Cyrano de Bergerac

About the production

The film was shot in Technicolor despite the relatively modest budget, which was unusual for the time. José Ferrer insisted on performing his own sword-fighting stunts and even performed the famous balcony scene in one continuous take. The production faced challenges with the elaborate period costumes and sets, requiring extensive research into 17th century French fashion and architecture. The film was completed in just 43 days, an unusually short schedule for such an ambitious production.

Themes

Themes & topics

Historical background

Made in 1950, in United States, under Michael Gordon, Cyrano de Bergerac belongs to swashbuckler film filmmaking as studio systems and national cinemas competed for audiences. Cyrano de Bergerac is a 1950 American adventure-romance film based on the 1897 French alexandrine drama Cyrano de Bergerac by Edmond Rostand.

Why this film matters

Within swashbuckler film history, Michael Gordon's name attaches to the work; 1950 film by Michael Gordon; It uses poet Brian Hooker's 1923 English blank-verse translation as the basis for its screenplay..

Making of

The production of 'Cyrano de Bergerac' was marked by Ferrer's intense dedication to the role. He had been performing the part on stage for years and was determined to translate his theatrical success to film. The casting process was extensive, with over 200 actresses considered for Roxane before Mala Powers was chosen. The sword-fighting sequences were choreographed by fencing master Fred Cavens, who had worked on many swashbuckling films of the era. The production design team spent months researching 17th century France, creating detailed sketches and models before construction began. The film's score, composed by Dimitri Tiomkin, incorporated elements of French Baroque music while maintaining a Hollywood orchestral sound. During filming, Ferrer often stayed in character between takes, practicing his lines and movements in full costume.

What critics said

Contemporary reviews of Cyrano de Bergerac are sparse in open sources; later catalog entries chiefly summarize plot and credits.

Did you know?

• José Ferrer won the Academy Award for Best Actor for this role, making him the first Hispanic actor to win an Oscar in a leading role.
• Ferrer had previously played Cyrano on Broadway and won a Tony Award for the same performance in 1947.
• The film's success led to Ferrer being typecast as swashbuckling characters for much of the 1950s.
• Mala Powers was only 19 years old when she played Roxane, making her significantly younger than her character.
• The famous nose prosthetic was created by makeup artist Ben Nye and took over two hours to apply each day.
• William Prince, who played Christian, was actually nearsighted and had trouble with his sword-fighting scenes.
• The film was one of the first major productions to use the new anamorphic lens technology for certain shots.
• Director Michael Gordon was chosen partly because of his experience with theatrical adaptations.
• The balcony scene was filmed on a specially constructed set that could be raised and lowered for different camera angles.
• The film's success sparked a renewed interest in swashbuckling films throughout the early 1950s.

Awards & recognition

• Academy Award for Best Actor (José Ferrer)
• Academy Award for Best Art Direction (Color) - Hans Dreier, John Meehan, Samuel M. Comer, Ray Moyer
• Academy Award for Best Costume Design (Color) - Edith Head, Gile Steele
• Golden Globe Award for Best Actor (José Ferrer)
• New York Film Critics Circle Award for Best Actor (José Ferrer)
• Writers Guild of America Award for Best Written American Drama (Carl Foreman)

Visual style

Franz Planer's cinematography masterfully blended the theatrical origins of the material with cinematic techniques. The use of Technicolor was particularly notable, with rich, saturated colors that evoked 17th-century paintings. Planer employed deep focus photography to capture both the actors' performances and the elaborate period sets in detail. The camera work during sword-fighting sequences was innovative for its time, using fluid movements that enhanced the action without becoming distracting. The balcony scene was shot using special crane techniques to create dramatic angles that emphasized the emotional tension. Planer also used lighting to create dramatic contrasts, particularly in scenes featuring Cyrano alone, where shadows emphasized his isolation and inner turmoil.

Innovations

The film was notable for its innovative use of Technicolor at a time when many studios were cutting back on color productions due to cost. The makeup effects for Cyrano's nose were groundbreaking, using newly developed latex materials that allowed for more realistic and comfortable prosthetics. The sword-fighting sequences featured enhanced safety equipment and choreography that allowed for more realistic combat without endangering the actors. The sound recording techniques used during the dialogue scenes were particularly advanced, capturing the nuances of Ferrer's theatrical delivery while maintaining clarity. The film's editing, especially in the transition between scenes, was innovative for its use of match cuts that maintained narrative flow across different time periods.

Music

Dimitri Tiomkin's score for 'Cyrano de Bergerac' was a masterful blend of Hollywood orchestral grandeur and French Baroque influences. The main theme, based on a modified version of a traditional French melody, became instantly recognizable and was used throughout the film to represent Cyrano's romantic nature. Tiomkin incorporated period-appropriate instruments like lutes and harpsichords into his orchestral arrangements to maintain historical authenticity while appealing to contemporary audiences. The music during sword-fighting sequences was particularly dynamic, using brass and percussion to enhance the action. The score received an Academy Award nomination and was released as a soundtrack album, which was unusual for the time and demonstrated the music's popularity.

Famous quotes

A great nose indicates a great man—Genial, courteous, intellectual, virile, courageous...

My curse is that I see the truth, but cannot speak it.

A white plume above the battle—A sword in the field—It is only the adventurers who know the great adventures.

I have one other sin: I am proud.

My panache! It is my joy, my glory, my banner!

Love is not love without the sting of jealousy.

The poet's heart is a strange garden where the most beautiful flowers grow from the ugliest weeds.

I will not be a martyr, but a hero.

There is a certain dignity in misfortune.

The greatest love is not expressed in words, but in deeds.

Memorable scenes

• The balcony scene where Cyrano speaks for Christian to Roxane in the dark, pouring out his own heart while pretending to be another
• Cyrano's duel with Valvert while composing a ballade about his own nose
• The final scene where Roxane discovers the truth as the dying Cyrano reads his own letter
• The battle scene where Cyrano risks his life to deliver letters to Roxane
• Cyrano's poetic declaration of his love for Roxane in the convent garden

What audiences thought

The film was a commercial success upon its release, particularly with audiences who appreciated literary adaptations and romantic dramas. Moviegoers were especially drawn to Ferrer's charismatic performance and the film's blend of action, romance, and poetry. The word-of-mouth was strong, with many viewers returning to see the film multiple times. The balcony scene and the sword fights were particular audience favorites. Over the decades, the film has maintained a loyal following, with classic film enthusiasts regularly citing it as a favorite adaptation. The movie's themes of love, honor, and sacrifice have resonated across generations, and it continues to find new audiences through television broadcasts and home video releases.

Film connections

Influenced by

• Original 1897 play by Edmond Rostand
• 1946 Broadway production starring José Ferrer
• 19th-century French romantic literature
• Swashbuckling films of the 1930s and 1940s
• Shakespearean adaptations
• Opera adaptations of literary classics

This film influenced

• Roxanne (1987)
• Cyrano de Bergerac (1990)
• The Man in the Iron Mask (1998)
• Ever After (1998)
• A Knight's Tale (2001)
• Shakespeare in Love (1998)
• Les Misérables (2012)
• The Great Gatsby (2013)

Film restoration

The film has been well-preserved by the Academy Film Archive and the UCLA Film & Television Archive. In 2002, a restoration project was undertaken by the American Film Institute in conjunction with United Artists, which included color correction and digital remastering of the original Technicolor elements. The restored version was released on DVD and Blu-ray with additional special features. The original negatives are stored in climate-controlled facilities, and the film has been selected for preservation in the United States National Film Registry by the Library of Congress for its cultural, historical, and aesthetic significance.

Where to watch

• Available for streaming on Amazon Prime Video
• Available for rent or purchase on iTunes/Apple TV
• Available on DVD and Blu-ray from Warner Home Video
• Occasionally airs on Turner Classic Movies (TCM)
• Available through the Criterion Channel subscription service
• Can be found on various streaming platforms including Google Play and Vudu