Movie Review: The Scarlet Pimpernel

The Scarlet Pimpernel (1982)
International intrigue, love, betrayal, fighting, fencing, daring prison escapes, masterful disguises, gorgeous women, striking settings, lavish costumes, treachery, thrilling music, historical events, revolution, revenge, and redemption. Oh, and some bang-up acting. No, this isn’t a top contender for this year’s Oscars. Or even last year’s. It’s The Scarlet Pimpernel, the delicious romp featuring Anthony Andrews, Jane Seymour, and Ian McKellen (before his knighthood).

Set during the blood-soaked days of the French Revolution, the film revolves around the fictional character created by Baroness Emmuska Orczy. An English aristocrat named Sir Percy Blakeney played by Andrews engages on a daring and dangerous mission to save as many French aristocrats from the guillotine as he can. The republicans have seized power and are methodically executing any and all “aristos” as the mob slakes their thirst for retribution for long centuries of oppression. With the culminating abuses that caused revolution still fresh in their minds, bloodthirsty cries of the rabble of peasants and bourgeoisie chillingly portrayed here hearkens back memories of the Coliseum in Roman days. The Scarlet Pimpernel, disapproving of the heinousness and senselessness of punishing all aristocrats for the sins of a few, creates a league of like minded Englishmen and smuggles a few aristocrats out whenever possible. Assuming a variety of disguises to hoodwink the guards, the English spirit away enough nobles to raise the ire of the fledgling government.

Simultaneously, Percy meets and is immediately infatuated with Seymour’s Marguerite St. Just, an actress of notoriety when he rescues her brother Armand from thugs. The chemistry is instantly apparent, and the romance ensues. Coincidentally, Marguerite’s fiancée is Paul Chauvelin, an ambitious prosecutor in the government played by McKellen, who is given the task of hunting down the elusive Pimpernel. Tensions mount as Percy woos Marguerite away from Chauvelin while plotting to rescue the Dauphin, the heavily guarded son of the deposed Louis XVI and heir to the throne.

Made in 1982, the first impression of the film is that it must be a made-for-TV movie. The style, cinematography, and lighting all lack the high caliber finished appearance that most studio films posses. And while the costumes, sets, music, and general execution leave nothing to be desired, the technical film snob may find their assessment of the film adversely colored by this first impression. However, the stripped down sensation, the lack of brilliant and vibrant colors only serve to enhance the verisimilitude in my estimation. While big budget blockbusters like The Duchess or Elizabeth have a glossy veneer that please the eyes and enhance the elaborate décor and bright costumes such movies can afford, the muted and subdued look of this movie convince the viewer that the events and look of life in the late 18th century resembled the portrayal in The Scarlet Pimpernel as opposed to the bigger budget films.

There is enough plot twists and turns to satisfy the viewer looking for an exciting story, with enough glamor and reflection to appeal to the more thoughtful viewer. I myself first saw this movie at the age of 9 or 10, and have sustained my enjoyment of it through the present. As with the best of movies, the more I mature and understand the subtitles of the world and its workings, the more I see these subtleties displayed in the quality movies I enjoy, and The Scarlet Pimpernel fully qualifies for this categorization.

All three main actors bring depth and nuance to their performances, and I can honestly say that none of the supporting cast ever falters or delivers an exaggerated line. Seymour is young and luscious as the superstar actress of her day. McKellen is terrifically frustrated and conniving as the antagonist Chauvelin. Andrews masterfully changes from fashion-obsessed fop to grimly determined savior to star crossed lover without ever causing doubt as to the veracity of any role. The sets are detailed and satisfying while not seeming artificially produced. I can almost imagine some of the rugs or gowns that appear having been appropriated from a nobleman’s manor or a historical society’s collection. They don’t look too good, if that makes sense. The music punctuates the drama very well, bringing an air of lightheartedness and frivolity to the courtship scenes while appropriately dramatic and ominous when circumstances turn dire. Throw in a lovely castle on the seashore, complete with a very authentic-looking sword duel to climax the film, and the viewer is left with no complaints.

It’s a crackling good yarn, the story is, but I must caution those viewers who have little patience for “slow” movies. The language isn’t Shakespearean (i.e. incomprehensible to 85% of American moviegoers), the accents are clear and British (even the “French” people; some accuracy must be sacrificed for clarity and plot progression and this raises no complaint from me), and the plot isn’t very complicated (there are a number of characters, but a second viewing clears up any confusion, or simply paying close attention). However, for those who disdain and avoid historical movies that don’t have epic battles (Braveheart, Gladiator, et al), it may not be your cup of tea. There is no language, no sex (that is, no nudity or even people rolling around in the hay), and no violence (that is, no blood and gore; people get their heads cut off, but you don’t see much), so it’s not going to have the immediate appeal that most studios seem to feel are necessary to capture an audience’s attention. If you can look past these “deficiencies” then a wonderful movie experience awaits you in The Scarlet Pimpernel.

8 out of 10.