Scaramouche is a deliberately constructed film. I’m curious if screenwriters Ronald Millar and George Froeschel followed the source novel’s plot structure, because it’s a very peculiar series of events. It doesn’t open with the leading man, instead starting out with villain Mel Ferrer. Janet Leigh, as his love interest, gets introduced long before Eleanor Parker–who’s second-billed and leading man Stewart Granger’s love interest.
Except, of course, Ferrer and Granger are Frenchmen so the idea of them having one love interest is… against their character. But there’s also the matter of Richard Anderson, who sort of sets off the big plot–Granger’s want for vengeance–and on and on.
Director Sidney does a beautiful job focusing the viewers attention where it needs to be in each scene, but also where it’s going to need to be in the next scene. A couple huge details–maybe even three–only come up in dialogue. Scaramouche isn’t a film for the disinterested viewer.
But it’d be hard not to be enraptured with the picture. Charles Rosher’s lush color cinematography–which equally showcases the fantastic location action sequences but also the eye-shadow they’ve got on Parker–makes for a transfixing experience.
All the acting is good. Granger’s an able leading man, Ferrer’s fantastic as the villain, Parker’s outstanding in the most complicated role. In the second most complicated (the men aren’t complicated though so it’s not much), Leigh occasionally wavers but is still quite strong.
Wonderful Victor Young score too.
Scaramouche is delightfully thrilling.