While I cannot say that each of the Swashbucklers I chose changed the genre, I can claim that each is a signpost in the genre’s development (or in some cases, its stability). But Cyrano de Bergerac is an exception, it is not on that road; it is a detour. It is different than its predecessors and no other Swashbucklers followed its style. But that doesn’t mean it isn’t an important and enjoyable dead-end.
Cyrano de Bergerac is a play that just happens to be recorded on film. Due to budgetary restraints and artistic inclination, the production does not take advantage of the capabilities of motion pictures, rather it takes its cue from the stage. And that isn’t a bad thing. Movement isn’t important for Cyrano de Bergerac, nor is lighting, nor camera angles nor innovative cuts. Dialog, and the expressions that go with the dialog are everything.
My French is far too weak (far, far) for me to enjoy the original, Edmond Rostand play. Luckily, Brian Hooker did what so few translators are capable of and created a poetic English interpretation. The film leans heavily on that translation. Most of the lines come straight from the play; the few that don’t come from Hooker’s work lack his melodic quality and sound out of place.
José Ferrer plays Cyrano de Bergerac, the greatest swordsman in France. He also is very sensitive about his enormous nose. He is in love with his cousin Roxane (Mala Powers), but can’t bring himself to tell her. She has fallen for the good looking, but dim Christian (William Prince). Cyrano finds himself first the younger mans protector, and then, as Christian is incapable of romantic conversation, his voice. Cyrano writes beautiful letters and speeches for Christian, and Roxane finds herself deeply in love, but not with the empty, handsome man that is really Christian, but with the man who wrote those words. Unfortunately, she doesn’t know that Cyrano is really the author, and so a comedy of mistaken identities turns into a tragedy.
This is the story of Cyrano. The other characters pale in comparison. It’s about a man who appears to be a master of all things, but is insecure and frightened in those areas that are most important in life. He is loyal, caring, capable of deep love, and sometimes stupid. Three lives are ruined by an over use of virtue.
While the lyrical dialog gives the movie a great start, it really works due to José Ferrer’s Oscar-winning performance. I’ve pointed out before that great performances belong to actors with great voices and Ferrer has the requirements. It’s a joy just to listen to him.
The rest of the production doesn’t fare so well. William Prince’s Christian lacks life or sympathy. Certainly the character lacks the depth of Cyrano, but it felt like he was reading his lines. Mala Powers was quite attractive, but there was no spark in her performance to mark how Roxane called forth such love from Cyrano. The cast isn’t poor, they just aren’t at Ferrer’s level, or the level of a great film. With regard to the sets and lighting, the low budget is obvious, but Ferrer projects the honor and love in the story so well that it makes up for any flaws. This is a great film that could have been more.