Queen Margaret (1914)
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Paul Garbagni | Léontine Massart | Henri Desfontaines (Director)
Rest of cast:
Pierre Magnier | Rolla Norman | Henri Desfontaines | Jeanne Grumbach | Romuald Joubé | Paul Cervières | Paul Numa | Marcelle Schmitt | Georges Wague | Alexandre Dumas (Novel)
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“Queen Margaret”
Pathé Frères releasing splendid picturization in five parts, of the Dumas novel, Margaret de Valois.
Reviewed by Margaret I. MacDonald.
In the filming of a brief period in the history of the persecution of the Huguenots, according to the impression of the times fashioned by the pen of the great novelist, Alexandre Dumas, the Pathé Frères have lost no opportunity in making the production a good one. Its historic value is enhanced by the photographing of many of its scenes on the exact locations where incidents of the story of the troubulous times of the Inquisition have actually taken place.
An added charm of the production lies in the fact that it has been hand colored. And perhaps one is glad of this more especially in the out-of-door scenes; for instance, the stag hunt which has been interpolated to emphasize the devotion of King Charles IX to out door sports, and to make more lucid the reason of his undying gratitude to Henry of Navarre, whose brave act prevented the king’s being gored to death by an infuriated stag, and which forms one of the main pillars of the story. This latter scene, and the chase across country of stags, hounds, horses and men is, as before said, especially effective in colors.
The character of the cruel queen mother, Catherine de Medici, has been splendidly portrayed by Madame Grumbach, while Léontine Massart wins favor in the sympathetic role of Queen Margaret. Also fine impersonations have been given of Cocomas and La Mole [Paul Cervières | Romuald Joubé], the adventurous characters, who in their devotion to widely divergent causes, become friends through strife, companions in misery, and lose their heads on the same block, by the hand of the same executioner, and within a few seconds of one another.
The production is necessarily spectacular. The scenes following the order of the king for the massacre of the Huguenots are splendid samples of composition and realism. There are deep and effective sets true to the period, and there is present throughout the picture that atmosphere of romance and nervous tension which marked this era of uncertain human existence.
To the American audience the dramatic action of the picture, which is distinctly French in style, may appeal as somewhat exaggerated or conventional; but in criticism of this point it must be remembered that it is the French character and mannerisms that the players are seeking to portray, and that of a period distant several centuries from our present day conditions.
The picture classes as a large and splendid feature production upon which expense has not been spared, which has value not alone from the entertainment standpoint, but as an educational exploitation. It is a beautiful production, and one which reflects great praise on its makers.
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Scene from Queen Margaret (Pathé)
Collection: Moving Picture World, January 1915