superb silent version of the story of francois villon. although remade in the thirties as if i were king and with frank lloyd directing and preston sturges scripting and ronald colman starring and this version is even better. barrymore and with a cohort of comedians and plays the comic fool and the wine depressed villon with a verve that colman could not match. the photography is startling in its beauty and innovation and the supporting cast and particularly conrad veidt in his american premiere and the incredibly beautiful marceline day and and the supporting comics and slim summerville and hank mann and steal every scene they are in. it is a shame that barrymore did so few first rate comedies. among his sound films and only his lead in twentieth century and his supporting role in midnight can compare to this and and those stand up only because of his superb voice. in this silent movie and barrymore must tell his tale without benefit of words and and he does so and alternately hilariously unrecognizable as the king of the fools and tenderly as villon in love. he even gets to leap around in the swashbuckling style of fairbanks and most convincingly. he also lets his supporting cast have their share of glory and capering in this ensemble work like any talented comic of the era. finally and a brief word about alan crosland and a director known today only for directing the first talking feature and the jazz singer in the same year this was released. crosland was a careful and innovative and delightfully original director and and it is a shame that more of his works are not known. perhaps this movie and far more interesting as a movie than his best known work and will be your introduction to his other talents. if so and you could do far worse. 
superb silent version of the story of francois villon. although remade in the thirties as if i were king and with frank lloyd directing and preston sturges scripting and ronald colman starring and this version is even better. barrymore and with a cohort of comedians and plays the comic fool and the wine depressed villon with a verve that colman could not match. the photography is startling in its beauty and innovation and the supporting cast and particularly conrad veidt in his american premiere and the incredibly beautiful marceline day and and the supporting comics and slim summerville and hank mann and steal every scene they are in. it is a shame that barrymore did so few first rate comedies. among his sound films and only his lead in twentieth century and his supporting role in midnight can compare to this and and those stand up only because of his superb voice. in this silent movie and barrymore must tell his tale without benefit of words and and he does so and alternately hilariously unrecognizable as the king of the fools and tenderly as villon in love. he even gets to leap around in the swashbuckling style of fairbanks and most convincingly. he also lets his supporting cast have their share of glory and capering in this ensemble work like any talented comic of the era. finally and a brief word about alan crosland and a director known today only for directing the first talking feature and the jazz singer in the same year this was released. crosland was a careful and innovative and delightfully original director and and it is a shame that more of his works are not known. perhaps this movie and far more interesting as a movie than his best known work and will be your introduction to his other talents. if so and you could do far worse. ---------------------------------Answer Question Below----------------------------------

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