Douglas Fairbanks Movies
American actor Douglas Fairbanks Sr., instilled with a love of dramatics by his Shakespearean-scholar father, was never fully satisfied with theatrical work. A born athlete and extrovert, Fairbanks felt the borders of the stage were much too confining, even when his theatrical work allowed him to tour the world. The wide-open spaces of the motion picture industry were more his style, and in 1915 Fairbanks jumped at the chance to act in the film version of the old stage perennial The Lamb. Fairbanks became the top moneymaker for the Triangle Film Company, starring in an average of 10 pictures a year for a weekly salary of $2000. He specialized in comedies--not the slapstick variety, but free-wheeling farces in which he usually played a wealthy young man thirsting for adventure.Fairbanks was a savvy businessman, and in 1919 he reasoned that he could have more control--and a larger slice of the profits -- if he produced as well as starred in his pictures. Working in concert with his actress-wife Mary Pickford (a star in her own right, billed as "America's Sweetheart"), his best friend Charlie Chaplin, and pioneer director D. W. Griffith, Fairbanks formed a new film company, United Artists. The notion of actors making their own movies led one film executive to wail, "The lunatics have taken over the asylum!", but Fairbanks' studio was a sound investment, and soon other actors were dabbling in the production end of the business. Still most successful in contemporary comedies in 1920, Fairbanks decided to try a momentary change of pace, starring in the swashbuckling The Mark of Zorro (1920). The public was enthralled, and for the balance of his silent career Fairbanks specialized in lavish costume epics with plenty of fast-moving stunt work and derring-do. While several of these films still hold their fascination today, notably The Thief of Baghdad (1924) and The Black Pirate (1926), some historians argue that Fairbanks' formerly breezy approach to moviemaking became ponderous, weighed down in too much spectacle for the Fairbanks personality to fully shine.
When talkies came, Fairbanks wasn't intimidated, since he was stage-trained and had a robust speaking voice; unfortunately, his first talking picture, 1929's Taming of the Shrew (in which he co-starred with Mary Pickford), was an expensive failure. Fairbanks' talking pictures failed to click at the box office; even the best of them, such as Mr. Robinson Crusoe (1932), seemed outdated rehashes of his earlier silent successes. Fairbanks' last film, the British-made Private Life of Don Juan (1934), unflatteringly revealed his advanced years and his flagging energy. Marital difficulties, unwise investments and health problems curtailed his previously flamboyant lifestyle considerably, though he managed to stave off several takeover bids for United Artists and retained the respect of his contemporaries. Fairbanks died in his sleep, not long after he'd announced plans to come out of retirement. He was survived by his actor son Douglas Fairbanks Jr., who'd inherited much of his dad's professional panache and who after his father's death began a successful career in film swashbucklers on his own. ~ Hal Erickson, Rovi
The fourth of Oscar-winning short-subject director Youngson's comedy compilations (the earlier ones were Golden Age of Comedy, When Comedy was King, and Days of Thrills and Laughter) is, amazingly, almost as full and fresh as those earlier efforts, containing highlights from such silent comedy classics as Chaplin's Floorwalker, Easy Street, Pawnshop and, best of all, Rink; Buster Keaton's Balloonatic and Daydreams; Harry Langdon's Smile Please, and the prototypical Laurel and Hardy team-up, Lucky Dog. Youngson's choice of material is unquestionably fine, and equally satisfying is the quality of the film clips, courtesy of archivist Paul Guffanti. ~ Bruce Eder, Rovi
- 1939
The Movies March On was Number 12, volume 9 of Louis de Rochemont's March of Time series. Narrated by the stentorian Westbrook Van Vorhees, this fascinating documentary manages to squeeze 40 years of filmmaking into a mere two reels. Beginning with the once scandalous The Kiss (1898), the film jumps ahead to one of the first "story" films, Edison's The Great Train Robbery (1903, directed by Edwin S. Porter). Next is offered a cross-section of the great D. W. Griffith's Biograph films followed by snippets of such past luminaries as Mary Pickford, William S. Hart, Charlie Chaplin, Theda Bara, Greta Garbo and John Gilbert. In 1927, The Jazz Singer ushers in the talkie era, which is represented by snippets from films as diverse as All Quiet on the Western Front and the Mickey Mouse vehicle Steamboat Willie. After a round-up of recent cinematic achievements, Van Vorhees signs off with his customary "Time?.MARCHES ON!" Though undeniably superficial, The Movies March On at least never adopts a condescending tone when reviewing the silent era, which sets it apart from most summaries of its kind. ~ Hal Erickson, Rovi
- Starring:
- Mary Pickford, Lionel Barrymore, (more)
- 1934
Producer and director (Alexander Korda) followed up The Private Life of Henry VIII (one of the first internationally successful British films) with this historical comedy. After years in exile, the great lover Don Juan (Douglas Fairbanks) returns to Seville, the city of his salad days. However, Don Juan is now married and middle-aged, and his days as a spoiler of women seem to be behind him. When he learns that a young man in town (Barry McKay) has been posing as him and making time with the local ladies, Don decides to prove who the great lover truly is and attempts the seduction of Antonia (Merle Oberon), a beautiful dancer. However, Don's doctor informs him that girl-hunting will tax his fragile health, and his wife Dolores (Benita Hume) will no longer turn a blind eye to his infidelity. When the impostor is killed by a jealous husband, Don is relieved, as his "death" allows him to retire from his career as a rake with his reputation intact. But when the old itch returns, Don makes the sad discovery that if he can't convince women he's Don Juan, they simply aren't interested in him. The Private Life of Don Juan provided one of the few speaking roles for silent screen swashbuckler Douglas Fairbanks, and proved to be his last picture. ~ Mark Deming, Rovi
- Starring:
- Douglas Fairbanks, Merle Oberon, (more)
- 1932
Although the photography of the beautiful South Seas island and the musical score of this movie (by Alfred Newman) make this a memorable comedy, there is little else to commend it. Written and portrayed by Douglas Fairbanks, this is the story of a man who makes a bet that he can live on a deserted island for a year without any of the accouterments of the civilized world. He builds a penthouse quality abode which stretches the credulity of the viewers and, of course, a woman arrives in the picture. ~ Tana Hobart, Rovi
- 1931
An early example of a "vanity" production, this feature-length documentary is comprised of glorified home movies taken by film star Douglas Fairbanks Sr. during a trip to the Orient in the company of several friends. Fairbanks doesn't exactly take us around the world, though he does offer fascinating glimpses of Japan, China, Siam and India, with a smattering of the Philippines. Very little is shown here that hasn't been seen in dozens of other travelogues; on the other hand, how many travelogues could boast shots of the middle-aged Fairbanks, still in fine fettle, performing the same athletic feats that had won him fame 15 years earlier. The audiences is apprised of Fairbanks' progress through the use of maps and a rather expensive "pointer" (actually one of Fairbank's custom-made golf clubs). Originally released as Around the World in 80 Minutes with Douglas Fairbanks, the film was released through United Artists, which Fairbanks had helped form back in 1919. ~ Hal Erickson, Rovi
In this elaborate big-budget musical, a handsome businessman follows a beautiful woman aboard a luxury liner and begins to woo her. This doesn't set well with her fiance. Later the fellow learns of the stock market crash and develops a taste for booze. Romantic mayhem ensues until the inevitable happy ending. Look for a young Bing Crosby singing Irving Berlin's "Lower Than Lowdown," as part of the "Whiteman Rhythm Boys." ~ Sandra Brennan, Rovi
- Starring:
- Douglas Fairbanks, Bebe Daniels, (more)
- 1929
As the silent era drew to a close (along with their marriage), Mary Pickford and Douglas Fairbanks made this early talkie, appearing in their first film together as William Shakespeare's rambunctious couple Katherine and Petruchio in The Taming of the Shrew. In this pared down, slapstick version of Shakespeare's comedy, Petruchio rides into town facing backwards on a jackass, strumming a lyre, looking for his fair-haired, soon-to-be-wife Katherine. The two engage in a battle of the sexes, complete with verbal sparring and pratfalls, until Katherine is brought down to size and made to be subservient to her loutish husband. Although disputed in John C. Tibbetts' book His Majesty, the American, legend has it that Samuel Taylor, the film's director who also adapted the screenplay, had the writer's credit read "By William Shakespeare, with additional dialogue by Sam Taylor." The film was re-scored and re-edited (drastically shortening the film) in 1966. ~ Paul Brenner, Rovi
- Starring:
- Mary Pickford, Douglas Fairbanks, (more)
The Iron Mask was Douglas Fairbanks' sequel to his popular 1921 vehicle The Three Musketeers. Fairbanks returns to his original role of D'Artagnan, while Marguerite de La Motte and Nigel De Brulier briefly reprise their Musketeers roles as, respectively, Constance and Cardinal Richelieu. After tying up loose plot ends from the first film, the middle-aged D'Artagnan and his equally venerable fellow musketeers Athos (Leon Bary, also returning from the 1921 film), Porthos (Stanley J. "Tiny" Sandford) and Aramis (Gino Corrado) set about to rescue Louis XIV (William Bakewell), the rightful King of France. Louis XIV has been entombed in a dungeon by his twin brother (also Bakewell) and his head has been locked in an impenetrable iron mask. All of this is at the behest of the scheming De Rochefort (Ulrich Haupt), the real power behind the throne. The Iron Mask was Fairbanks' last silent film; perhaps in acknowledgment of the passing of a Golden era, Fairbanks "died" on screen for the first and only time in his career. Most currently available prints of Iron Mask are taken from the 1940 reissue, narrated by Douglas Fairbanks Jr; in 1974 the younger Fairbanks prepared a restored version of the original, including two brief dialogue passages filmed by Fairbanks back in 1929. ~ Hal Erickson, Rovi
- Starring:
- Douglas Fairbanks, Belle Bennett, (more)
- 1928
This Marion Davies vehicle was loosely inspired by the career of Gloria Swanson. Davies plays would-be starlet Peggy Pepper, who arrives at the gates of MGM Studios with her dad Colonel Pepper (Dell Henderson) in hopes of becoming a great dramatic actress. Instead, she a scores a hit as an ingenue in the slapstick comedies starring the effervescent Billy Boone (William Haines). As the audience rocks with laughter during the preview of Peggy's first film (no one is more enthusiastic than her director Harry Gribbon), she sits in sullen silence, insisting to Billy that some day she'll invoke tears instead of laughter. This doesn't seem likely, inasmuch as Peggy can't even cry on cue (her director is forced to peel onions outside of camera range to achieve the desired emotion), but the tenacious young actress finally manages to win favor in dramatic roles. Inevitably, this causes a strain on her budding romance with Billy, and the couple slowly drifts apart. Now the unchallenged Queen of the Cinema, Peggy -- billing herself as Patricia Pepoire -- prepares to marry her oily leading man Andre (Paul Ralli), but mischievous Billy disrupts her fancy wedding. She angrily tosses Billy out of the house, realizing only when it's too late that she's still in love with him. But in the final scene, the hero and heroine are accidentally reunited on the set of a WWI picture directed by King Vidor (who also directed Show People). Two versions of Show People are currently available for TV; the "stretch-framed" Kevin Brownlow-David Gill restoration, with a new orchestral score by Carl Davis, and the original MGM release version, outfitted with a lively music and sound-effects track. ~ Hal Erickson, Rovi
- Starring:
- Marion Davies, William Haines, (more)
Douglas Fairbanks' The Gaucho is a curiosity: a traditional Fairbanks actioner with decidedly unsavory, unpleasant and uncharacteristic overtones. For the first time in his career, Fairbanks plays what would have been a villainous role in anyone else's film: An outlaw leader who exploits religion for his own nefarious purposes. As the unofficial leader of Miracle City, Fairbanks laughs aloud as the faithful flock to the shrine of the Madonna: he knows that, once they've left, he can claim the pitiful alms they've left behind. Eventually, however, Fairbanks experiences a religious conversion, thanks in part to the love of a good woman and in great part to a deus-ex-machina appearance by the Madonna Herself (portrayed, unbilled, by Fairbanks' wife Mary Pickford). A subplot involving leprosy and suicide adds to the overall discomforting tone of the film. Despite its lapses in taste, The Gaucho amassed a fortune for Fairbanks, who in 1928 could do no wrong at the box office. Lupe Velez makes her first major film appearance as a lusty mountain girl. ~ Hal Erickson, Rovi
- Starring:
- Douglas Fairbanks, Eve Southern, (more)
- 1927
The title of this Russian comedy may seem misleading; well, it is, but only slightly. While on a goodwill visit to the Soviet Union in 1926, silent film stars Mary Pickford and Douglas Fairbanks made a tour of the movie studios. Here, Ms. Pickford was prevailed upon to briefly participate in the making of a film. In the spirit of glasnost (though that wasn't what they called it back then) she agreed; following directions, she walked over to an actor she'd never met before and planted a kiss on his cheek. With this brief vignette in the can, director Sergei Komarov constructed a feature-length farce about a nebbishy young man who has no luck with the ladies. But once he's kissed by Mary Pickford, he virtually has to beat off his throngs of adoring female admirers with a stick! Inasmuch as Mary Pickford was perhaps the best-known woman in the world, her fleeting contribution to A Kiss From Mary Pickford enabled the film to rake in the rubles for many years to come. ~ Hal Erickson, Rovi
- 1926
The "History of Motion Picture" series offers these two Douglas Fairbanks films. Black Pirate and Thief of Bagdad are included. ~ Rovi
The Black Pirate was hailed in 1926 as the "return" of the Douglas Fairbanks who'd breezed through several peppy comedies before starring in lavish costume epics like Robin Hood (1922) and Thief of Bagdad (1924). The story involves a young nobleman (Fairbanks) whose father is killed by pirates. He vows to avenge his dad's death by becoming a buccaneer himself and routing out the villains. Along the way, he rescues damsel-in-distress Billie Dove (likewise of noble birth) and engages in a few bloody duels with the swarthy likes of Sam De Grasse and Anders Randolph. Charlie Stevens, a grandson of American Indian chief Geronimo -- and whom Fairbanks regarded as a "lucky charm" -- appears in several tiny roles. The Black Pirate was originally presented in two-color Technicolor form; the black and white prints are the most-often-seen version of the film, however. ~ Hal Erickson, Rovi
- Starring:
- Douglas Fairbanks, Billie Dove, (more)
- 1925
Douglas Fairbanks returns as the great Spanish swashbuckler in this sequel to The Mark of Zorro. Don Cesar de Vega (Douglas Fairbanks) is the son of the famous masked avanger, Zorro; he's been sent to Spain to continue his education and learn the ways of his homeland. He soon becomes a favorite of the local dignitaries, but this does him little good when he's falsely accused of murder. Faking his own suicide, Don Cesar goes underground, and posing as Zorro, begins his own investigation of the killing; eventually his father arrives, giving us two Zorros for the price of one. Mary Astor plays Dolores de Muro, Don Cesar's love interest, with Warner Oland and Jean Hersholt highlighting the supporting cast; Donald Crisp, who plays Don Sebastian, also directed. ~ Mark Deming, Rovi
- Starring:
- Douglas Fairbanks, Mary Astor, (more)
Douglas Fairbanks is at his most graceful and charismatic in one of the classic silent films of the 1920s. As the thief of Baghdad, his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however, when he sees the beautiful princess (Julanne Johnston). Princes have come from many faraway lands to win the princess' hand (and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief disguises himself as a prince and the princess falls in love with him. After having a pang of conscience, the thief confesses all to the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he discovers that the Mongol Prince (Sojin) has taken over the city. Using the chest, the reformed thief creates armies of men out of nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks stole some of the special effects for his film from Fritz Lang's Der Müde Tod, which he had purchased for American distribution. The Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully appreciated in its day. Because of its huge cost (two million dollars -- a real fortune in those days), it made little money. After that, Fairbanks stuck closer to the swashbuckling persona he felt his audience wanted. Available now on DVD, the remastered film features a new score by Carl Davis. ~ Janiss Garza, Rovi
- Starring:
- Douglas Fairbanks, Snitz Edwards, (more)
Robin Hood, Douglas Fairbanks' biggest (though not necessarily best) production of the silent era, represents the first time that many familiar of the elements of the Robin Hood legend were presented on screen. To bring the project to full fruition, Fairbanks and his wife Mary Pickford purchased the old Jesse Hampton studio in Santa Monica, and on that site constructed a near-lifesized replica of 12th century Nottingham. The humongous castle set was so awesome that Fairbanks became worried that his own performance might be dwarfed. It wasn't: take our word for it. When first we meet Robin Hood, he is still the Earl of Huntington, preparing to joust with his bitter enemy Sir Guy of Gisbourne (Paul Dickey). Despite Sir Guy's propensity for cheating, the Earl is victorious. Shortly thereafter, Huntington rides off to the crusades with Richard the Lionhearted (Wallace Beery). Upon learning that Prince John (Sam De Grasse), goaded on by Sir Guy, has usurped his brother Richard's throne, Huntington returns to Nottingham in a new guise: dashing righter-of-wrongs Robin Hood. While robbing from the rich, giving to the poor, and bedevilling the villains, Robin romances the fetching Maid Marian (Enid Bennett). The film's singular highlight is Fairbanks' slide down a two-story tapestry, a bit of bravado accomplished by hiding a playground slide behind the huge cloth. As in all of Fairbanks' films, Charlie Stevens, a grandson of Geronimo and Doug's "mascot", appears in several minor roles. Also appearing is Alan Hale Sr. as Little John, a role he'd repeat in the 1938 Errol Flynn Robin Hood, not to mention the 1950 swashbuckler Rogues of Sherwood Forest. Long thought lost, Douglas Fairbanks in Robin Hood (as the film was so copyrighted) was rediscovered in the early 1960s. Most current prints fail to do justice to Arthur Edeson's glistening photography; also, some versions are stretch-framed to slow down the action to "normal" speed, a process that retards the marvelously fast pace instilled by star Fairbanks and director Allan Dwan. We recommend that you seek out a good-quality, tinted print of Robin Hood, processed at the slightly faster-than-life speed at which it was originally filmed. ~ Hal Erickson, Rovi
- Starring:
- Douglas Fairbanks, Wallace Beery, (more)
- 1921
Douglas Fairbanks, Sr. was making the transition from modern romantic stories to adventures when The Nut was made -- The Mark of Zorro was the picture before this one, and The Three Musketeers would come after. He doesn't do as many of his famous stunts here, either -- he suffered a serious injury while jumping out a window in one scene and production had to be halted while he healed. This no doubt forced him to slow down, and at some point between this picture and the mid-1920s he secretly began using a double for some stunts (actor/stuntman Richard Talmadge was the man used). The title character that Fairbanks plays is Charlie Jackson, a Greenwich Village character who invents Rube Goldberg-style contraptions. He uses them to please his friends and his sweetheart, Estrell Wynn (Marguerite De La Motte) but more often than not, they backfire. Estrell, who lives in his apartment building, wants to benefit slum children by having them entertained with the help of New York's biggest society names. This gives Jackson a new project to undertake; to get publicity he steals a load of wax statues from a show and is pursued by cub reporter Pernelius Vanderbrook (Morris Hughes). A gambler (Gerald Pring) who lusts after Estrell tricks her into coming to his apartment. Jackson saves her from being compromised and helps her escape by taking her through the furnace pipes of the building. Featured in the story is a lawn party where Fairbanks is imitating a number of famous figures, one of them being comedian Charles Chaplin. This was actually the real Chaplin (a good pal of Fairbanks') parodying himself. Supposedly, Chaplin did all the other imitations, too. ~ Janiss Garza, Rovi
- Starring:
- Douglas Fairbanks, Marguerite de la Motte, (more)
Douglas Fairbanks' longest and most elaborate production up to 1921, The Three Musketeers was Fairbanks' first full-blown costume adventure (his modestly produced 1920 The Mark of Zorro was regarded as an extension of his breezy contemporary comedies). Fairbanks assumes the leading role of D'Artagnan, who after challenging musketeers Athos (Leon Barry), Porthos (George Siegmann) and Aramis (Eugene Pallette--yes, Eugene Pallette) to a duel, joins forces with them in opposition of the scheming Cardinal Richelieu(Nigel De Brulier). Plotting to discredit Queen Anne (Mary McLaren) in the eyes of her husband King Louis XIII (Adolphe Menjou) Richelieu dispatches Milady de Winter (Barbara La Marr) to pilfer the diamond brooch given by Anne to her British lover, the Duke of Buckingham (Thomas Holding). With the help of the lovely Constance (Marguerite de la Motte) D'Artagnan and the Musketeers race against time to retrieve the brooch and save their Queen. The film ends with D'Artagnan emerging victorious, a twinkle in his eye and a smile on his lips; the actual, darker denouement of Dumas' original Three Musketeers would be dramatized in the opening reels of Douglas Fairbanks' valedictory silent film, The Iron Mask (1929). ~ Hal Erickson, Rovi
- Starring:
- Douglas Fairbanks, Leon Bary, (more)
- 1920
After finishing his first costumer swashbuckler The Mark of Zorro, Douglas Fairbanks Sr. reverted to his standard formula with the contemporary action comedy The Mollycoddle. Doug plays the title character, a dandified American who returns to his home in the Wild West after being educated in England. Suspected of being little more than a pantywaist, Doug proves his grit by capturing notorious desperado Wallace Beery. Fairbanks and Tom Geraghty co-adapted The Mollycoddle from a short story by Harold McGrath. He followed this picture with another modern comedy, The Nut, then devoted the rest of the 1920s to such period pictures as Robin Hood, The Thief of Baghdad and The Gaucho. ~ Hal Erickson, Rovi
Johnston MacCulley's 1913 adventure yarn The Curse of Capistrano was given its first filmization in Douglas Fairbanks' 1920 The Mark of Zorro. Fairbanks plays the outwardly foppish Don Diego de la Vega, the son of wealthy Spanish Californian rancher. In reality, Don Diego is the dashed masked-and-caped Zorro, who wages a one-man war to rescue his fellow citizens from the tyranny Captain Juan Ramon (Robert McKim). The lovely Lolita (Marguerite de la Motte) despises the namby-pamby Don Diego, but loves the devil-may-care Zorro, never dreaming (until the end, of course) that the two men are one. In turn, Lolita is loved by Captain Ramon, who is as ruthless in his domestic dealings as he is in his political weight-throwing. Noah Beery Sr. plays Sgt. Garcia, a buffoonish minion of Ramon's who eventually casts his lot with Zorro--after being bested time and again by the hero's swordplay. Best scene: Zorro insouciantly challenging Ramon's soldiers to capture him while he wines and dines at a local cantina. At the time he made Mark of Zorro, Fairbanks was best known for his peppy contemporary comedies. He hoped that Zorro would be an interesting temporary change of pace for him, never dreaming that the film's popularity would lock him into the swashbuckling mode for the rest of the silent career. In 1925, Fairbanks starred in a sequel, Don Q, Son of Zorro; the original film has, of course, been remade many times since 1920. ~ Hal Erickson, Rovi
- Starring:
- Douglas Fairbanks
- 1920
This lively silent romantic comedy was the second film made by Douglas Fairbanks Sr. for the new United Artists company. Much of the film is a satiric broadside aimed at the then-innovational field of psychiatry. Wealthy young bachelor Fairbanks allows a pompous head-shrinker to influence his romantic pursuit of Greenwich Village artist Katherine Williams. There's action, athletics and laughs aplenty, topped by a terrific climactic flood sequence. The film's highlight is Fairbanks' therapy-induced dream, a triumph of special effects which is still capable of amazing audiences "jaded" by Spielberg and Lucas. When the Clouds Roll By comes to a hilariously ironic conclusion when the "psychiatrist" is revealed to be an escaped mental patient. ~ Hal Erickson, Rovi
- 1919
When Charles Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith formed United Artists, they had a dilemma -- only one of them was contractually free to make a film for the fledgling studio -- and that was Fairbanks. But he came through with this winning picture, playing his usual character (at least for his pre-swashbuckling days) -- a young man with too much energy and vigor for his own good -- in a Prisoner of Zenda-like backdrop. William Brooks (Fairbanks) lives in Manhattan on a mysterious but sizable income. He apparently has no family either. When following the New York Fire Department around begins to pall, he goes to Mexico and tangles with bandits. All this is only preparation for his next adventure -- he is called to a tiny European country where a revolution is going on. It turns out that he is heir to the throne and he manages to squelch the plotters and win the girl (Marjorie Daw) in short order. ~ Janiss Garza, Rovi
Rating Systems
Blockbuster
BLOCKBUSTER name, design and related marks are trademarks of Blockbuster L.L.C.
2013 Blockbuster L.L.C. All rights reserved.
Portions of Content Provided by Rovi Corporation. 2013 Rovi Corporation.