THE STUDENT PRINCE (MGM 1954) Warner Archive Collection
Chief audience
interest in Richard Thorpe/Curtis Bernhardt's The Student Prince (1954) lay in singing sensation Mario Lanza (who
wasn't in it). Lanza had pre-recorded all of the memorable Sigmund
Romberg/Dorothy Donnelly score before a contractual dispute effectively
terminated his association with MGM. Although the tenor's screen persona could
be amiable and engaging, behind closed doors he proved something of a prima
donna. In MGM's heyday the powers that be might have tolerated such outbursts
and worked them into the production schedule. But this was the cost-cutting
1950s under the auspices of Dore Schary and no such nonsense would be
tolerated. In the wake of Lanza's exit MGM cast Edmund Purdon, an attractive
leading man with definite screen appeal to lip sync the vocals. And it is
saying much of Purdon's prowess and charisma that despite their differences in
girth one can almost accept Lanza's supreme voice emanating from Purdon's
diminutive body.
Like Rose Marie, The Student Prince is a
stage bound operetta from another time. Unlike Rose Marie, however, The
Student Prince has held up remarkably well, even under the breathtaking
vistas of Cinemascope and AnscoColor. Kudos for the film's success chiefly go
to director Richard Thorpe, hired to replace Curtis Bernhardt and doing a fine
job of it too, taking the schmaltz out of the beer garden badinage. The
screenplay from Sonya Levien and William Ludwig retains the very best elements
from the stage show. Director Thorpe, together with producer Joe Pasternak
deliver a wholly cinematic experience, incorporating just about every European
back lot set and prop that MGM's illustrious art department had on tap for
decades.
The story
concerns Prince Karl Franz, a martinet schooled by the military who lacks a
romantic streak or even diplomacy towards others for that matter. His father,
King Ferdinand of Karlsberg (Louis Calhern) has betrothed the Prince to
Princess Johanna (Betta St. John) from a neighbouring kingdom with a lot more
money. Although Johanna's mother, Queen Mathilda (Evelyn Varden) approves of
the marriage, the Princess sees through Karl quite clearly. Theirs is to be a
marriage of state rather than love. To improve the boy's prospects with the
Princess the King decides to send Karl along with his tutor, Professor Jutner
(Edmund Gwenn) and valet, Lutz (John Williams) on a little holiday to
Heidelberg where it is hoped the Prince will acquire a more lax attitude toward
friendship, love and life by mingling with the commoners.
Masquerading
as just another student, Karl soon meets barmaid Kathie Ruder (Ann Blyth).
Kathie's uncle, Joseph (S.Z. Sakall) is the owner of the bar and inn that Karl
is staying at. And although both know that Karl is really a prince his identity
is kept a secret from his fellow students. Karl pledges to the lower class
fraternity and comes in conflict with the upper class men's captain, Count Von
Asterburg (John Ericson). The men duel and Karl wounds the Count but gains his
respect.
Karl attempts
a romance with Kathie. She flees her uncle's inn but he pursues her and
eventually wins her heart. In love for the very first time Karl vows to run
away with Kathie after the artist's ball. Regrettably, Prime Minister Von Mark
(John Hoyt) arrives with news that the King is dying. Karl must return
immediately to the capital. After the King's death Karl prepares for his
marriage. But his heart is drawn to Heidelberg. He orders his royal train to
make an unscheduled stop and briefly reunites with Kathie. They renew their
love and vow that it will endure even as they are bound by duty and go their
separate ways.
Professor
Jutner, who has made the journey with Karl, encourages him to remember the
'glorious times' they've share and Karl reluctantly rides away from Heidelberg
into an uncertain future as the new monarch of the realm. This unrequited love
and bittersweet ending of The Student
Prince make it palpably relevant under today's scrutiny. Edmund Purdon may
not have Mario Lanza's voice, but his lip sync is convincing enough and his
acting ability more than to sustain the role. He and Ann Blyth have genuine
chemistry. The supporting cast is top drawer. S.Z. Sakall is one of the true
gems in this production. He and John Williams have great good fun verbally
sparing.
Randall
Duell's art direction is superb down to the last detail. The company may not
have left Culver City to shoot this film but the sets resurrect that quaintly
European flavor so essential to sustain the production - shot mostly indoors on
sound stages. Helen Rose and Walter Plunkett's costumes are also gorgeous. And
last but certainly not least is the score. With such immortal songs as 'Drink Drink Drink', 'Serenade', 'Golden Days', 'I'll Walk With
God' and 'Beloved' The Student Prince is a cornucopia of
treasured musical memories ably assisted by the melodic voices of Mario Lanza
and Ann Blyth - doing her own singing, thank you very much! I'm not a big fan
of screen operetta but must admit that this one tugged at my heart and
sustained my attentions. Fondly remembered for many years to come and sincerely
recommended to you and yours for a joyous MGM musical experience. The Student Prince is a keeper!
Regrettably, The Student Prince is also a Warner
Archive release. Although advertised as 'remastered' the film suffers from all
the shortcomings of Cinemascope and AnscoColor. Transitions between scenes are
grainy. A few reels are already suffering from severe vinegar syndrome,
resulting in a ruddy palette of orangey brown. Age related artifacts have not
been cleaned up but on the whole do not distract – although they are
particularly thick during the main title sequence. The audio is stereo
surround. Given that the film was Lanza's last important screen effort it would
have been gracious of Warner to produce a new 5.1 audio mix. The only extra is
the film's theatrical trailer. I really do wish Warner had taken the time to
give this movie a restored and properly minted DVD release. It deserves one.
Otherwise, The Student Prince comes
highly recommended.
FILM RATING (out of 5 - 5 being the best)
3.5
VIDEO/AUDIO
3
EXTRAS
0
Comments
NICK APPRECIATES THE FILM! IT IS CERTAINLY MUCH MORE THAN ONLY MARIO LANZA'S BEAUTIFUL VOICE AND THE SCORE THAT MAKE IT MEMORABLE. ANN BLYTH AND EDMUND PURDOM DO HAVE TERRIFIC CHEMISTRY AND OUR HEARTS ARE INDEED TUGGED! THE SUPPORTING CAST OF CHARACTER ACTORS LEND MAGIC TO THE ENTIRE PRODUCTION. OBVIOUSLY WARNER HAD LITTLE CONFIDENCE IN THE FILM AS IT WAS NOT INCLUDED IN THE MGM MUSICAL BOX SETS WITH A FULL REMASTER IN 5.1 WHICH IT WARRANTS. AND - IT IS HARD TO FIND - NOT AVAILABLE AT WB SHOP AND EXCLUSIVE, STILL, TO MOVIES UNLIMITED AND TCM WEBSITES. WHY?
Show Boat a 1951 musical was recently restored and released on Blu-ray with stereo sound. It is fantastic. Stunningly sharp and colors are vibrant. Our surround sound processor managed to extract enough information to produce use-full sound in our side and back speakers and we had three active speakers across the large 77 inch OLED screen.
It they can do such a great job with "Show Boat" it would be nice if they could do the same to "The Student Prince"
If you've seen Brigadoon and Seven Brides for Seven Brothers, you already know from whence I speak. Each movie has been 'restored' as much as it can be by WAC and released on Blu-ray. But the results, compared to those on Show Boat, or any other 3-strip Technicolor release from them is painfully obvious.
Although Ansco predated Kodak - and Technicolor - its single-strip emulsion proved to be highly susceptible to vinegar syndrome. It also failed to produce accurate reds and skewed some of the other colors in the spectrum towards a wan ghost flower of the rich and vibrant hues of Technicolor. Studios used it because it was cheaper than Technicolor. And, in the cost -cutting 1950's, it was the film du jour.
Can't blame the studios. You also have to remember, back in the day, when a movie finished its theatrical run it was usually shelved. Only the rare movies received theatrical issues and movies on TV were not yet 'a thing'. Home video was decades away as was cable television. So, why spend so much on a 3-strip process when a less cumbersome single strand of film would suffice in the short run? No thought for posterity beyond the here and now.
You can definitely see how that worked out for the longevity of many classic movies, including The Student Prince. Colors, even on WAC's MOD DVD skew wildly to a red/orange/warm spectrum. Flesh in never accurately rendered. Most of The Student Prince suffers from color density issues. The main titles are a mess and riddled with age-related artifacts. But the scene where Kathy waits on the students at the beginning is pretty out of whack color-wise. Later, the artist's ball sequence also suffers from distorted jaundice hues; again, with the onset of vinegar syndrome creeping in.
WAC has shown great foresight in remastering movies with pathetic SD transfers to HD. Consider The Wonderful World of the Brothers Grimm. Alas, this too is a Technicolor element. So, resurrection is, if more costly, then far less complicated. The Student Prince needs love - a lot of it. I am unaware whether or not 6-track mag stereo exists for the audio. But to not have Mario Lanza's voice in stereo is, frankly, a sin.
Regarding Lanza at MGM - his first 2 features for the studio; That Midnight Kiss and The Toast of New Orleans were each photographed in 3-strip Technicolor. So, if WAC had to do a ground-up restoration, I have no doubt these 2 movies would outclass The Student Prince in terms of visual representation. I would definitely love to see more 3-strip from WAC, but also a more proactive stance for The Student Prince.
Despite Lanza's absence, Edmund Purdon does a very fine job miming the lyrics and emoting competently during the dramatic scenes. I think he and Ann Blyth have wonderful chemistry. And the story, unlike a good many translated to the vast expanses of Cinemascope, has held up remarkably well. It's a handsomely designed musical. I love it. I would like to love it more in HD - restored and remastered. We'll see.