Beau Geste (1926) Poster

(1926)

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8/10
Three Stout Fellas
Spondonman3 February 2007
Both this original and the Wellman remake are marvellous Golden Age films - it's difficult to compare silents with talkies, or either to the book. In the book you use your imagination, this 1926 original had a cast of thousands, '39 was a populist version with identical screenplay, full orchestra and name changes, '66 only had 2 brothers and muzak, whilst if made today would probably have nothing real in it at all.

Three English brothers - Ronald Colman, Ralph Forbes and Neil Hamilton - join the French Foreign Legion to escape one of them being accused of stealing a large diamond. They find a hard life awaiting them, coming from the hordes of seething Arabs but more especially their own intense Sergeant Lejaune (Noah Beery). The greasy rat Boldini as played by William Powell jarred a little, but only because you know how urbane he really was in retrospect, while you can almost hear Colman uttering his lines in his own inimitable way. The acting was believable, the direction appeared faultless and generally production values were Paramount-high.

Although I've seen the '39 film many more times I'm finding every time I watch this one (definitely unremastered too) it grows on me more and more, so heartily recommend it as the next best thing to Wren's novel.
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8/10
It's A Good Geste
bkoganbing2 October 2011
I'm guessing that if you mention Beau Geste to film fans the 1939 version with Gary Cooper, Robert Preston, and Ray Milland is the one that comes to mind most readily. But this version with Ronald Colman in the title role and Ralph Forbes and Neil Hamilton as the other Geste brothers is the first, the original, and has a whole lot going for it. It holds up well even as a silent film for today's audience. One of the things I liked about it was some of the dialog on screen attributed to Colman's character. As Ronald Colman had one of the great voices in the English speaking world the words he was given fit his heroic English character so well that we came to know when the talkies arrived.

With only minor variations the story from the 1939 version is what you see here so if you've seen that you know what to expect. The Geste boys are all suspected of stealing a precious family jewel and all enlist in the Foreign Legion to cover up the disgrace of the one they think might have stolen the gem.

Once there the brothers fall afoul of the sadistic Sergeant Lejaune played by perennial villain Noah Beery. William Powell who was one of Ronald Colman's best friends in Hollywood plays the sneak informer Boldini who learns of the purloined jewel and inflames Beery with the tale. Powell who also had impeccable diction was playing mostly villains due to his swarthy complexion. His career like Colman's was enhanced when talkies came in.

The film is every bit as exciting as when it was first released in 1926 and holds up very well for today's audiences. All it lacks are the great speaking voices of Colman and Powell.
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8/10
A Film With Bookends
Maleejandra30 May 2007
Beau Geste begins at the end when a group from the French Foreign Legion find a post in the desert guarded by dead bodies which soon go up in smoke mysteriously. Flash to the childhood of some of the soldiers. Three little boys and one girl stage a viking funeral while playing war with toy boats. We see them grow up into fine young men (Ronald Colman, Neil Hamilon, and Ralph Forbes) and women (Mary Brian) who are as close as can be. Then, crisis when a family jewel is stolen and one of the boys is guilty of the crime. To avoid shame, they all enlist in the Foreign Legion, a childhood dream realized. There, they find that service is filled with tough sergeants (Noah Beery) and criminals (William Powell).

None of the characters have quite enough time to become quite endearing as individuals, but the mysteriousness of the opener makes the film enjoyable to watch. However, audiences are greeted with many familiar and competent actors. Don't worry though; the ending is very satisfying.
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Legionnaires disease
Murph-1727 January 2003
A well-directed melodrama with a near-flawless cast. Director Herbert Brenon (or his editor) lets the story unfold at a steady but never slow pace, nicely managing the suspense, but giving you perhaps too much time to ponder some of the oddities that crop up in the plot. Why, for instance, when everyone is standing in a room from which a valuable jewel has just been stolen by a culprit who is clearly still present, do they not simply search the room? Why do the three brothers, each separately on the run, condemn themselves to joining the French Foreign Legion (simultaneously, no less!) if all of them know they're not guilty of any great crime and thus consciously ignore their family's desperate financial straits? They could have at least sent some of their Legion pay back home to mother.

Those Legionnaires got paid a wad of dough because -- in real life, anyhow -- they were brutal, mercenary killers employed by an imperialist power to wipe out Arabs and anybody else who got in its way. Not that the Arabs were such nice guys either but, of course, the film presents all this with the complexity of a cowboys-and-Indians B western. Having your hero join the Legion with no qualms is sort of like having your hero join the Ku Klux Klan, except that the Klan wasn't as efficient a group of racist mass-murderers.

Absurdities and implausiblities aside, the film holds its grip pretty well, not because of epic elements like mobs of attacking Arabs, shots of marvelously oppressive desert vistas, etc., but because of the unstressed acting amidst all the mayhem and intrigue. I tend to agree with the critic who wrote that, in the 1939 version, Gary Cooper merely played Gary Cooper but that, in the '26 version, Ronald Colman embodied Beau Geste. Everyone else is fine and if the villain is over-the-top, it's certainly forgivable on this occasion.

There's a lot of bugling in these French Foreign Legion pictures and whoever accompanies this long silent will have to struggle to stay in perfect sync with all the various fanfares, especially a necessary rendition of "Taps" near the climax.
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7/10
First film adaptation of the novel by P.C. Wren
AlsExGal3 May 2023
After a fabulous gem is reported stolen from his adoptive Aunt's care, Michael "Beau" Geste (Ronald Colman) takes the blame and leaves England, enlisting in the French Foreign Legion and getting stationed in North Africa. His two brothers, Digby (Neil Hamilton) and John (Ralph Forbes), also enlist in an effort to get Beau to return home. They fall under the command of the sadistic Sgt. Lejaune (Noah Beery Sr.), and the troops can't decide if they'd rather kill him or the approaching hostile Arab army. Also featuring William Powell, Victor McLaglen, Alice Joyce, Mary Brian, Norman Trevor, George Regas,Donald Stuart, and Bernard Siegel.

I've seen, and enjoyed, the 1939 version starring Gary Cooper, and now I know that that later version closely followed this original. Director and screenwriter Herbert Brenon does a tremendous job with the Legion sections of the film, and it's surprisingly violent. The sections showing the Gestes as kids goes on a bit long, though. The opening segment of the film is revisited later, with the events shown from a different angle. I wonder how often that narrative device had been used by this point, if at all. The cast stand out for me was William Powell as Boldini, a shifty thief and scoundrel (someone calls him a "jibbering jackal" at one point) who is also in the Legion.
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7/10
Silent Geste near blueprint for 39 sound.
st-shot30 November 2019
The lesser known silent original Beau Geste footprint is a near match of its 39 carbon copy save for a few changes. Not exactly a shot for shot reproduction but filmed on the same locale (Yuma, AZ) with an outstanding cast conveying both high desert adventure along with a sense of desperation within the walls of Fort Zindernuff where a sadistic sergeant fends off a massive Arab assault.

Even without his sonorous voice Colman as Beau exudes a dashing nobility while Noah Beery as the sergeant holding down the fort is the silent equal of the magnificent Donlevy performance in the 39. William Powell as the craven Boldini is surprising effective playing against his usual urbane self.

As silent epic Beau Geste succeeds in nearly every facet with immense production values and fine performances in the key roles. But with a pristine print non-existent and the specter of the more popular sound version where Alfred Newman's score gives even more voice to the desert.
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10/10
Masterful Silent Classic!
sunlily22 July 2006
I was delighted to see Ronald Colman in the first silent that I've had the pleasure to watch him in! The cast is excellent, and the plot device of starting the movie at almost the end of the story, and going back in time to solve the mystery is unusual for the time and well conceived.

The plot revolves around three brothers, their love for each other, and a missing family jewel called "The Blue Water." The jewel is taken at the beginning of the movie, and Colman's character, the eldest Geste brother, Michael (Beau), is believed to be the culprit. The mystery of who took the priceless jewel and why, is solved as the story slowly unfolds with each brother joining the French Foreign Legion.

The desert shooting in this film is supposed to be some of the best ever photographed and the director, Herbert Brenon manages the Legionaries and Arabs treks across the desert splendidly! A fine cast with Neil Hamilton (Digby Geste), Ralph Forbes (John Geste), Alice Joyce (Lady Patricia Brandon), Noah Berry (Sgt. Lejaune), and William Powell (Boldini) go all out! This film is silent film making at it's best and rarely misses a beat! It will keep your attention from start to finish and is one of those films that must be watched closely in order not to miss out on the plot development and fine nuances of the characters.

I haven't yet viewed the remake with Gary Cooper, but it apparently follows almost verbatim with the original, which is the greatest of compliments!
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10/10
Quite an experience
Kieran_Kenney7 August 2003
Not a dull moment awaits the viewer in Beau Geste. Quite honestly, it's never boring. The great action scenes, great story telling, superb acting, fabulous art direction and amazing camerawork hold it up just as well today as in 1926.

Now, I'm not a fan of sweeping epics. I, for one, hate David Lean's work with a passion. But in the silent days, many a great epic film was made, and this in one of them.

Probably the most incredible thing is the sheer size of this movie. The opening scenes of the french troops advancing toward the fort, or later with the arabs doing the same thing, are astounding. Unlike in Lean's work, where crowds of chattering background players rush about in every direction, director Herbert Brennon skillfully weaves his literal army of extras over the sand dunes, obviously going to great lengths to ensure that he gets a breathtaking shot. And cinematographer Roy Hunt captures it impeccably, only as an artist would. I'd like to see more of his.

I saw this movie last night in a restored silent movie theater with live organ accompaniment. The organist, the incredible Dennis James, mentioned that some audience members might feel that they had seen this film before, only that they thought that it was with Gar Cooper. I haven't seen that version, but apparently it's almost a shot-for-shot remake. I'd love to see it if it's even half as good as this one.
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10/10
Silent Classic
Chezaroo5 August 1999
If you're a fan of the 1939 William Wellman version of Beau Geste, then do yourself a BIG favor and rent the 1926 film starring Ronald Colman. I was shocked by the similarities in style and composition between both films; it almost seems as if Wellman was making an homage to the earlier film which, by the way, he was up for but didn't get the job to direct. In any case, there are some different twists to the story which make it very enjoyable to watch even if you're already familiar with the story. Fantastic locations and set designs.
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9/10
Ronald Colman is "Beau Geste"
BarbaraMcI22 August 2007
First, the original novel by P.C. Wren is about the most exciting book I've ever read. Though it's generally considered adventure fantasy for adolescent boys, and I was a thirtysomething woman when I got around to reading it, I really couldn't put it down. HOW did all those Legionnaires stand at Fort Zinderneuf? Who stole the Blue Water? And of course I have had a major crush on Ronald Colman since my teens, so I had to buy the movie (on VHS, alas). But I love Gary Cooper, too. Which version to choose? Well, anybody but a Frenchman can join the Foreign Legion, but seeing Cooper and Robert Preston (love him, too) in this very English story just doesn't seem to work. Maybe Cary Grant should have done it.
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10/10
Classic Silent Screen Gem!
bsmith555217 September 2017
Warning: Spoilers
"Beau Geste" is a story of the three Geste brothers Michael, Digby and John who end up in the French Foreign Legion and their adventures therein.

The film has a creepy opening sequence where a relief battalion led by Major de Beaujolais (Norman Trevor) arrive at an isolated desert fort and find it apparently deserted. On further inspection, Major Beaujolais finds dead soldiers propped up at each of the openings of the rampart and no apparent survivors within. His trumpeter scales the wall and disappears as do two of the bodies.

To solve the mystery, we go to the flashback of the three brothers and Isabel Rivers playing war games as children. Michael, who is called "Beau" and Digby make a death pact that if one of them dies before the other, the survivor will give the deceased a Viking funeral.

The brothers grow up to be Ronald Coleman (Beau), Neil Hamilton (Digby) and Ralph Forbes (John). John and Isabel (Mary Brian) are a couple. Lady Paricia Brandon (Alice Joyce) has raised the boys following her sister's death. She is experiencing financial difficulties and is forced to bring out the family treasure, the "Blue Water" sapphire with a view to selling it.

The jewel is stolen at a family gathering. Beau takes the blame and flees in disgrace to join the foreign legion. Digby soon follows. He also takes the blame for the theft. John soon follows and catches up with his brothers at the Legion's recruiting station. United once again the brothers meet fellow recruits Hank (Victor McLaglan), Buddy (Donald Stuart) and snake in the grass Boldini (William Powell).

At the fort the men are introduced to sadistic Sgt. Lejeune (Noah Beery). Boldini overhears the boys discuss the Blue Water and believes that Beau has the jewel. He tries to rob Beau one night and is caught. Through him Lejeune learns of the priceless jewel and vows to get it for himself. He then separates the brothers with Beau and John going with him. Digby, Hank and Buddy are sent to another fort.

Some of the soldiers plan a mutiny against Lejeune but he learns of it. As he plots his revenge a large scale attack by Arab forces begins and..........................................

At the film's climax, all of the missing points in the film's opening scenes are explained and the mystery of the Blue Water's disappearance is solved.

The performances in the film are outstanding. Although Ronald Coleman is the star, he doesn't get all that much to do. To me, the film is stolen by Noah Beery as Lejeune. He dominates the action and is feared by all who know him. The battle scenes are amazing. The Arabs on the desert look like a colony of ants scurrying about.

A great film. Remade in 1939 and 1966.
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9/10
The Finest Version of a Timeless Adventure Masterpiece!
malvernp9 May 2022
Beau Geste (BG) is a Classic of the Silent Screen honored in its own time as a movie great. It was remade successfully in one particular sound version that also resulted in similar acclaim. Most (but not all) such silent films involved epic stories that benefitted in their re-telling because of Hollywood's technological advances in better cameras, improvements in the use of color and modern achievements in sound fidelity. In the case of BG, the subsequent sound remake directed by William A. Wellman in 1939 is fondly remembered today by many people. However, it closely follows BG in its unique narrative presentation, and does not surpass the acting and set design accomplishments of the original version.

The list is long of such silent movie classics that were followed by acclaimed remakes. It includes, among others, Ben-Hur (original 1925, remake 1959); Stella Dallas (original also with Ronald Colman 1925, remake 1937); The Ten Commandments (original 1923, remake 1956); The Prisoner of Zenda (original 1913 and 1922, remake also with Ronald Colman 1937); The Man in the Iron Mask (originally titled The Iron Mask 1929, remake 1939); The Thief of Bagdad (original 1924, remake 1940); The Three Musketeers (original 1921, remake 1948); and Disraeli (original 1921 and remake 1929 both with George Arliss). There were other remake versions of these silent film classics, but the ones cited here are the most famous.

As for BG, it was an achievement then praised by the novel's author, Percival Christopher Wren, when he said that "it couldn't have been cast better." The film cost over one million dollars to make in 1926, which was a phenomenal amount of money at that time. Oscars were not first given out until the following year, but BG did win a Photoplay Gold Medal----then Hollywood's most honored competitive award. Shot on location in the Arizona desert outside Yuma (exactly like the 1939 remake), the filming presented a difficult and challenging experience for all concerned. But the final result produced a bona fide timeless classic that thrills us to this very day. It is one of the greatest action films of all time.

BG was also a seminal event in the career of Ronald Colman. In it, he perfected his image of the decent, brave and honorable man of valor, whose code of personal behavior allowed him to reach heights of greatness and nobility of character. He would go on to hone this image in numerous subsequent movies, and do so with considerable charm and charisma. While Leslie Howard also developed somewhat similar qualities in many of his own screen roles, Colman could project more physicality in his performances and therefore was probably the more versatile actor of the two.

Audiences watching BG cannot help but be moved by the power of this film and its rousing narrative. It is not to be missed.
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10/10
Join the Foreign Legion and Forget
guidon713 August 2007
Warning: Spoilers
Regarding the above title, I must digress here for a moment, for it reminds me of one of the best Laurel and Hardy short subjects "Beau Hunks"; obviously a takeoff on Beau Geste. Hardy, with Laurel in his footsteps (excuse the pun here), joins the Foreign Legion to forget -- believe it or not -- gorgeous Jean Harlow, and still carries her autographed picture with him wherever he goes. This great little film ends with searching the captured Arab chieftain who, under his burnoose surrenders an assortment of knives, then pleads not to take his last possession, which turns out to be the very same Jean Harlow photo. But to get on with Beau Geste. I have just obtained (with considerable effort) a VHS of this 1926 version, and while of disappointing quality, is still far better than nothing, especially to this writer, who has had a lifelong fascination with the Legion and a regret that I was not also able to wear the "kepi blanc". Other user comments here describe the film commendably, so instead, while I don't consider it nit-picking, I would still like to comment and question a few of the differences in the 1926 and 1939 versions. Unfortunately the 1926 film is silent with only organ accompaniment, nevertheless the film itself is exceptionally well done considering it is now all of 81 years young. A good print would be a joy to see.

Why, for instance, did the 1939 version have a villain "Gussie" playing off against the young Geste's, but no Gussie character in the 1926 film? I did read Beau Geste many years ago but do not remember if this character was included. Brian Donlevy, in the role of his life as Sgt. Markoff, instead of a French Legion sergeant, has now become a sadistic Russian, expelled from a Siberian penal colony (for cruelty) in the 1939 version. 1930's politics, I imagine. Also William Powell's 1926 Italian villain, Boldini, is renamed Rasinov (Russian again), ably played by J. Carrol Naish in the 1939 version. Noah Beery is outstanding in his role as the evil Sgt. Lejaune, nearly as good as his counterpart Donlevy in the later film. Digby Geste in the silent version wanders off to die in the desert, sacrificing himself to save brother John and two other legionnaires, one of these played by the strapping young Victor McLaglen in a minor role. The 1939 Digby meets his end differently, at the hands of an Arab rifleman while blowing his bugle, feigning a Legion attack. As the 1926 Beau Geste winds down John, now back in England, a Legion deserter, makes his confession to family friend and Foreign Legion Major de Beaujolais, expecting arrest. But no, the major, derelict in his duty, refuses to arrest him -- a highly unlikely action either in 1926 or today -- but then we must remember that we are dealing with Hollywood here.

Two great versions of P. C. Wren's novel, with Colman the Englishman more believable as Beau (even without sound, for who can forget that distinctive Colman voice) than the midwestern drawl of Montana cowboy Gary Cooper portraying an Englishman in the talkie. Hard to choose, but if I had my druthers I must go with the 1939 version, mainly because the Beau Geste story is ideal for sound, and also for it's stellar cast, dominated by Brian Donlevy's magnificent performance. He (Donlevy) was nominated for the Academy Award's best supporting actor for the film but lost, I believe, to Walter Brennan as Judge Roy Bean in The Westerner, also, as in Beau Geste, starring Gary Cooper.
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