Victor Varconi Movies

After the spectacular epic The Ten Commandments, filmmaker Cecil B. DeMille returns to the drawing room for this pleasingly straightforward drama. King Garnet (Rod La Rocque) is the idle son of factory owner David Garnet (George Fawcett). He is in love with Ann Land (Leatrice Joy), the factory's forewoman, but she turns down his proposal of marriage because she has aspirations to be a singer. When old man Garnet dies, he wills his son the company, providing that he settles down within two years; failing that, it goes to William Silver (Victor Varconi), the factory's manager and King's half-brother via a secret marriage. Two years pass and Garnet is a bum sleeping on park benches, so Silver inherits the company. His new position in life changes him -- where he was once a radical in favor of the workers, he now becomes a snob. Meanwhile, Ann has achieved her dream and become an opera star in Europe, but smoke from a theater fire destroys her vocal chords. She returns to the factory, where Silver courts her. King picks himself up, goes to work at the factory as an employee and works his way up to manager. Silver is the pawn of a group of schemers, and King helps him straighten things out. He is glad to hand over the company to King, who also wins Ann. The good notices this film received prove that DeMille was still capable -- when he wanted -- of making an entertaining film without resorting to a lot of flash. ~ Janiss Garza, All Movie Guide

While this Cecil B. DeMille production has many of the elements common to his pictures -- lavish, expensive sets and costumes, a high falutin' society background, and domestic turmoil -- it doesn't quite hit its mark. Part of the reason for this is the dream sequence. Instead of something spectacular and historical, DeMille took his characters into the afterworld, which was a bit morbid for the audiences of 1924. Plus, DeMille was lacking a strong female star here -- Vera Reynolds and Julia Faye just weren't Gloria Swanson or Leatrice Joy. There's an accident during a surfboard race off the coast of Catalina Island, and Kerry Harlan (Rod LaRocque) rescues Amy Loring (Reynolds). Harlan's foot has been mangled by a shark, and he is told by Dr. Fergus Lansell (Robert Edeson) that he must not walk for a year. Amy and Harlan marry, and she goes to work as a model. Dr. Lansell's wife, Bertha (Faye), becomes infatuated with Harlan, and she begins pestering him. One day when she comes over to his home, her husband shows up. Bertha climbs out on a windowsill to hide, but falls to her death. A scandal ensues and Amy walks out on Harlan. Distraught over their separation, Harlan tries to gas himself. Amy returns to find him and decides to die, too. They wind up in the afterworld together and meet up with Bertha, who takes the blame for their unhappiness. The couple are told that their time has not come. Meanwhile, on the more earthly side of things, Dr. Lansell finds their inert bodies, and, in spite of his feelings towards Harlan, he saves the pair's lives. ~ Janiss Garza, All Movie Guide

One feels that if Cecil B. DeMille had been assigned to direct the one-character play Krapp's Last Tape, he'd have added 15,000 extras and a flood. A typically overbaked (and immensely entertaining) DeMille effort, The Volga Boatman was "inspired" by a Konrad Bercovici novel. Set in the months prior to the Russian Revolution, the story opens as Princess Vera (Elinor Fair), promised in marriage to Prince Dmitri (Victor Varconi), chooses instead to spend her time with humble but handsome Volga boatman Feodor (William Boyd). Comes the revolution, and Feodor leads his fellow peasants in an assault against the nobility. Angered when Vera's father orders the death of one of his followers, Feodor breaks into her palace, demanding that either she or her father be executed as punishment. Vera courageously offers to sacrifice herself, but Feodor, who's fallen in love with her, can't bring himself to end her life. He fakes her execution and helps her to escape, introducing her to the other revolutionaries as his wife. When the Royalist armies counterattack, Vera and Feodor are captured and subject to a series of humiliations. Dmitri rescues Vera, but sentences Feodor to death -- relenting at the last minute when Vera pleads that Feodor be spared. Thus, when the balance of power shifts and Russia is again in the hand of the revolutionaries, Dmitri is allowed to go into safe exile by a grateful Vera and Feodor. The film's now-famous advertising photo, showing a group of aristocrats being forced to drag a ferryboat along the Volga, was later utilized for a memorable sight gag in the 1927 Laurel and Hardy comedy With Love and Hisses. ~ Hal Erickson, All Movie Guide

Cecil B. DeMille contractees Jetta Goudal, Victor Varconi and H.B. Warner were kept busy in the DeMille-produced programmer Fighting Love. Set in Italy and Africa, the story revolves around Colonel Filippo Novarro (Walthall), a valiant old soldier married to a very young wife, Donna Vittoria (Jetta Goudal). Though Donna is faithful to her husband, she is in love with his handsome young aide, Gabriel Amari (Victor Varconi). While fighting in Tripoli, Novarro's garrison is isolated and surrounded by the minions of the despotic Governor, who wants Donna Vittoria for himself. The finale is a fierce man-to-man between Novarro and the Governor, resulting in the deaths of both men -- but not before the mortally wounded Noverro gallantly gives his blessing to the romance between his wife and Gabriel. ~ Hal Erickson, All Movie Guide

Having scored big-time box office with his first Biblical epic, The Ten Commandments (1923), Cecil B. DeMille hoped to top this success with his 1927 The King of Kings. Inasmuch as he was now dealing with the life of Christ, DeMille had to be careful to serve up equal amounts of showmanship and reverence. The first creative challenge: how to "introduce" Christ in a tasteful manner? The answer: as a blind child is cured through Jesus' intervention, DeMille cuts to the child's point-of-view, slowly fading in on the kindly countenance of H.B. Warner as the Son of Man. Still, DeMille remained DeMille, especially in his handling of the character of Mary Magdalene (Jacqueline Logan). No longer a tattered streetwalker, Mary Magdalene is now a glamorous courtesan, replete with legions of gorgeous slave girls (one of whom is "bubble dancer" Sally Rand) and dressed in revealing Hollywood-style gowns. In fact, the film opens on this character, as she ruminates over the defection of her favorite customer, Judas Iscariot (Joseph Schildkraut), who is spending far too much time with Jesus of Nazareth. Upon visiting Jesus herself, she immediately repents, casting off all her prior sins. Once again, the efficacy of the Cecil B. DeMille formula is proven: redemption has no dramatic value unless the film shows viewers why the sinner needs to be redeemed. Once he's gotten his box-office considerations out of the way, DeMille adheres faithfully to the particulars of Jesus' life, betrayal, trial, Crucifixion, and Resurrection. (Again, however, the director improves a bit upon his source material: the storm that follows the Crucifixion is of the same spectacular dimensions as the parting of the Red Sea in Ten Commandments, while the Resurrection is filmed in vibrant Technicolor). To back up the authenticity of his images, DeMille -- with an assist from scenarist Jeannie Macpherson -- utilizes Scriptural quotes in his subtitles. And to avoid any untoward publicity while filming, DeMille required all of his actors to sign legal documents preventing them from indulging in any sort of "sinful" activity; this meant that poor old H.B. Warner had to steer clear of alcoholic beverages for nearly a year, though he more than made up for lost time after his contract ran out. Prepared to mercilessly lambaste The King of Kings, DeMille's critics were disarmed by his reverent, tasteful approach to the subject. Years after the film's release, a specially prepared 60-minute version of the 18-reel King of Kings was making the rounds of religious groups, church basements, and Easter-weekend telecasts. The film was remade in 1961 by producer Samuel Bronston and director Nicholas Ray, with Jeffrey Hunter as Jesus. ~ Hal Erickson, All Movie Guide

Forbidden Woman was the first production by PDC Pictures to be released after the defection of the company's founder Cecil B. DeMille (though DeMille's brother William upheld family tradition by supervising the picture). Threatened by the imperialistic inventions of the French army, an Arab sultan (L. Snegoff) calls upon his half-French granddaughter Zita (Jetta Goudal) for aid. Zita sneaks into the French camp in hopes of getting her hands on vital military information, going so far as to marry French colonel Gautier (Victor Varconi) to maintain her "cover." Complicating her scheme is Gautier's musician brother Jean (Joseph Schildkraut), with whom Zita falls hopelessly in love. Feeling that Jean has betrayed him, Gautier arranges for his brother to be drafted in the army and shipped off to Africa, where the film comes to its operatic conclusion. ~ Hal Erickson, All Movie Guide

Eternal Love was the last silent film of star John Barrymore and director Ernst Lubitsch; thereafter, both men would concentrate exclusively on talkies. Based on Der Konig der Bernina, a novel by Jakob Christopher Beer, the story is set in the Swiss Alps in 1812. Both forced into loveless marriages, sweethearts Marcus (John Barrymore) and Ciglia (Camilla Horn) continue to carry on a clandestine romance. When Marcus is falsely accused of murdering Ciglia's husband, the two lovers escape into the Alps, with the angry villagers close at their heels. With no other recourse, Marcus and Ciglia elect to commit suicide, walking hand in hand into the path of an avalanche. Filmed on location in the Canadian Rockies, Eternal Love was a most uncharacteristic venture into doom-and-gloom for director Lubitsch, who was never quite so dour again. ~ Hal Erickson, All Movie Guide

Warner Bros.' Captain Thunder contains some of the darndest Mexican accents you've ever heard in your life. The star is Hungarian-born Victor Varconi, portraying a legendary south of the border outlaw who tries to force Canadian senorita Fay Wray to marry a rival rustler whom she despises. She pleads with the bandito so pathetically that he is moved to grant her a single wish. Without hesitation she chooses her poor but true love. The bandit king, being a somewhat honorable fellow grants the wish and without a twitch, guns down the wicked cattle thief. Fortunately the film was played for comedy, a wise decision since it probably would have garnered laughs as a straight drama anyway. No fewer than four writers worked on Captain Thunder, and that folks is never a good sign. The true "bandit" in this film was Jack Warner, who picked the pockets of those filmgoers who thought they were going to see a thrilling melodrama (or at least a film with a semblance of coherent plot). ~ Hal Erickson, All Movie Guide

A young Barbara Stanwyck was considered for the starring role as the exiled call-girl in this extremely frank pre production-code drama directed by William A. Wellman from a play by Houston Branch). The role eventually went ot Dorothy Mackaill, an evocative British-born veteran adept at playing less than respectable women. Mackaill is Gilda Karlson, a call-girl fleeing New Orleans the supposed murder of her latest "john," Piet Van Saal (Ralf Harolde). Old boyfriend Carl Erickson (Donald Cook) arranges for safe passage to Tortuga, a Caribbean Island without extradition laws. After "marrying" the girl in the eyes of God but without the benefit of clergy, Carl leaves on his ship. Having successfully kept an international array of escaped crooks at bay, Gilda suddenly finds herself face-to-face with Van Saal, still very much alive and on Tortuga because an insurance scam went astray. The island's jealous executioner, Bruno (Morgan Wallace), hands the girl a gun "to protect herself." Van Saal attacks her, and this time Gilda manages to kill her tormentor. About to be acquitted of murder by a sympathetic jury, Gilda chooses to "confess" in order to escape a trap set by Bruno. To the strains of Pagan Moon, the wronged girl bravely faces the gallows. Forthrightly told and extremely well acted, Safe in Hell features two prominent African-American performers -- Nina Mae McKinney and Clarence Muse -- portraying completely un-stereotypical characters. Muse, in fact, persuaded director Wellman to drop the screenplay's standard "black" lines in favor of straight dialogue. McKinney, famous for playing the vamp in King Vidor's all-black Hallelujah! (1929), performs When It's Sleepy Time Down South by Clarence Muse. ~ Hans J. Wollstein, All Movie Guide

This war drama, set in a snow covered Tyrolean pass during WW I, chronicles a strange situation between an Austrian battalion assigned to guard the snowbound pass and the Italians that plan to blow their position up. The Austrian leader is well aware that the enemy has been digging a tunnel beneath them with the intent to blow them up, but he cannot disobey orders and move. One Austrian, Trenker, slips over Italian lines to learn the exact time of the explosion. He hopes that he will be able to move his troops in time. Meanwhile, the Italian commander, Varconi, stays in Trenker's home. The two men had been mountain climbing partners before the war. ~ Sandra Brennan, All Movie Guide