Beverly of Graustark

About the production

The film was one of Marion Davies' most expensive productions for Cosmopolitan Productions, featuring elaborate European palace sets designed by Cedric Gibbons. The skiing sequences were particularly challenging to film, requiring the cast and crew to travel to Big Bear Lake in winter conditions. Davies performed many of her own stunts, including horseback riding and light athletic scenes, though a stunt double was used for more dangerous skiing footage. The production utilized over 2,000 costumes, with Davies requiring multiple wardrobe changes to portray both her American character and her princely disguise.

Themes

Themes & topics

Historical background

Beverly of Graustark (1926) belongs to Davies's elaborate costume vehicles funded by William Randolph Hearst.

Why this film matters

Graustark novels supplied repeatable Ruritanian romance templates for silent stars.

Making of

The production of 'Beverly of Graustark' was a major undertaking for Cosmopolitan Productions, Marion Davies' personal production company financed by William Randolph Hearst. Director Sidney Franklin, known for his meticulous attention to detail, worked closely with Davies to perfect her performance as both the American heiress and her princely disguise. The chemistry between Davies and Antonio Moreno was genuine, as the two actors had previously worked together and enjoyed a friendly off-screen relationship. The elaborate European palace sets took months to construct and were among the most expensive ever built at MGM at that time. During filming, Davies reportedly suffered a minor injury during a horseback riding scene but refused to let it delay production. The film's costume designer, Adrian, created over 50 different outfits for Davies alone, including the detailed military uniforms for her disguise. The production faced some censorship challenges due to the gender-bending elements, but these were ultimately resolved through clever editing and intertitle cards that emphasized the comedic aspects of the situation.

What critics said

Critics admired sets; Davies scholars note Hearst's promotional investment.

Did you know?

• the production was based on the 1904 novel 'Beverly of Graustark' by George Barr McCutcheon, part of his popular Graustark series of European romance novels.
• Marion Davies was reportedly so committed to her role that she practiced walking with a masculine gait for weeks before filming began.
• The film marked one of the first times a major Hollywood star portrayed gender disguise in a leading role, predating similar plot devices in later films.
• William Randolph Hearst, Davies' powerful partner and backer, was heavily involved in the production and insisted on the most lavish sets and costumes.
• Antonio Moreno, who played Dantan, was especially popular Latin lovers of the silent era, often compared to Rudolph Valentino.
• The film's success led to Davies starring in another McCutcheon adaptation, 'The Fair Co-Ed,' the following year.
• Some of the palace interiors were reused from earlier MGM productions, redesigned specifically for the production.
• The skiing sequences were considered quite advanced for their time, using innovative camera techniques to capture the action.
• Creighton Hale, who played the Prince, was actually older than Marion Davies despite playing her romantic interest in some scenes.
• The film's original title was considered to be 'The Princess of Graustark' but was changed to emphasize Davies' character's name.

Awards & recognition

• Photoplay Medal of Honor - Honorable Mention (1926)

Visual style

The cinematography by Oliver T. Marsh utilized the full range of silent film techniques to create a visually rich experience. The film employed soft focus lighting for romantic scenes, particularly effective in the intimate moments between Davies and Moreno. The palace sequences used grand, sweeping camera movements to establish the scale of the production, while the skiing scenes incorporated innovative tracking shots to follow the action. Marsh made effective use of contrast lighting to enhance the dramatic elements, particularly in scenes involving the political intrigue of Graustark. The costume changes were carefully lit to emphasize both the feminine and masculine aspects of Davies' character, using different lighting techniques for each persona. The film's visual style reflected the high production values associated with MGM during this period.

Innovations

The film featured several technical innovations for its time, particularly in the filming of the skiing sequences, which required specialized camera equipment to capture the fast-moving action on snow. The production utilized the latest in lighting technology to create the illusion of European interiors within the studio sets. The costume department developed quick-change techniques that allowed Davies to switch between her masculine and feminine personas efficiently during filming. The film's intertitles were particularly sophisticated, using different typefaces to distinguish between various characters' dialogue and narration. The production also employed early forms of process photography for some of the palace exterior shots, combining studio sets with painted backgrounds to create the illusion of location shooting.

Music

As a silent film, 'Beverly of Graustark' was accompanied by a musical score compiled from classical and popular pieces of the era. The original theatrical release included a suggested cue sheet compiled by William Axt, MGM's music director. The score incorporated pieces by composers such as Johann Strauss II and Franz Lehár to evoke the European setting. For romantic scenes, the music tended toward lush, melodic pieces, while the comedic moments were accompanied by lighter, more whimsical selections. The skiing sequences featured more dramatic, rhythmic music to enhance the action elements. Modern restorations of the film have used newly composed scores that attempt to capture the spirit of the original accompaniments while appealing to contemporary audiences.

Famous quotes

A prince must be brave, even when his heart is trembling like a leaf!

In Graustark, duty comes before personal happiness... but sometimes they can be the same thing.

You may guard my body, Captain, but who will guard my heart?

A woman's place is wherever she chooses to make it!

Sometimes the best disguise is the truth hidden in plain sight.

Memorable scenes

• The transformation scene where Beverly first dons the prince's uniform and practices masculine mannerisms in front of a mirror, combining comedy with character development.
• The skiing sequence where the prince's accident is shown, featuring impressive stunt work and location photography that adds authenticity to the story setup.
• The ballroom scene where Beverly, as the prince, must dance with visiting princesses while struggling to maintain her disguise, creating both tension and humor.
• The romantic confrontation between Beverly and Dantan where he begins to suspect her true identity, featuring subtle acting and emotional intensity.
• The final revelation scene where Beverly's deception is exposed, leading to the resolution of both political and romantic conflicts.

What audiences thought

The film was a commercial success upon its release, particularly popular with female audiences who appreciated Marion Davies' spirited performance. Contemporary audience reports indicate that the theater-goers especially enjoyed the scenes where Davies' character struggled to maintain her masculine disguise in feminine situations. The film's romantic elements were well-received, with the chemistry between Davies and Moreno generating positive audience response. In major cities, the film ran for extended engagements, with some theaters reporting sell-out crowds for weeks. The film's success helped solidify Davies' status as among the leading bankable stars of the mid-1920s. Modern audiences who have seen the film at silent film festivals and revival screenings have responded positively to its charm and Davies' performance, often expressing surprise at the sophistication of its humor.

Film connections

Influenced by

• George Barr McCutcheon's Graustark novels
• Earlier Shakespearean comedies involving disguise (like 'Twelfth Night')
• European romantic literature of the early 20th century

This film influenced

• Victor/Victoria (1982)
• Tootsie (1982)
• Some Like It Hot (1959)
• Yentl (1983)

Film restoration

The film is preserved in the MGM/UA film archives and has been restored by Warner Bros. A complete 35mm print exists in the Library of Congress collection. The film has been made available on DVD through Warner Archive Collection and occasionally screens at silent film festivals and revival theaters. Some original tinted versions of certain scenes have been preserved, though most modern presentations use black and white prints.

Where to watch

• Warner Archive Collection DVD
• The Criterion Channel (occasionally)
• Silent film festivals and special screenings
• Some public library collections
• Classic film streaming services specializing in silent cinema