The Return of the Scarlet Pimpernel

Hollywood is hardly the only one to crank out unnecessary sequels. Britain was also guilty of it, and early on, too. "Return" is essentially a rehash of the first movie, made a couple of years earlier. It even reuses footage and sets from that classic. The leads have changed, but not the basic plot, which has Sir Percy forced to go back to France one last time, in this case to rescue his wife from the clutches of the sinister Robespierre. It clearly is a trap, but nothing will keep the good old Pimpernel from carrying out his mission. He is up against the usual clods and dolts, after all. A young James Mason has a small role. This is no worse, I suppose, than "Son of Monte Cristo" or "Son of Robin Hood." Mercifully, there was to be no third Pimpernel film.

Hanns Schwarz is known to most cinephiles as the director of the miraculous 'Incredible Lies of Nina Petrovna'. Hardly surprising that with the surname of Schwarz he felt obliged to leave Germany pretty smartish in 1933. He directs this sequel to the successful 'Scarlet Pimpernel' of 1934. This is lame, mediocre stuff and is saddled with the curse of twee, 'teddibly, teddibly' acting. Notable exceptions are Henry Oscar as Robespierre although a little mature for the role, the appealing Margaretta Scott and James Mason. Huddersfield born Mason is really the only feature of interest in this and impresses with his earthy presence and modern delivery. He is not yet the finished article but has ingredient 'X' in spades. The title character is played by someone named Barry K. Barnes. The screen empties whenever he is on it. Such a pity that the directorial career of Schwarz finished so disappointingly. Following this he went off the radar and died in California in 1945. At least we have Nina Petrovna to remember him by.

Barry K. Barnes continues in the fine foppish tradition that Leslie Howard set in The Scarlet Pimpernel. I suspect that Howard was over on this side of the pond on Broadway or in Hollywood or he probably would have done this sequel.

Even though his identity as Regency fop Sir Percy Blakeney is now known to one and all, in The Return Of The Scarlet Pimpernel Barnes is still operating a rescue service to one and all who have fallen afoul of the French Revolution. Things have gotten worse over in France though and the Reign Of Terror under Robespierre is now in high gear as the fanatical and psychotic Robespierre is guillotining everyone whom he even THINKS might be against him.

Francis Lister plays a far different Chauvelin than the revolutionary true believer that Raymond Massey did. Lister is trying to compete with Barnes in the wit department and making a not bad stab at it. Still he comes up way short every time.

He uses the same gambit to try to trap Barnes as in the first Pimpernel film. Lister has French actress Margharetta Scott go to Great Britain as an exile and she induces Barnes's wife Sophie Stewart who is French to follow her on a pretext. No going to France this time, some paid thugs just kidnap Stewart and spirit her back to France. So Barnes has to assemble his crew and work another rescue.

This time however there are rumblings of discontent against Robespierre and the Terror. Barnes enlists the aid of a prominent member of the National Assembly in his cause. James Mason plays that part in one of his earliest film roles and one that got him his first real notice with the movie-going public.

Barnes and Stewart are good substitutes for Leslie Howard and Merle Oberon from the original. I truly do miss Raymond Massey as Chauvelin as did others. The Return Of The Scarlet Pimpernel still holds up well as entertainment and a portrait of some terrible times in France.

This is the second version of the much-filmed adventure classic with the immortal hero named Scarlet Pimpinel ( Barry Barnes), and again the English aristocrat engaged in the underground effort to snatch out from under the blade of the guillotine Frenchmen caught in the Reign of Terror ( 1794 ) . This time Robespierre assigns the mission to track down Pimpinel in England . As Spanish Teresa Cabarrus , Tellien's lover , and Chauvelin (Francis Lister ) travel towards Brighton where abduct his wife ( Sophie Stewart ). Pimpinel returns to Paris and then Sir Percy hides his activities under various guises . His ruse may throw off the French authorities but the elusive pimpernel is also attempting to free his wife , though he is suddenly caught by Chauvelin.

Barnes does a dashing hero leading several characters and posing as an officer , pauper or revolutionary . This lavish production results to be a good sequel with spectacular production design , impressive sets and nice scenarios . Less than stellar cast plenty of unknown actors with exception a young James Mason as Tallien. The motion picture is professionally directed by Hans Swartz , a Hungarian filmmaker in his last movie .

In the film appears historical characters as Tallien , Theresa Cabarrus (Margarett Scott ) and is developed an intrigue about downfall's Robespierre ( Henry Oscar ). The actual events are the followings : Robespierre appeared at the Convention and delivered a two-hour-long speech. He defended himself against charges of dictatorship and tyranny, and then proceeded to warn of a conspiracy against the Republic. Robespierre implied that members of the Convention were a part of this conspiracy, though when pressed he refused to provide any names. The speech however alarmed members particularly given Fouché's warnings. These members who felt that Robespierre was alluding to them tried to prevent the speech from being printed . The next day, Saint-Just began to give a speech in support of Robespierre. However, those who saw him working on his speech the night before expected accusations to arise from it. He only had time to give a small part of his speech before Jean-Lambert Tallien ( James Mason ) interrupted him . Robespierre then attempted to secure the tribune to speak but his voice was shouted down. Robespierre soon found himself at a loss for words after one deputy called for his arrest . The Convention ordered the arrest of Robespierre, his brother Augustin, Couthon, Saint-Just, François Hanriot and Le Bas. Troops from the Commune arrived to free the prisoners and then marched against the Convention itself. The Convention responded by ordering troops of its own under Barras to be called out. When the Commune's troops heard the news of this, order began to break down, and Hanriot ordered his remaining troops to withdraw to the Hôtel de Ville, where Robespierre and his supporters also gathered. The Convention declared them to be outlaws, meaning that upon verification the fugitives could be executed within twenty-four hours without a trial. As the night went on, the forces of the Commune deserted the Hôtel of Ville and, at around two in the morning, those of the Convention under the command of Barras arrived there . Robespierre tried to kill himself with a pistol but only managed to shatter his jaw.For the remainder of the night, Robespierre was moved to a table in the room of the Committee of Public Safety where he awaited execution. He lay on the table bleeding abundantly until a doctor was brought in to fix up his jaw. The next day, 28 July 1794, Robespierre was guillotined without trial in the Place of the Révolution. His brother Augustin, Couthon, Saint-Just, Hanriot and twelve other followers . Only Robespierre was guillotined face-up.

Other versions about this classic novel by Baroness Orczy are the following : First and the best in 1939 by Harold Young with Leslie Howard and Leslie Caron ; The Elusive Pimpernel , 1950, by Michael Powell and Emeric Pressburger with David Niven and Margaret Leighton and made for TV in 1982 by Clive Donner with Anthony Edwards and Jane Seymour and in 1999 with Richard E Grant and Elizabeth McGovern .

This is a sequel which instead sets its own terms. Lacking a star name, it is not a vehicle for a star to lift and be given entertaining scenes (and mask weaknesses), instead it is a very well crafted artistic production. Completely unremarked is the quality of the cinematography there is a still photographer's eye at work not to mention the sets and the handling of action. Instead of a star and their schtick which a production is obliged to both labour and indulge, there is point and purpose throughout in the screenplay which reflects the mixture of brutality, passion, paranoia, scheming and insecurity of the times. The pimpernel is more subtly acted than the sign-posted performance of a big star. His ruses, being the centre piece of the character, have to be and are more impressive including the disguises than in the case of a star who probably wishes to be recognisable at all times. Lacking any stars, it must rely on pure merit - and succeeds. It is after all a Korda production so would one expect less?