Anglo-Saxon manhood was pretty largely celebrated in the Hollywood of the thirties and forties, which makes sense. The audiences for movies, both in the U.S. and abroad, tended to be either Anglo-Saxon themselves or to have similar attitudes and concerns. Brittania still ruled the waves in those days, and whatever the ethnic composition of moviegoers there was the prevailing attitude that not only was "white" right, but that Anglo white was the best kind of all.
Beau Geste is not about Empire, or at least not the British one, but it has undercurrents. Adapted from a popular novel, it is a combination mystery story and action picture that begins with the theft of a valuable jewel back in England, and winds up in the French Foreign Legion in North Africa, where the three Geste brothers have retreated. We know that one of them stole the jewel. The question is, which one? Meanwhile, there's action aplenty, as Arabs attack the fort and the multi-ethnic military unit that must defend it. Nearly everyone who isn't Anglo is either a coward, a traitor, a swine, a murderer, a sadist or a thief. Only the Gestes, it seems, have dignity and values.
Chauvinism is one thing, but Beau Geste just doesn't play fair. Most of the movies set in colonial outposts of the British Empire were jingoistic and arguably racist, yet within their narrow limits they showed both sides of the issue. To put it another way, while they were basically pro-Empire it was understood and communicated that this was not the only attitude there was, or even that it was the correct one. It was the attitude the film-makers chose. Gunga Din is a good example of this, with the loyal Gunga at one end of the spectrum, the evil Guru at the other. Many films of this type allowed for a little local color (so to speak), and gave off the general feeling that these native blokes weren't such bad fellows after all once you take into account their "heathen ways". Such were the times.
Beau Geste plays the Anglo-Saxon card more often and with greater vigor than most, which is odd, since it isn't strictly speaking about either Empire or empires and is merely a lively adventure story, well told. While one wouldn't call the Gestes moral prigs, they do carry themselves a certain way. Looking down on others would be bad form, so they don't do it, or don't talk about it anyway. But they do look down on others. The others are, alas, worth looking down on, and thus the deck is stacked.
Maybe this was in the book. I don't know. As someone with some roots that go back to Great Britain I must say that even I find these attitudes annoying, and I tend to go easy on the Brits. In other more overtly pro-British films from this period the Anglo business is more soft-pedaled, as if a mere by-product or symptom of being numero uno in much of what we now call the Third World. Here its in its fully glory, Viking funeral and all.
Shorn of its attitudes, Beau Geste is a decent movie. William Wellman was a good man for this kind of story, and the opening scenes are marvelous. Gary Cooper has the lead, and his appeal has thus far eluded me. He was fine in cowboy parts but this British gentleman role was beyond him. Robert Preston is likewise an unlikely choice for a Brit, but Ray Milland was the real deal. Brian Donlevy barks commands with demonic energy and makes the most of his role as the despicable Sergeant Markoff. The movie's pacing is a little draggy, and it seems older than it is. Fort Zinderneuf is a splendid creation, as imposing as it name, which is also fittingly exotic since it houses so damn many of those foreign chaps.
Beau Geste is not about Empire, or at least not the British one, but it has undercurrents. Adapted from a popular novel, it is a combination mystery story and action picture that begins with the theft of a valuable jewel back in England, and winds up in the French Foreign Legion in North Africa, where the three Geste brothers have retreated. We know that one of them stole the jewel. The question is, which one? Meanwhile, there's action aplenty, as Arabs attack the fort and the multi-ethnic military unit that must defend it. Nearly everyone who isn't Anglo is either a coward, a traitor, a swine, a murderer, a sadist or a thief. Only the Gestes, it seems, have dignity and values.
Chauvinism is one thing, but Beau Geste just doesn't play fair. Most of the movies set in colonial outposts of the British Empire were jingoistic and arguably racist, yet within their narrow limits they showed both sides of the issue. To put it another way, while they were basically pro-Empire it was understood and communicated that this was not the only attitude there was, or even that it was the correct one. It was the attitude the film-makers chose. Gunga Din is a good example of this, with the loyal Gunga at one end of the spectrum, the evil Guru at the other. Many films of this type allowed for a little local color (so to speak), and gave off the general feeling that these native blokes weren't such bad fellows after all once you take into account their "heathen ways". Such were the times.
Beau Geste plays the Anglo-Saxon card more often and with greater vigor than most, which is odd, since it isn't strictly speaking about either Empire or empires and is merely a lively adventure story, well told. While one wouldn't call the Gestes moral prigs, they do carry themselves a certain way. Looking down on others would be bad form, so they don't do it, or don't talk about it anyway. But they do look down on others. The others are, alas, worth looking down on, and thus the deck is stacked.
Maybe this was in the book. I don't know. As someone with some roots that go back to Great Britain I must say that even I find these attitudes annoying, and I tend to go easy on the Brits. In other more overtly pro-British films from this period the Anglo business is more soft-pedaled, as if a mere by-product or symptom of being numero uno in much of what we now call the Third World. Here its in its fully glory, Viking funeral and all.
Shorn of its attitudes, Beau Geste is a decent movie. William Wellman was a good man for this kind of story, and the opening scenes are marvelous. Gary Cooper has the lead, and his appeal has thus far eluded me. He was fine in cowboy parts but this British gentleman role was beyond him. Robert Preston is likewise an unlikely choice for a Brit, but Ray Milland was the real deal. Brian Donlevy barks commands with demonic energy and makes the most of his role as the despicable Sergeant Markoff. The movie's pacing is a little draggy, and it seems older than it is. Fort Zinderneuf is a splendid creation, as imposing as it name, which is also fittingly exotic since it houses so damn many of those foreign chaps.