User Reviews

THE BELOVED ROGUE (United Artists, 1927), directed by Alan Crosland, offers John Barrymore the opportunity of enacting a role portrayed numerous times on stage and screen by other actors, that of Francois Villon, the first great poet of France. Villon had been portrayed on screen in IF I WERE KING by William Farnum (Fox, 1920) and Ronald Colman (Paramount, 1938); while Dennis King (1930) and Oreste (1956) did the musical versions of Paramount's THE VAGABOND KING. John Barrymore's characterization ranks one of the finer carnations as well as bazaar. Villon in THE BELOVED ROGUE is described through inter-titles as "poet, pickpocket, patriot, loving France earnestly, Frenchwomen excessively, French wine exclusively." A fun loving fool sporting Peter Pan attire with Robin Hood tights who recites poetry whenever it suits him, steals from the rich and gives to the poor, and travels along with two other companions, Jehan (Slim Summerville) and Nicholas (Mack Swain), all the similarities of a Douglas Fairbanks adventure combining Robin Hood, D'Artagnan of the Three Musketeers, and Zorro all into one. Francois Villon is far from being a fictional character originated in novels, he actually lived (1431-1463). How much displayed on screen to be fact is uncertain, but Barrymore performs in the manner of having himself a grand ole time whether romancing a girl or sliding down roof tops covered with snow. THE BELOVED ROGUE is not actually a biography of the famed poet, but the spirit of the man, undisciplined and riotous, with a gift of writing and reciting poetry.

Aside from the lighter moments mentioned that may give the impression of a costume comedy set in medieval times, THE BELOVED ROGUE starts off dramatically in Vauxcelles, France, the year 1432, with the execution of Francis De Montcorbier as he is burned at the stake in the fashion of Joan of Arc. His wife (Lucy Beaumont) who looks on with bitterness, afterword's, gives birth to a son she hopes will live for France as her husband died for it. The child grows up to become Francois Villon (John Barrymore), and 25 years later, he is seen entertaining the crowds after being elected "The King of Fools" for All Fool's Day in the guise of a clown. When he makes a witty jest at the expense of Duke Charles of Burgundy (Lawson Butt), his cousin, King Louis XI (Conrad Veidt) banishes him from Paris. Villon returns to Paris anyway, and, after supplying food and wine to the poor using the king's catapult, Villon, discovered by the king, escapes as he himself is thrown from the catapult, flying through the air and landing himself in the boudoir of Charlotte De Vauxcelles (Marceline Day), the King's ward forced into a loveless marriage to Count Thibault (Henry Victor), a henchman of a plotting Burgundy. Villon's speech and manner makes him Grand Constable of France, but after revealing the schemes perpetrated against the king, Villon is captured, tortured through flogging and pitted against the flames of fire before his death sentence is to be carried out. This is followed by one of the more memorable scenes where the weakened Villon is placed inside a metal cage-like structure as it is lifted up and left dangling outside the window of the palace tower where Charlotte is held prisoner before her proposed wedding. With much more to follow, the movie fails to disappoint.

The supporting cast includes Rose Dione as Marget; Angelo Rossito as Beppo, the dwarf; and Dick Sutherland as Tristam L'Hermite, the busiest man in France - the executioner. Look quickly for future child actor Dickie Moore early in the story as the infant Francois. German actor Conrad Veidt, making his Hollywood debut, comes close to being unrecognizable as the eccentric King Louis XI. Described as "superstitious, crafty, cruel, and a slave to the stars," he fails to make a move without the advise of his astrologer (Nigel DeBrulier). Marceline Day performs her task well in the typical damsel in distress manner.

Not as well known as Barrymore's notable silents as DON JUAN (Warners, 1926), THE BELOVED ROGUE is a lavish scale production with Paris settings reminiscent to ORPHANS OF THE STORM (1921) and THE HUNCHBACK OF NOTRE DAME (1923), compliments of set designer, William Cameron Menzies. Good camera angles and overhead camera shots also add to numerous shots of Barrymore's classic profile.

THE BELOVED ROGUE was one of the 13 silent features aired on public television's "The Silent Years" (1971) hosted by Orson Welles, from the Paul Killian film collection accompanied with excellent piano score by William Perry, the same print distributed on video cassette in 1998 by Critic's Choice Masterpiece Collection (from which this review was based). At the length of 99 minutes, running times may differ due to projection speed. Other distributors such as Video Yesteryear in the 1980s possess a copy to THE BELOVED ROGUE at 147 minutes. Which version is better depends on the individual viewer. THE BELOVED ROGUE might be one of the most overlooked of all silent movies due to the lack of television revivals in recent years, however, it is something to consider, especially for silent film enthusiasts and/or film historians who enjoy watching both Barrymore and Veidt hamming it up to a point of laughter and disbelief, when seen on Turner Classic Movies (TCM premiere: September 28, 2022). (***)

The Beloved Rogue is a wonderful period piece. It portrays 145th century Paris in grand Hollywood fashion, yet offering a bleaker side to existence there as it would be experienced by the poor. And the snow. It's constantly swirling about, adding to the severity of the setting -- brilliant! The setting is enhanced by the odd cast of characters, including beggars, cripples and dwarfs.

A brilliant performance is turned in by John Barrymore, outdone only by the magnificent Conrad Veidt, who portrays a degenerate, dissolute Louis XI to perfection. And yes, Veidt picks his nose on purpose, pushing his portrayal to wonderfully wry limits.

This film is a good start for novices that have never watched a 'Silent Film' and for those who believe that quality Cinema started with their generations efforts. They are doing a disservice to themselves by not expanding their horizons. The 'Silent Film' is a art-form of acting in pantomime that is different from the sound film and the stage, it can stands on it's own merits.

THE BELOVED ROGUE (1927) United Artists is a fictionalized history of the relationship of French Poet 'Francois Villon' and 'King Louis XI'. Through 'Villons' prodding 'King Louis' will defeat his nemesis 'Duke of Burgandy' minimize the Feudal System and establish the KING as head of the State and the beginnings of modern France.

The cast is exceptional, lead by JOHN BARRYMORE (yes, Drew's GrandFather). For those who only remember him for the decaying actor 'Larry Renault' in DINNER AT EIGHT (1933) or the ham in THE INVISABLE WOMEN (1940) this will be a revelation. Fit, trim with the 'Great Profile' still in evidence he commands the screen. Co-Starring in his first American film is CONRAD VEIDT with his 'cadaverous spider' interpretation of 'Louis XI'. This is a duel of acting titans, each not giving the other a inch. On a trivia note is Character Actor and Dwarf ANGELO ROSSITTO in his first film, his last, MAD MAX BEYOND THUNDERDOME (1985). There are other character actors who would continue in sound that are easily picked up on.

United Artists spared no expense in this handsome production supervised by WILLIAM CAMERON MENZIES. Costumes, Props and Sets are well done and not exaggerated like in a DOUGLAS FAIRBANKS productions. There is a touch of reality here. The copy on DVD that we watched from 'Delta Entertainment' came from a good master. Though not 'restored' its musical soundtrack was clear and the print only suffered from nuisance black-spots (dirt) and drop-outs. The only major damage at the end of the last reel from water. 'Kino' also has a edition which may be of a better quality since they do major restorations on their prints. Best check with them. In our opinion this is a 'must have' particularly if you have no 'silents' in your collection. This is a good place to start.

Besides being entertaining in itself, with plenty of action, wit, and more, this feature gives John Barrymore an excellent role that plays to his strengths and that gives him a lot of good material to work with. Barrymore's vigorous style works well in the role, and he has many opportunities for drama, humor, and romance.

The story is based very loosely on the life of the 15th century French poet François Villon, but it really only uses the character and the basics of the historical setting. The character that the script creates, though, is not only a great role for Barrymore, but is well-conceived as a movie character. And if Barrymore's entertaining portrayal of Villon, fanciful though it is, encourages anyone to find out more about the historical Villon, so much the better.

(The real Villon was both a worse criminal and a better poet than the movie suggests. A number of his crimes were truly harmful offenses, rather than the impish pranks that he plays in the movie. At the same time, his poetry was quite a bit deeper than is suggested by the occasional light verses in the inter-titles.)

Conrad Veidt is cast as King Louis XI, Villon's sometime friend and sometimes persecutor. Veidt gives a really good turn to the character, using his physical posture and mannerisms to suggest the king's complex character.

There are a number of good sequences that are sheer entertainment, such as the catapult scene and Villon's first visit to Charlotte's palace, and that are rather impressive on the production end too. The story as a whole is the best kind of historical melodrama, with numerous turns of fortune and plenty going on.

In 15th century Paris, poetic lover John Barrymore (as Francois Villon) leads crowds in an extended celebration of "All Fools' Day" which irks King Conrad Veidt (as Louis XI). Consequently, Mr. Barrymore is banished to the outskirts. After Barrymore is caught sneaking back to the city, Mr. Veidt sentences him to death. Barrymore proves himself cleverer than your usual connoisseur of wine, women, and song. He convinces the superstitions Mr. Veidt their deaths are destined to occur within the same day, and becomes a pampered member of the court. Soon, Barrymore risks his life to rescue beautifully figured Marceline Day (as Charlotte), and save France...

This version of "If I Were King" is obviously tailor-made for Barrymore. The United Artists production values are very high.

Barrymore was one of the best actors around through the 1920s. He appeared in relatively few films, but they were carefully selected. Here, he is probably at his "hammiest" - which he admitted upon seeing the film at a crowded premiere. Not to be outdone, Veidt chews a fair share of the scenery. Lucy Beaumont leads an accomplished supporting cast. However hammy, Barrymore is highly appealing. He is also, despite reports to the contrary, still in peak physical form. Not only does Barrymore display boundless energy, he plays the last act in a loincloth. Barrymore was now in his mid-forties. His famed "Great Profile" is also very much in evidence.

******* The Beloved Rogue (3/12/27) Alan Crosland ~ John Barrymore, Conrad Veidt, Marceline Day, Lucy Beaumont

8 stars as a movie, 5 as history.

I wish the movies, when based on history and actual people, are a bit more researched. The story, except a few parts goes too far away from the history. Lois XI has been shown to be blindly dependent on the astrologers his actual state-crafts and the intrigues (for which he was called spider) are totally negated. In fact his physical characteristics were made like a spider. His reforms, his bonhomie with the common men too were completely overlooked. Lois XI was historically too different and supposed to be a far better person, from the caricature that is shown.

Villon too is another historical figure, but again his life (especially the end) doesn't match with history, nor does the fate of Charles, the Duke Of Burgundy. It could have been better if he hadn't attended the ceremony since the fictionalized Count and fictionalized Charlotte's story won't have hurt the history. Of course the relation between Lois and Charles are real, as was between Villon and Lois (who had a very kind disposition towards Villon). Even the end (of Villon) isn't right, since Villon in reality had simply disappeared from public (undoubtedly dead, but as an unknown person). The only facts are Charles, Duke of Burgundy's enmity to Lois, Villon's being close and loyal to the King (Lois) and his much more than what is shown bohemian life.

If I leave the historical aspects and treat it just as a movie - not based on real people - I give it 8 stars. Merceline Day looked gorgeous, JB was of course a consummate actor, a bit theatrical on today's standard, but I have to look at the trend then and also remember it is a silent movie, so a bit of over-expression is required. Conrad as Lois XI had been creepy (as this story called for). So over all as a fiction movie it is enjoyable.

But knowing that this is as well as an historical movie, the stars go down due to blatant contradiction with facts.

Just as a footnote - I didn't know even a century back (the last scene), the population control was a hot, though not to be taken too seriously, subject.

Superb silent version of the story of Francois Villon. Although remade in the thirties as IF I WERE KING, with Frank Lloyd directing, Preston Sturges scripting and Ronald Colman starring, this version is even better. Barrymore, with a cohort of comedians, plays the comic fool and the wine-depressed Villon with a verve that Colman could not match. The photography is startling in its beauty and innovation and the supporting cast, particularly Conrad Veidt in his American premiere, the incredibly beautiful Marceline Day, and the supporting comics, Slim Summerville and Hank Mann, steal every scene they are in.

It is a shame that Barrymore did so few first-rate comedies. Among his sound films, only his lead in TWENTIETH CENTURY and his supporting role in MIDNIGHT can compare to this, and those stand up only because of his superb voice. In this silent movie, Barrymore must tell his tale without benefit of words, and he does so, alternately hilariously unrecognizable as the King of the Fools and tenderly as Villon in love. He even gets to leap around in the swashbuckling style of Fairbanks, most convincingly. He also lets his supporting cast have their share of glory, capering in this ensemble work like any talented comic of the era.

Finally, a brief word about Alan Crosland, a director known today only for directing the first talking feature, THE JAZZ SINGER in the same year this was released. Crosland was a careful, innovative, delightfully original director, and it is a shame that more of his works are not known. Perhaps this movie, far more interesting as a movie than his best-known work, will be your introduction to his other talents. If so, you could do far worse.

It's 1432 France. England and Burgundy continue to occupy its towns. Joan of Arc is dead. François de Montcorbier is another martyr for the cause who is burnt at the stake. His widow collects his ashes in a locket and gives it to the baby François Villon (John Barrymore) who would grow up to be the most beloved poet in France. Besides being a poet, he's a prankster, pickpocket, patriot, and a man of the people. The Duke of Burgundy is trying to steal the throne and starts hating François with a vengeance. The King banishes François to appease the Duke. This is a fun John Barrymore performance. It's a fun swashbuckling silent film. I care less about the plot. I like the surreal sets and Barrymore jumping around. He's a good rogue.

And nothing wrong in that! Heartily endorse the comments of boblipton and Snow Leopard.

I'm thrilled to find this movie is available on US DVD - I've only ever seen it through once - I persuaded the Goethe Institute here in London to show it in their Conrad Veidt season some years ago - and long to see it again.

Barrymore is resplendent when engaged, as in this movie, possibly because of the prick of having a renowned German actor as a foil. And Veidt is such a wonderful scene stealer (doesn't he pick his nose at one point?) This is one of the seminal films to connect 'Dr Jekyll' with '20th Century', 'Grand Hotel' or 'Midnight'; and 'The Cabinet of Dr Caligari' or 'The Student of Prague' with 'The Spy in Bladk', 'Contraband' and 'Casablanca'.

See it!

François Villon was a real-life poet and rogue who lived in Paris in the 15th century. However, most of what is portrayed in this historical film is actually fiction--from a play created at the beginning of the 20th century. Whereas in the film he met and became friends with Louis XI, in reality he died in his 30s and was never involved in all the intrigues like he was in this film. In reality, he wrote some lovely verse and was frequently on the wrong side of the law--not the combination of a patriot and Robin Hood-like character like he is in the film. Provided you know that the film is nearly 100% fiction, then it's well worth seeing--just don't assume it's a good history lesson.

In THE BELOVED ROGUE, Villon is played with wild abandon by John Barrymore. I was also pretty excited to see that his three friends were all played by very familiar faces. Angelo Rossitto, who was the plucky dwarf, played in tons of films over the years and had a very long career. Slim Summerville was a character actor known for adding a touch of comedy to films. Mack Swain is best known as the silent film foil in many of Chaplin's short films and played his partner in THE GOLD RUSH. All four of these men did a nice job and have no complaints---even with Barrymore's rather over-the-top treatment that was rather reminiscent of a Douglas Fairbanks performance. However, the performance I had a serious problem with was Conrad Veidt as King Louis XI. To call this "unsubtle" would be a gross understatement. He played the role like a high schooler who thought he was supposed to be the stereotypical Richard III--skulking about and acting like a demoniacal caricature. While Veidt was wonderful in many, many films (both silent and sound) but here he is just ridiculous.

As for the story, it's full of lusty adventure and action--like a swashbuckling film minus the sailing ships. The sets worked out well for all this, as they'd been used the previous year for THE HUNCHBACK OF NOTRE DAME. Both films were set around the same time period.

Overall, it's one of the last great silent films. There's a lot to like and the film is a lovely combination of romance, comedy and action. Well worth seeing, though it loses a couple of points for Veidt's overacting as well as the way the film plays fast and loose with history.

By the way, this film was also made twice as IF I WERE KING (1920 and 1938) and apparently these two films are closest to the original play. However, in total, six films have been about Villon and tell, more or less, variations on the same tale!

François Villon (John Barrymore), in his lifetime the most renowned poet in France, is also a prankster, an occasional criminal, and an ardent patriot.

This film also stars Conrad Veidt as the king, though it is not one of Veidt's more notable performances. Director Alan Crosland would release his most well-known film, "The Jazz Singer", this same year.

This film was lost for some forty years until a beautiful tinted and toned copy was discovered in the late 1960s in the collection of film pioneer Mary Pickford. Pickford, an early champion of film preservation, tried saving all things "United Artist", the production company in which she was a founder.

Barrymore says he thought of his acting in this one as being hammy, and he was right. How much this was intended is unclear. Although a comedy to some degree, it is not a complete comedy, and the ham might be a bit out of place.

Just love the interplay between two great characters of stage & screen - Veidt & Barrymore

There is a confluence of factors here that upon reflection informs the tenor of the picture should be no surprise. Silent films out of the U. S. industry tended more than not to be more lighthearted in nature, and this was probably never more true than when looking to stories of, about, or set in other cultures. That the very premise suggests adventure somewhat flies in the face of telling the tale of a poet like Francois Villon, about whom little concrete fact is known; saying this offers a "romanticized" perspective on the man is a profound understatement. (Honestly, 'Lawrence of Arabia' can claim more basis in fact.) To sit and watch, it starts to become clear very swiftly that producer, director, and writers alike took inspiration less from Villon's life, specifically, or any sincere biographical interpretation, and more from classic sagas like the legend of Robin Hood and his "merry men," in turn substituting Villon for the Prince of Thieves. Even more to the point, while there is a discrete narrative on hand, a fair portion of the length carries itself with a frivolity that says "court jester" or "traveling medieval theater troupe" more than it does "ardent cinematic storytelling." All this is to say that if you sit for 'The beloved rogue' anticipating a robust adventure more closely resembling contemporary pieces like 'The Sea Hawk' or 'Scaramouche,' you may be surprised by how much irreverent humor and playfulness often dominate instead.

With all this in mind, while the nature of this 1927 feature is unexpected to some degree, it is no reflection of its abject quality. On the contrary: though at some points this may be too insouciant for its own good, favoring sheer revelry over more earnest exploits and weaving of yarns, the fact is that the movie is generally outstanding, and unquestionably a good time. If the worst I can say about 'The beloved rogue' is that it sometimes leans too hard into carefree gaiety for its own good, then it's doing pretty well for itself. The plot is treated lightly, but is nevertheless a delight as we're greeted with a silver-tongued, fleet-footed rascal who runs afoul of powerful people, and further irritates them by falling in love with the wrong person, and working against their designs. Strong, vibrant scene writing and characterizations are complemented with marvelously flavorful intertitles, and there is a treasure trove of wonderful wit in play more than the outright silliness we get every now and again, earning meaningful laughs. The efforts of scribes Paul Bern and Walter Anthony subsequently lay the groundwork for all other contributions - and let there be no doubt that pretty much everything else about this title is phenomenal, and inspired; after its own fashion this does, after all, share much in common with its more serious-minded kin.

There is no shortage of praise to be bestowed in these ninety-eight minutes, and I have difficulty even thinking that one facet stands out more than another. Joseph H. August's cinematography is surprisingly smart and artistic at many times, distinctly impressing; Alan Crosland's direction is splendidly sharp in every capacity, be it blending the comedy and adventure, guiding the cast and orchestrating every scene for maximum effect, or devising excellent shot composition at no few points. There is tremendous, immensely gratifying detail in all the sets, in the costume design, and in the hair and makeup, and I could easily stand to watch 'The beloved rogue' again if for no other reason than to see more of all the stellar work put in by those behind the scenes. The cast is a joy from one to the next, and while John Barrymore naturally stands out most as the protagonist, and Conrad Veidt is an icon with few peers, even those in smaller supporting parts handily make their mark: Marceline Day and Lucy Beaumont as the only two female characters of any prominence; Slim Summerville, Mack Swain, and Angelo Rossitto, as fictional Villon's closest companions; and even those in still tinier roles. The acting is sometimes characterized by notable theatricality, befitting the broad vibe and in line with with more exaggerated body language and facial expressions prevalent in much of the silent era; then again, there are also plenty of instances where more natural, nuanced performances shine through, reflecting the developing trend that would prevail following the advent of the talkie. Add to all this some fantastic stunts and effects, and it's hard not to fall in love with this film.

It doesn't necessarily make the biggest first impression, and if there is any marginal weakness here it's in the storytelling: mostly too light for its own good where problems do arise (chiefly in the first act), but on the other hand, also a tad heavy-handed at some other points (primarily in the last act, building to the climax). This does consequently result in a tinge of gawkiness as the tone shifts from beginning to end. For as fabulously clever as the writing is at its best, however, and for as solid and compelling as the plot is overall, when all is said and done any perceived faults seem rather minor. We can endlessly him and haw about the particulars, yet at the end of the day 'The beloved rogue' is terrifically entertaining, incredibly well made all around, and ably achieves its goals of mixing together adventure and comedy. In no significant manner could it be said that this is anything but a rousing success. While I might stop short of saying it's an absolute must-see, for anyone who appreciates older cinema, and the silent era above all, it would be a sore mistake not to check this out if one has the opportunity. Slightly imperfect, perhaps, and even so, in my opinion 'The beloved rogue' is a gem of a movie that deserves much more recognition and viewership. My high and hearty recommendation!

Actor John Barrymore had been known to play some light-hearted comedies in the past, especially as a young stage actor in the early 1900s. But critics appreciated his more serious roles, such as his Shakespearian plays and those films where he played transformative characters like 1920 "Dr. Jekyll and Mr. Hyde." When he signed on to United Artists for a three-picture deal in 1927, his first preference was to play a Douglas Fairbanks-type of swashbuckler who bounces around royalty as an amusing poet before saving King Louis XI's crown in March 1927's "The Beloved Rogue."

Influenced by Justin Huntly McCarthy's 1901 play, 'If I Were King,' Barrymore's "The Beloved Rogue" has the actor as the 15th-century French poet Francois Villon. In real life Villon was a thief; but the movie mostly ignores his criminal past and focuses on his acts benefiting the common people as well as his teasing of the Duke of Burgundy, whose greedy eyes are on the throne. Villon's hijinks include an accidental head-over-heels air ride on a catapult. The poet also has a romance with the Duke's ward, Charlotte (Marceline Day) of Burgundy while she was preparing to proceed with a forced marriage to the Duke's close friend.

Barrymore rarely played the comic in films at this point in his career. During the premier of "The Beloved Rogue," the actor happened to be watching in the back of the large theater. Unused to seeing his funny mannerisms on display the director Alan Crosland requested him to perform, Barrymore was somewhat puzzled by his acting, commenting out loud, "What a ham."

Critic Stark Young, who appreciated the serious Barrymore far more than the comic one, wrote a scathing article on the actor's choice of movies with United Artists. He wrote that his new direction is "vulgar, empty, in bad taste, dishonest, noisome with a silly and unwholesome exhibitionism, and odious with a kind of stale and degenerate studio adolescence. Their appeal is cheap, cynical and specious." Sensitive to such comments, Barrymore backed away from comedic roles in the future, which is a loss to comedy.

Actor Dickie Moore, whose recognizable role in "The Little Rascals" is popular for today's viewers, is seen as the one-year-old baby in "The Beloved Rogue" in his film debut. The infant was discovered by movie producer Joseph Selznick's secretary when she was transporting Moore's mother to the studio. She thought there was a strong resemblance between little Dickie and what John Barrymore would've looked like as a baby and introduced the kid in diapers to the casting director. Moore later played the title character in 1933's 'Oliver Twist,' was Gary Cooper's brother in 1941's 'Sergeant York,' and became known for applying the first kiss in film to actress Shirley Temple in 1942's 'Miss Annie Rooney.'