“I knew all about that man – where he was born, who his parents were, why he joined the Foreign Legion. I knew he was a degenerate and what the circumstances were which led to that state of affairs. Characters like that lift this business of acting out of the commonplace, mechanical rut and portraying them becomes a real joy.”
Thus William Powell explained how he made his characterisation of Boldini in Beau Geste so realistic and believable, but also provided us with a very thoughtful and humane consideration of how a character can become a flesh and blood human being. As opposed to presenting a mere shadow on the screen, Powell brought to life individuals with a chronology and back story to explain their actions.
For the What A Character blogathon I’m jumping ahead a year to 1926, and to a picture that was designed to showcase Ronald Colman as the ultimate hero, but as was becoming common practice, ended up being another opportunity for William Powell to steal the show with an in-depth study of humankind’s failings.
In Beau Geste, Powell played Boldini, a lickspittle coward, blackguard and cheat who’s only agenda is to preserve his own neck even if it is at the expense of others. I have to confess I watched this film a number of months back and was sorely disappointed. The picture had received pretty much universal acclamation in the contemporary reviews I had read and you can see for yourself in Mordaunt Hall’s piece for the New York Times below, as well as others linked. In addition Beau Geste won the prestigious Photoplay Magazine Medal of Honour for 1926. Swayed by this I was expecting a fast paced movie full of action, but actually found parts of it quite plodding.
However, in preparation for this blogathon I thought I must give the film a second chance and this time round I enjoyed it more fully. I suspect that’s because I’m more acclimatised to silent pictures and have come to realise the importance of place and atmosphere – enjoyment of silent film needs to be an immersive experience, and watching a poor print on YouTube on my morning train commute would inevitably dull my viewing pleasure. Imagine Mordaunt Hall as he describes Beau Geste for the first time – in a New York Picture palace, no doubt all the invited guests in evening dress, with full orchestra to keep the pace of the picture. With these types of elements present Beau Geste must have created a stupendous evening of adventure for the picture goer.
Bearing all this in mind, I sat down for a second viewing and was much more satisfied. Ronald Colman always brings a laconic charm to his roles, with a slight hint of irony, which ensures that his movies don’t become sappy and this is especially the case with Beau Geste. This tale of love, honour and betrayal could be very plodding and worthy, but Colman’s playing style offers a hint of emotional distance that I suspect would be very natural to the Englishman.
However we’re here to discuss William Powell’s contribution to Beau Geste as a character actor and as the Photoplay Magazine reviewer said about Powell and Noah Beery, “…watch these two boys cop the picture.” Powell’s biographer, Roger Bryant is firmly of the view that his characterisations are as authentic as any portrayal from the supposedly ‘naturalistic’ method style of the 1950s and includes Powell’s rendering of Boldini in his conclusion. Thanks to his careful preparation and the seriousness which he brought to his craft, Powell presents Boldini as a man who is perpetually desperate and who’s lack of honour does for him in the end. The ultimate theme of Beau Geste is honour, and Boldini is the antithesis of honour as opposed to Beau Geste, and that cannot be presented two-dimensionally.
This is my entry in this year’s What A Character! Blogathon – do have a look at my compadres’ entries, there’s some wonderful reads about some wonderful actors!
William Powell: The Life & Films – Roger Bryant
Mordaunt Hall Review in the New York Times, 26 August 1926
Photoplay Magazine, October 1926, p.52
Motion Picture Magazine, November 1926, p.60