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.
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.