a field day in this picture is Mr. Rathbone as a rather odd-looking, odd-sounding ruler. His King Louis XI wants the people of Paris to be more patriotic. The king soon crosses paths with Villon, whom he decides to install as a chief constable, mostly as a joke.

The king has realized that all previous constables have failed in the position, and so he conducts an experiment to see if the post may be more successfully held by a man who is known as a cutthroat, beggar and thief. After all, why not have such a person work for the court, instead of against it..?

Part of what makes the film so memorable is the way it places polar opposites in scenes, then advances a plot point by having one character see a situation through another character's perspective. Villon the poet eventually develops a begrudging respect for the crown, understanding what it means to build an army, motivate soldiers and rally the public to a unified cause.

By learning these lessons, he ends up maturing. After reaching this increased maturity, he is ready for a genuine relationship with the woman that his heart most desires. He can now live out the rest of his life happily, whether he's a king or a nobody.

Good medieval adventure

[searchanddestroy-1 · 12 January 2023]

But beware, despite the presence of Basil Rathbone, this medieval adventure film is not ADVENTURES OF ROBIN HOOD; Ronald Colman is not Errol Flynn. But it is a prestigious movie, making me think that I have already been amazed by the fact that Hollywod film industry was often inspired by history of France. Many times: JOAN OF ARC, DIANE, QUENTIN DURWARD, this very one and its remake VAGABOND KING, PURPLE MASK, HUNCHBACK OF NOTRE DAME, PHANTOM OF THE OPERA ( tough not a medieval film) TALES OF TWO CITIES - inspired by a Chuck Dickens' book, THE THREE MUSKETEERS...But there also were many medieval films inspired by England history, and I can understand better. But France, my homeland....