“Richelieu” Zanuck’s Most Pretentious Film

Manawatu Times, Volume 60, Issue 232, 2 October 1935, Page 11

“Richelieu” Zanuck’s Most Pretentious Film

QFPERS ARLISS GREATEST HISTORIC ROLE (Regent: Coming Soon.) Cardinal Richelieu, the red-robe a prelate who became the power behind the throne of Trance 200 years ° ago, is one of the most jascinating of the countless colourful figures that parade through history’s ro-mance-filled pages. Some of the greatest minds of the literary world ! have tussled with the riddle of this baffling man who semed a saint one moment and a devil the next.

And now Darryl Zanuck lias brouglit this many-sided character again into public focus by choosing him as tho subject of George Arliss’ latest and greatest screen portrait in “Cardinal Richelieu, ’’ 20th. Century’s most lavish production to date. Zanuck assembled a notable group of screen writers to collaborate on the task of bringing this spectacular life story, based on the famous stage drama by Sir Edward Bulwer-Lytton, to the screen. Cameron Rogers who spent several years in France gathering material for what proved to be one of tho finest books on the times of Richelieu and Louis XIII., was brought to Hollywood to make the first screen adaptation.

The script was then turned over to W. P. Lipscomb and Maude Howell for final treatment. Lipscomb is the coauthor of the stage'and screen production of “Clive of India,” and made the screen adaptation of “Los Miserables.” Miss Howell collaborated on the script and direction of “ The House of Rothschild.”

Rowland V. Leo brought a distinguishing name and talent to the task of filming this Joseph M. ScKenck presentation for release through United Artists. A noted director of historic spectacles, Lee was named ono of the previous year’s “Ten Best Directors,” for his handling of “Tho Count of Monte Cristo.”

Another name of significance in Hollywood is that of Edward I. Lambert, who directed' the staff of research workers on tho picture. Lambert’s duties started a full six months before the first turn of the camera and were not complete until the final editing of the picture and its first test preview 100 miles from Hollywood. Lambert and his staff scrutinised thousands of books and documents in the course of their labours. George Arliss himself was unsparing in his effort to make his portrait of Cardinal Richelieu accurato and convincing. He spent hours in the libraries and art galleries of London and Paris gathering data and studying paintings of the famous character. More than thirty screen tests were made by him in Hollywood for character makeup alone. The settings by Art Director Richard Day and Omar Kiam’s costumes further reflect the aim of historical accuracy and lavishness of spectacle witl which Darryl Zanuck invested the talking screen’s first attempt to shed light on one of the most baffling men of history—Armand de Plessis, better knowi as Cardinal Richelieu.