Beverly of Graustark

Plot

Beverly Calhoun, an adventurous American heiress, travels to the European principality of Graustark where she discovers that the country's young Prince Oscar has been injured in a skiing accident and is unable to claim his throne. To prevent a political crisis and protect the prince's interests, Beverly cleverly impersonates the prince, donning his uniform and taking his place in official duties. During her masquerade, she is assigned a bodyguard, the handsome Captain Dantan, who becomes increasingly suspicious of the prince's unusual behavior and feminine mannerisms. As Beverly navigates the complexities of royal politics and maintains her disguise, she finds herself falling in love with Dantan, creating a dangerous romantic entanglement. The situation becomes more complicated when the real prince recovers and returns, forcing Beverly to reveal her deception while fighting to save both her reputation and her newfound love. In the end, her cleverness and bravery win over both the prince and Dantan, leading to a romantic resolution that secures her own happiness and the stability of Graustark.

Historical Background

The year 1926 was a peak period for silent cinema, with Hollywood studios producing lavish productions to compete with the growing popularity of radio. The film emerged during the 'Roaring Twenties,' a time of social change and increasing independence for women, making its theme of a woman taking on traditionally male roles particularly resonant. The popularity of European romance novels like the Graustark series reflected American fascination with European aristocracy following World War I. This was also a period when William Randolph Hearst was using his film production company to promote Marion Davies' career, resulting in some of the most expensive and elaborate productions of the silent era. The film's release came just before the transition to sound, representing one of the last major silent romantic comedies before the technological revolution would change cinema forever.

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.

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.

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 Critics Said

Contemporary critics praised Marion Davies' performance, with Variety noting her 'remarkable versatility in handling both the feminine and masculine aspects of her role.' The New York Times called the film 'an entertaining romp' and specifically commended Davies' comedic timing. Modern critics have reevaluated the film as an important example of gender play in silent cinema, with the Museum of Modern Art including it in their retrospective of influential silent comedies. Film historians have noted that the film showcases Davies' often-underappreciated talent as a comedienne, suggesting that her reputation was unfairly diminished by the negative portrayal in 'Citizen Kane.' The film is now considered one of the better examples of Davies' work and a significant entry in the silent romantic comedy genre.

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 one of the most 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.

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