The Iron Mask (1929) User Reviews

Brother Against Brother

[lugonian · 7/10 · 14 February 2003]

THE IRON MASK (United Artists, 1929), directed by Allan Dwan, based on "The Man in the Iron Mask" by Alexander Dumas, a sequel to Dumas's THE THREE MUSKETEERS (United Artists, 1921), both starring Douglas Fairbanks as D'Artagnan and Marguerite De La Motte as Constance, is a worthy farewell to Fairbanks making his final silent screen adventure.

Those familiar with the plot, which was remade several times on screen and television, including THE MAN IN THE IRON MASK (United Artists, 1939) with Louis Hayward, and/ or the most recent and satisfactory 1998 featuring Leonardo DiCaprio and Jeremy Irons, will find the story here not much different, but only shorter in its basic format, as is with its title. The story begins with King Louis XIII of France (Rolfe Sedan) receiving the news of the birth of his son, the future heir to the throne. The only problem is that the heir also has a twin. Since there cannot be two heirs, this news must be kept in utmost secrecy and anyone involved must be put away forever. Constance Beaucieux (Marguerite De La Motte), D'Artagnan's (Douglas Fairbanks), beloved, who was the midwife during the birth, is immediately put away in the Convent of Martes by orders of Count De Rochefort (Ullrich Haupt). Unaware of the secret, D'Artagnan tries to rescue Constance from being held prisoner against her will, but arrives too late. She has been stabbed by Milady De Winter (Dorothy Revier) after discovering the secret mark on her shoulder, the brand of a common criminal. Before Constance dies in D'Artagnan's arms, she utters her final words to him, "the other one ..." The death of Constance leaves D'Artagnan feeling empty and bitter. D'Artagnan, who has been reunited with his colleagues, The Three Musketeers, later saves them from being executed by orders of the Cardinal Richelieu (Nigel De Brulier). After D'Artagnan rescues Richelieu from De Rochefort's men, the Musketeers are pardoned, but find they must part company once more when D'Artagnan is appointed as guardian to the newborn infant and sent to Spain while the actual heir to the throne remains in France. Some twenty years later, the evil twin brother (William Bakewell), a spoiled young man, eventually learns his true identity and of his twin brother holding the throne in France from the villainous De Rochefort. The evil twin plots to take over the throne by having his brother abducted, and banishing him by having him locked in a dungeon with his face sealed in an iron mask for all eternity, and being given food from the guards from under the door, and with strict orders for him not to ever have any visitors. While taking control of the throne, the evil twin meets with his mother, Queen Anne (Belle Bennett), who immediately realizes what's happening. It is then up to the D'Artagnan and his musketeers, now older men, to reunite and save the day.

Featured in the supporting cast are Stanley Sanford as Porthos; Leon Bary as Athos; Gino Corrado as Aramis; Vera Lewis as Madame Peronne and Gordon Thorpe playing the boy prince and his evil twin.

A satisfactory version that becomes a bit slow going at times due to a couple of flashbacks, but then picks up speed again with a memorable swashbuckling conclusion. THE IRON MASK was first introduced as part of the 12-week series on public television's THE SILENT YEARS (1975), hosted by Lillian Gish. Because this was Fairbanks' final silent adventure, released the final year of the silent era (1929), THE IRON MASK became the film chosen as the closing chapter to this series. Accompanied with an original piano score by William J. Perry, from the Paul Killiam collection, and running at the length of about 87 minutes, THE IRON MASK also consisted of color tinted scenes. Reportedly distributed theatrically with talking sequences, sound effects and an original musical score (which may still exist today), THE IRON MASK was later reissued in 1952 through Odyssey Pictures, eliminating the original title cards, replaced with narration by Douglas Fairbanks Jr., and accompanied by a new orchestral score. Available with the excellent Perry piano score on video cassette through Blackhawk Films in the 1980s, current video copies distributed in the 1990s present THE IRON MASK with its 1952 72 minute reissue format, the version which formerly aired on American Movie Classics from 1997-1998. Although the difference being the length and clearer picture quality, with the narration giving a better outlook and understanding to the storyline, silent film buffs would prefer to see THE IRON MASK restored to its original silent format. Thanks to KINO video, it's own copy has been restored with sound prologue with Doug Fairbanks himself as well as an orchestral score by Carl Davis. HO-LA! (***)

David Jeffers for SIFFblog.com

[rdjeffers · 8/10 · 28 August 2006]

Monday August 28, 7:00pm, The Paramount Theater

Dumas amuck …

Among the most popular works of literature adapted for film, Alexander Dumas' D'Artagnan Romances, have seen no less than ninety versions produced for the screen, from Biograph's abbreviated, Fencing Contest from 'The Three Musketeers' (1898), to French and Latvian features released in 2005. Dumas' trilogy, The Three Musketeers, Twenty Years After, and The Vicomte de Bragelonne, have been reincarnated as animated characters, French Legionnaires, secret agents, troubadours and even Texas Rangers!

A Modern Musketeer ...

D'Artagnan was perfect casting for an excessively energetic Douglas Fairbanks in A Modern Musketeer (1917). The film offered a glimpse of the young swordsman as a fantasy sequence within a modern story. It also served as a seed of inspiration when Fairbanks launched into the final decade of his silent film career with a series of costume dramas including The Three Musketeers (1921). The art direction, production design and originality of these films, which include Robin Hood (1923), The Thief of Bagdad (1924) and The Gaucho (1928) remains unsurpassed today. As his finale to the silent era, Fairbanks returned to Dumas and D'Artagnan's further adventures in The Iron Mask (1929). Along with Fairbanks, returning from the 1921 film were Marguerite De La Motte as Constance, Nigel De Brulier as Cardinal Richelieu (a character he played four times), Lon Poff as Father Joseph, Charles Stevens as Planchet, D'Artagnan's servant, Leon Bary as Athos and screenwriter Lotta Woods. Fairbanks also gave a nod to the coming of sound by including a Vitaphone sound-on-disk synchronized musical score which included a spoken prologue and bridge between the end of the Musketeers and Twenty Years After. In 1929, the film was released with both sound and silent versions, as was often the case.

"It is sometimes more difficult for Kings to return … Than to make an exit."

This was the last and final time Fairbanks would buckle his swash and the culmination of a lifetime playing humorous and high-spirited action heroes. For it's sheer brilliance of concept, its fluid movement from one scene to the next with the continuous flow of narrative, the initial introduction of characters and setup of the story in this film is unequaled. The film begins with the entrance of King Louis XIII at St. Germain as he anxiously awaits the birth of an heir. The quality of set design, thousands of costumed extras used, monumental production scale and painstaking detail of craftsmanship could never be undertaken today. From the palace, the action moves to D'Artagnan beckoning Constance from the street, below her window. She must hurry to the waiting Queen's coach, and in a sequence of almost balletic beauty she and D'Artagnan hurry from place to place, in search of a moment's privacy, and a kiss. At forty-five, Fairbanks shows every bit of the athletic grace seen in earlier films as he and De La Motte glide over a garden wall and back again. Fairbanks gives his character just the right amount of boyish mischief to balance a flawless performance. D'Artagnon literally rides into the next scene as he jumps from the coach to the aid of his fellow musketeers. They challenge the Cardinal's Guards, then seamlessly move into a wonderful display of humorous camaraderie as the four link arms in a tug-of-war between the much larger Porthos (Stanley J. Stanford) and D'Artagnan that ends as they pull a cartload of barrels into a tavern. Only Fairbanks could transform something as simple as catching a tossed breadroll into a captivating display of skill. The Musketeers are left to pass the time as the action returns to the palace and Louis presenting his newborn son to the cheering sea of humanity below (and that ain't cgi!). And then of course, there is " …the other one …" As in all Fairbanks' films, the swordplay is spectacular, this time using Belgian fencing master Fred Cavens as coach and consultant. Overall production was supervised by Maurice Leloir, "… the acknowledged authority on the period depicted. With The Iron Mask , Fairbanks offers a combination of action, romance and humor showcasing the skills that he developed over years as he literally defined the genre. It's hard to imagine having a better time at any movie.

First version based on Alexandre Dumas' classic yarn of intrigue at the 17th century French court

[ma-cortes · 7/10 · 21 February 2014]

Early silent swashbuckling with talking sequences , starred by a master swordsman , Douglas Fairbanks, defending the French king from a scheme involving substitution by a lookalike . This is an epic retelling about the durable Alexandre Dumas's novel and is set in 17th century French court . In St Germain , on fifth of September , 1638 , public excitement ran high in anticipation of an important event , there was born the royal heir . As twins brothers -the same actor playing a double role- , separated at birth, one become in Louis XIV of France and the other is banished . The latter returns and unjustly imprisons his brother , being forced to wear an iron mask that hides his identity . Both of whom are sons of the Queen mother Anna of Austria . Later on , the real king is jailed by his tyrannical brother in an isolated castle and is hidden his identity wearing the iron mask but his existence threatens the reigning . But there is a friendship that is born of God , it is not altered by time , nor affected by circumstance , it endures to the grave and beyond . Four musketeers whose friendship has become a legend to stir the hearts of men and shouting ¨One for all and all for one¨. Straightforward as well as gallant D'Artagnan and the three musketeers scheme a plan to free him clashing against a malicious Richelieu , the Louis XIV's favorite and his hoodlum Rochefort . As the kidnapped king is eventually rescued by the musketeers and takes place a royal vengeance .

It's an excellent rendition from the immortal novel with quite budget and spectacular action . The picture contains rousing scenes , intrigue , derring-do , exciting swordplay , romantic adventure , mayhem , a lot of fun and is pretty entertaining . It's a silent movie with two brief speeches by Douglas Fairbanks at the beginning and intermission . In this film, the Four Musketeers - Athos, Porthos, Aramis, and D'Artagnan - all sleep together in one bed, with the French phrase 'Un Pour Tous, Tous Pour Un' , One For All, All For One, inscribed on the headboard. This entire production was under the supervision of Maurice Leloir , member of the Society of French Artists , illustrator of the Three Musketeers , the acknowledged authority on the period depicted . Marvelous casting with a magnificent Douglas Fairbanks as a valiant swashbuckler . Charming Douglas Fairbanks steals the show when he bounds and leaps , flies and run ; in addition he is the screenwriter of this rollicking adventure . Fairbanks executes athletic feats , moving sword-play and spectacular acrobatics similarly he demonstrated in other classics such as The Mark of Zorro (1920), Robin Hood (1922), Three musketeers , Don Q Son of Zorro , The gaucho , The iron mask , The Taming of the Shrew , Don Juan , Mr Robinson , among others . Douglas performed most of the stunts in his films himself. He was an excellent athlete and used his physical abilities to his best advantage. Douglas was king of Hollywood by that time and he formed his own production company ; during a Liberty Bond tour with Charles Chaplin he fell in love with Mary Pickford with whom he, Chaplin and Griffith had formed United Artists in 1919. Lush production design is well reflected on the luxurious interiors and exteriors . The motion picture was lavishly produced and well realized by Allan Dwan .The realization is fairly exciting , thanks largely to filmmaker Allan Dwan's fair play and achieving a masterly style by skillful lighting .

This classy story is subsequently remade several versions , for both TV and the big screen . Firstly this mute rendition (1929) , after that , ¨The man in the iron mask¨ by James Whale(1939) with Louis Hayward , Alan Hale and Joan Bennet , ¨The Fifth Musketeer¨(1979) by Ken Annakin with Beau Bridges , Rex Harrison , Silvia Kristel , Ursula Andress ; ¨Iron mask¨(1997) by William Richert with Timothy Bottoms , Edward Albert , James Gammon , Dana Barron , Meg Foster and finally ¨The man in the iron mask¨ (1998) , a big production by Randall Wallace with Leonardo DiCaprio , Gerard Depardieu , John Malkovich , Jeremy Irons . And TV adaptation of the classy ¨Iron mask¨ (1977) by Mike Newell with Richard Chamberlain , Jenny Agutter , Ian Holm , Ralph Richardson .

An Entertaining Version of the Familiar Tale

[Snow Leopard · 19 June 2002]

This is an entertaining version of the legend, familiar from the Dumas novels and numerous movies, of the Musketeers and "The Iron Mask". D'Artagnan is a very good role for Douglas Fairbanks, and as always he makes his character human, likable, and energetic. The story-telling is straightforward, but it has plenty of action and moves at a good pace. The version that has the added narration by Douglas Fairbanks, Jr. also works well. The narrative is well-written and lively, and nicely complements the action on-screen.

The old-fashioned style of filming works pretty well for this kind of story, Fairbanks is in his element, and he gets good support from the rest of the cast as well. This is a fun feature for anyone who likes silent films.

It Takes Two!

[bsmith5552 · 7/10 · 9 November 2020]

"The Iron Mask" is a sequel to 1921's "Three Musketeers" with Douglas Fairbanks, in his final silent again playing D'Artagnon. The time is 1638 about 13 years after the first film and D'Artagnon still hasn't wed Constance (Marguerite De La Mottre)

The Musketeers, D'Artagnon, Athos (Leon Bary), Porthos (Tiny Sandford) and Aramis (Gino Corrado) are enjoying fame and fortune as the swashbuckling heroes of France. A special event is about to take place, the birth of an heir to the throne of Louis XIII (Rolf Sedan) . The King is presented with a son who will inherit the throne as Louis XIV. All of Paris rejoices. Unbeknownst to the King, the Queen delivers a second son.

Cardinal Richelieu (Nigel De Brulier) fearing potential for revolution, sends the second son off to Spain with his assistant Father Joseph (Lon Poff). Richelieu figures that only five people are aware of the second birth, the Queen (Belle Bennett), Constance, the Queen's servant, the mid wife, Richelieu and Father Joseph. Constance is spirited off to a convent by Richelieu's men as a precaution.

D'Artagnan is outraged when her learns of Constance's banishment. He makes plans to rescue her. Milady de Winter (Dorothy Revier) has been tasked with watching Constance and not letting her speak to anyone. The Musketeers storm the convent but before D'Artagnan can reach her, Constance is stabbed by de Winter in a scuffle. She dies in D'Artagnon's arms. He is devastated.

The Musketeers carry Milady de Winter off to be executed. Richelieu heads them off with his men and in an effort to break up the Musketeers, banishes Athos, Porthos and Aramis to their native provinces. D'Artagnon is allowed to stay because of his prowess with a sword, to protect the young prince. Richelieu gives the King and D'Artagnon a necklace containing two halves of a coin when put together, form one coin which both will carry to ensure that , unknown to D'Artagnan, will prevent any imposter from taking over the throne.

Twenty years pass and King Louis XIV has assumed the throne. Meanwhile the treacherous De Rochfort (Ulrich Haupt) had hatched a plan to take the throne. He had kidnapped the second son years earlier and raised him to take over from his twin brother. De Rochfort and his men break into Louis' bedroom and carry him off to a secluded castle. Before he is imprisoned, Louis is fitted with an iron mask which will hide his identity from outsiders. The second son assumes the throne and replaces his brother as monarch.

In prison Louis scratches a message on a metal plate along with a picture of his half of the coin given him by Richelieu. He drops it from his cell window to a fisherman (Francis McDonald) below. He brings the message to D'Artagnon who now reslizes that "the other one" referred to by Constance and Richelieu was indeed a second brother.

D'Atagnon sends his faithful servant Planchet (Charlie Stevens) to fetch his three comrades in exile. In the meantime, D'Artagnon having recognized the coin symbol begins to try and break through a wall to the prison. De Rochfort learns of the attempt to rescue the King and sends his men to prevent it. In the interim, Athos, Aramis and Porthos arrive and aid their pal in securing the King's release. They must now get him to the castle and expose the imposter.

The Musketeers fight gallantly and are killed one by one in the battle with De Rochfort and his troops. De Rochfort is slain by Athos (I think) in the process. At the castle the evil twin tries to poison his mother but D'Artagnon arrives just in time. While fitting the imposter with the iron mask, the evil twin stabs D'Artagnon in the back.

The final scene where the Four Musketeers walk away into the beyond is legendary supposingly signaling the end of the silent film era. The film is divided into two distinctive parts, 1638 and 20 years later. In some versions, Fairbanks speaks to the audience at the beginning of each part. There are also several versions of the film ranging from running times from a re-edited 72 minutes (with a narration by Douglas Fairbanks Jr.) to 103 minutes. There is apparently some versions that contain color sequences as well. The version on which my comments are based runs 100 minutes so I assume that it is an almost complete version. It is all Black and White and there was no sound and no addresses to the audience.

In addition to Fairbanks, Leon Bary, Nigel de Brulier, Marguerite De La Motte, Lon Poff and Charlie Stevens reprise their roles from the earlier film.

Douglas Fairbanks' Farewell To Days Of Silent Glory

[Ron Oliver · 10/10 · 27 December 2001]

With his head encased in THE IRON MASK that hides his identity, the true king of France waits for the elderly D'Artagnan & the Three Musketeers to come to his rescue...

Douglas Fairbanks, silent cinema's greatest swashbuckling hero, bid farewell to the glory days of the silent screen with this joyous romp of a film. As a sequel to Fairbanks' earlier THE THREE MUSKETEERS (1921), it more than surpasses its predecessor in lavish production values, good acting & nonstop action.

Now 46, Fairbanks seems none the worse for wear and his muscular athleticism is still called upon to win the girl, beat the foe & thrill the audience. Fairbanks had a natural spontaneity & authentic joie de vivre, both in his private life and in his screen persona, which audiences of the 1920's found absolutely irresistible. He was unique - unforgettable - utterly irreplaceable.

Fairbanks is supported once again by a fine cast: lovely Marguerite De La Motte as the faithful Constance; Dorothy Revier as the treacherous Milady de Winter; William Bakewell in the dual role of the two princes; Lon Poff as the sinister Father Joseph. That's the excellent character actress Vera Lewis in the tiny role of the Royal Midwife.

The Three Musketeers themselves are rather more finely delineated than in the previous film. Léon Bary as Athos, Tiny Sandford as Porthos & Gino Corrado as Aramis all give good account of themselves throughout the flurry & turmoil of the lively plot.

Special mention must be made of British actor Nigel de Brulier, once again playing the rapacious Cardinal Richelieu. Even though the character disappears half way into the film, de Brulier still manages to invest the Churchman with more than just villainy. He helps the viewer to glimpse the real person behind the facade and to understand some of the reasons for his tyrannical behavior.

One of the versions in which this film is available has all the title cards removed & a rousing narrative read by Douglas Fairbanks Jr. substituted in their place.

**************************

The opening credits state that the film's narrative was based on the story by Elton Thomas (a pseudonym for Fairbanks), which was in turn based on Alexander Dumas' ‘The Three Musketeers' & ‘Twenty Years After.' This is true, but all of the Man in the Iron Mask elements actually came from Dumas' novel ‘Ten Years Later; or, The Vicomte de Bragelonne,' (1848-50). Thus, the events in the latter half of THE IRON MASK take place 30 years after the events in THE THREE MUSKETEERS.

The first film is set in 1625; the second film starts in 1638. Since important plot elements are not handled in THE THREE MUSKETEERS - for instance, Milady's evil behavior towards Constance - they are somewhat incongruously left dangling for 13 years until the beginning of THE IRON MASK. And some of the most fascinating elements of the later books - such as the Musketeers' clash with Milady's malevolent son & the machinations of Richelieu's successor, the wily Cardinal Mazarin - are completely ignored altogether.

But this is a mere quibble and should not detract from the immense enjoyment of a very fine film. It might be helpful to note, in passing, a few historical dates which deal directly with the plot:

Louis XIV born September 15, 1638.

Cardinal Richelieu dies December 4, 1642.

Louis XIII dies May 14, 1643.

Louis XIV is crowned King in 1654, after attaining maturity.

The last silent swashbuckler

[netwallah · 6/10 · 21 March 2006]

This movie has the unique status of having been a sequel in novel form even before the movies started. Dumas père wrote The Man in the Iron Mask to exploit the success of The Three Musketeers, and no doubt Hollywood figured they might as well follow the novelist's example and produce another movie with Douglas Fairbanks as d'Artagnan. Here, as always, Fairbanks is the pre-eminent swashbuckler, leaping onto his horse from windows, climbing trees acrobatically, and swordfighting against great odds, even when the story line calls for him to have aged at least twenty years. The costumes and sets are lavish, and the structure of the silent film—in the version I saw provided with a competent voice-over narrator, Douglas Fairbanks Jr.—is almost coherent, though not entirely. It helps to know the story in advance. I would have preferred to see it in its original form, with intertitles.

Finest version of the Dumas tale

[ScarletPimpernel64 · 10/10 · 23 June 2007]

This is without a doubt, the best version of Dumas' classic work on celluloid. Every time I see the ending, my eyes mist, especially as I realize we're seeing Fairbanks'last silent work, which makes it all the more touching. Allan Dwan was a master, and an unappreciated one. This is more than likely his finest work, and one that doesn't seem to get its proper due. It's a tale of camaraderie, love of country, and . . . well heck, it's doing the right thing. Today's cinematic 'heroes' just don't do that any more.

There are no fiery explosions, four-letter words, car crashes, etc., but the action is wonderful. The humor is magnificent, and the script id done well. If you want to show a silent film to someone who's never seen one, this is the one to show them. (Then, after they've loved it, show them a Lon Chaney or DeMille's KING OF KINGS.)

Interesting take on a classic story but horrible soundtrack

[bondagebonni · 7/10 · 19 February 2019]

This movie goes from the birth of the man and the iron mask and beyond.

Horrible soundtrack that doesn't match what's going on halfnthe time with whatbis going on in the scene.

And and about 3/4 into the film the sound is mixed with a full radio station in the background.

It would be a decent movie if the music went halfway with it.

Stirring farewell to an era.

[David-240 · 9/10 · 3 June 1999]

In Kevin Brownlow and David Gill's extraordinary 1980 documentary about the silent era "Hollywood" the final sequence of "The Iron Mask" is described as Fairbanks' farewell to the silent film. And it is.

Generally this is an inferior film to the amazing 1921 "Three Musketeers". Allan Dwan is not the visual stylist that Fred Niblo is, and so "The Iron Mask" becomes much more of a straightforward action film. But as such it is splendid. I think we tend to forget what a good actor Fairbanks was. His emotional journey here is quite powerful as he faces the death of his lady and of his friends - and he ages convincingly as well.

Most of the cast is different to the "Three Musketeers" but Margueritte de la Motte returns as Constance and the unforgettable Nigel de Brulier again plays Richilieu with extreme venom.

Fairbanks has an athletic field day as well. There seem to be a number of versions of this film around. The one I saw ran 95 minutes and had tinted sequences. I've seen some advertised as having talking sequences, and others with narration by Douglas Fairbanks Jr - the one i saw had neither of these.

It was probably the last large scale silent feature made in Hollywood. And that is what gives those gorgeous last minutes such power. The silent era was truly the golden years of Hollywood and Fairbanks was its king - in this film he sadly abdicates.

The Iron Mask

[CinemaSerf · 7/10 · 12 September 2022]

Douglas Fairbanks picks up where he left off with the "Three Musketeers" (1921) in this altogether better sequel that focusses on the succession to Louis XIII's France. When a son is born to Queen Anne (Belle Bennett), the entire nation celebrates. Only a few in the Kingdom know, however, that there is a twin... For the safety of the realm, the second born is whisked away to Spain on the instructions of Cardinal Richelieu (Nigel de Brulier) but not before the roguishly scarred "Rochefort" (Ullrich Haupt) discovers the truth. Some years later - after all but their mother are dead, he kidnaps the youngster from his Spanish hideaway and secretly substitutes this altogether different King on the throne of France, whilst consigning the real King to an hideous masked confinement in prison. Miraculously, the prisoner manages to get a message to his loyal Captain D'Artagnan (by this time a slightly more portly Fairbanks) and the race is on to rescue and restore him. Unlike any other cinema adaptation of Alexandre Dumas' story that I recall, this story starts off with the good king before the bad one, rather than just starting of with the bad one - and that helps to get the story off at a cracking pace. De Brulier's Richelieu is much better than with his previous iteration here; constantly sparring with those pesky - if somewhat more aged - musketeers, and with the aid of the conspiring "Milady de Winter" (Dorothy Revier) there are a couple of decent sub-plots that help keep the action coming thick and fast. The photography sets that pace well, with plenty of shoot-outs, sword fencing, explosions and intrigue to keep the pot boiling. Again, sparing inter-titles assist with dialogue but don't intrude in what is essentially a super boy's-own adventure. Definitely worth a watch, and in my view the best adaptation of "the Man in the Iron Mask" yet made.

Ho-LA! (Douglas Fairbanks' Greatest Adventure)

[wes-connors · 10/10 · 3 May 2008]

Musketeer par excellence Douglas Fairbanks (as D'Artagnan) is back, in this extraordinary sequel to his "The Three Musketeers" (1921). After some years, Mr. Fairbanks' main job becomes protecting the French King's good son. Unbeknownst to most everyone (except the movie audience), the Prince and heir to the throne, William Bakewell (as Prince Louis XIV), has an evil twin brother; the identical twosome were separated-at-birth, in order to assure one King ascended to the throne, without incident. However, "good" Prince Bakewell is abducted, and locked up in "The Iron Mask"; then, "bad" Prince Bakewell takes his place. Fairbanks and his musketeer pals must set things right.

With its superb acting, brilliant pace, and stunning photography, this is the one Douglas Fairbanks film you must see, if you only see one. "The Iron Mask" is among the best films in the swashbuckler and silent film genres. It's also (probably) Fairbanks' best performance as an actor. His quintessential performance, and film, might have been overlooked for "Academy Award" consideration due to Fairbanks being, at the time, President of the Academy. It was also apparent, to Fairbanks and others, that the popularity of talking pictures would soon silence the older style, despite the artful late 1920s silent film productions.

"The Iron Mask" featured a spoken word introduction (with Fairbanks in fine voice); currently, it is the rarer version. As the Fairbanks' introductory words invite viewers into the "shadows of the past", of a different "age", it's worth seeking out the original introduction. Another version featured Douglas Fairbanks Jr.'s narration, replacing intertitles; this version is interesting, to a point. Note, eventually, the "narration" version becomes distracting and obvious.

Fairbanks, with director Allan Dwan and photographer Henry Sharp, came up with an ending so memorable it's been said to symbolize the approaching end of its star's career, and the end of silent films in general. They could hardly have had a more suitable ending. For Douglas Fairbanks and company, "The Iron Mask" was a perfect fit.

********** The Iron Mask (2/21/29) Allan Dwan ~ Douglas Fairbanks, William Bakewell, Nigel de Brulier, Léon Bary

The music killed it for me

[claude-alexander · 2/10 · 23 August 2015]

Tastes differ so some may consider my review heretic, but there you go. The film itself may be very good, but I found the music accompanying it very, very annoying and utterly unfitting for a silent film. Many I have watched, some in theatres with live music, usually played on a piano, accompanying it. Generally speaking, piano and/or string music isn't exactly my cup of tea when it comes to listening to music, but it is very suitable when it comes to highlighting and/or building up the tensions, emotions and feelings happening in film scenes.

Unfortunately, the copy of "The Iron Mask" I had to endure was accompanied by jazz, which I generally don't like at all as it makes me kind of nervous, because of its disturbance and pretentiousness. Here it absolutely failed to highlight the scenes, but rather distracted from the pictures shown. Never before have I watched a film containing music so unfitting to what was shown. A real pity.

A Must See Classic

[jonnieking · 10/10 · 10 October 2005]

Forget all other versions of this film...including the Leonardo DeCaprio version. This is a Fantastic look back at the Golden Age of Films ! I am actually watching it right now: the version which has the Douglas Fairbanks, Jr. narration.

Douglas Fairbanks, Sr. and truly a 'Cast of Thousands' run through this exciting, wonderful motion picture giving true meaning to the word 'motion' ! The cast is perfect: the heroes, the villains, the beautiful damsels, the sets, the townspeople...all interwoven into a true classic and a superb follow-up to "The Three Musketeers". Dumas himself would be proud.

Like "The Bride of Frankenstein", this sequel almost surpasses the original and for film buffs and historians this is truly a 'must see' film.

Perhaps, in this age of 'short attention spans', maybe some younger viewers won't be able to stick with this film. Silent, Black & White, some over-acting involved. BUT, if you fasten your seat belts, grab a big bowl of popcorn and a large soda or two, and, maybe a "Three Musketeers" Candy Bar for a special tie-in treat, you will laugh, you will cry, you will be impressed. AND, you will take a wonderful trip back in time to the Golden Age of Hollywood...and you WILL ENJOY !!

Wonderful! (Especially the re-release with Jr's narration)

[collie-12 · 10/10 · 2 July 2013]

Let me begin by stating that I am reviewing the 1952 re-release version with Douglas Fairbanks, Jr's narration (written, I might add, by Richard Llewellyn of "How Green Was My Valley" fame). Fairbanks the younger's delivery of Llewellyn's words is shear poetry! I know this version has been cut and usually I prefer films as they were originally intended, but in this case I'll make an exception since DFJ's narration really makes the film for me. (Still, it would be nice to see how the original "talkie" bits sounded in the elder Fairbank's voice. I might have to catch the restored original too.) Aside from the joy of listening to DFJ's beautiful voice bring his father's work to life for me, I must say I really enjoyed the picture itself. I've seen both the 1939 version with Louis Hayward and the 1977 version with Richard Chamberlain, and while both of those are very good, this one might be the best of the three. Thanks to Fairbanks, Sr. of course it probably has the best action sequences, but the over all acting is also quite wonderful. I must say I was especially impressed with William Blakewell in the duel role of the twins, Nigel De Brulier as Richelieu, and Ullrich Haupt as the villain De Rochefort. This was Fairbanks' final silent film, and his acting here is at its best. He makes a perfect D'Artagnan! The sets and costumes are also magnificent here! Fairbanks pretty much wrote the script too--even though he disguised that fact somewhat by using his middle names in the credits. The credits read story by Elton Thomas; Fairbanks' full birth name was Douglas Elton Thomas Ullman. Maybe he figured that having his name in the credits as both star and producer was enough. And although the storyline varies in many important ways in the Haywood version 10 years later, in other ways it follows Fairbanks' ending quite closely. (It's been years since I saw the 1977 version, but I think its plot is not as close. I do remember it had some marvelous acting in it, but considering it starred Richard Chamberlain, Sir Ralph Richardson, Louis Jourdan, and Patrick McGoohan, how could it not?) Anyway back to the 1929 version--I've seen more than my share of Three Musketeers films and this is one of the best!

Silent film with narration

[iamca1980 · 8/10 · 17 June 2012]

This was a silent film. However, a running narration was added. Douglas Fairbanks Jr. did the voice-over. His father played D'Artagnan in the film. According to 'Movie and Video Guide 1994' by Leonard Maltin, the version with the narration was a 1940 reissue. Maltin also says that the film had some talkie sequences. So far only the opening scene had actors speaking on camera.

I am currently watching it (17 June 2012) on Rock Valley College's public access channel. I have seen three different versions of this story. Each has its own variations of the storyline. I like this one, maybe because I am partial to silent films. The story depends on action more than inane chatter.

This review is for the Silent version where sound and narration were later added...a definite mistake when seen today.

[planktonrules · 8/10 · 3 January 2010]

The version of IRON MASK that I saw is a silent film with the intertitle cards removed and dialog/narration by Douglas Fairbanks as well as incidental sounds and music (added later—during the sound era). He did, despite rumors, have a very nice voice and was perfect for the role of narrator. I would have much preferred to see the movie in its original form, as viewing it this way was a bit odd. It was like watching a silent and having someone talk throughout—acting out some of the parts and describing the action. Many of the descriptions (such as "the dice are kind" as D'Artagnon wins at playing dice) are completely unnecessary and detract from the film.

This sort of reissuing of a silent with narration and sound is not unheard of, as Chaplin did this with THE GOLD RUSH. About 20 years after its initial silent release, Chaplin re-released it with his narration and a musical score he wrote himself. Many complained about this as a bastardization of the original, but I actually like both versions about equally—they are indeed classics. I assume Chaplin got this idea, in part, from the re-release of IRON MASK.

The film begins with some irrelevant scenes where the four Musketeers get into trouble and have fun. When the actual important part of the story begins, Louis XIII is excited because his wife just had a son! He is thrilled to have an heir. But, unexpectedly, shortly after the baby's birth, the Queen gives birth to another boy—an identical twin! Cardinal Richelieu and his sidekick begin their scheming—and their rival, Rochefort, finds out their plans. Richelieu's plan is to have the other child raised as a commoner along the Spanish frontier—why, exactly, he's doing this is unknown. It's interesting that in this version, Rochefort is a scoundrel much like Richelieu is in later ones—as in later versions (such as the Louis Hayward and Richard Chamberlain films) Rochefort was a good guy and worked with the Musketeers for France's best interests and Richelieu was a scheming jerk. Here, the roles are reversed and the entire story is changed. Instead of removing a bad king (Louis XIV) and substituting a good twin brother, the plan of Rochefort is to get rid of the good one and install the more malleable and evil one in his place.

Years have passed and Rochefort has gotten a hold of the twin—turning him evil and selfish. On the other hand, the Prince has grown into a decent guy and able ruler—due, in part, to the able tutelage by D'Artagnon. Rochefort plans to have the evil twin substituted in place of good King Louis XIV. Who will win this battle of wits? Watch it for yourself and see.

Like most of Fairbanks' other silents, this one in which he starred was a high-budget film—with great sets and costumes. Considering he was the biggest swashbuckling star of the era, this isn't surprising and it looks great. While the story is a bit jumbled as well as hurried in the process, it's a pretty good movie—though I strongly recommend you try to find the original version if you can—Fairbanks just talks too much in this one and you lose some of the beauty of this well-acted film.

First adaptation

[Leofwine_draca · 5/10 · 27 July 2018]

THE IRON MASK is a well-mounted version of the popular Alexandre Dumas story, featuring some brief narration from Douglas Fairbanks, no less. It's one of the last silent films made back in 1929 before the new wave of talkies hit cinema screens, and it's directed by the experienced Allan Dwan. With a brief running time the film flies through the thick novel's plot at speed, inserting life and vitality into the story so that it never flags despite its age and dated feel.

Douglas Fairbanks and his "fond farewell to the swash-buckling silents"

[TheLittleSongbird · 9/10 · 20 December 2013]

One of the best versions of The Man in the Iron Mask and one of Douglas Fairbanks' best films too. Details-wise, The Iron Mask might deviate from the book but the spirit of the story still remains, and in a much better way than most of the versions that followed it. It does feel rushed at times, and William Bakewell does do much better as the good twin than the evil twin, as the good twin he is sincere but as the evil twin he does over-egg the pudding too much. The sets and costumes are beautiful with the attention to detail authentic, while the photography is equally effective like the shadowy effects in the prison scenes that are most atmospheric. Carl Davis' score fits the action very well and sounds sweeping in an appropriate way. The film is written in a snappy way, the story is as fun, energetic, exciting and tense as the story of The Man in the Iron Mask is, the ending is genuinely moving(and not just mildly, this is emotional stuff) and the action is rousing and leaves you at the edge of your seat biting your nails and cheering for the heroes. Douglas Fairbanks is an as ever lively presence, with stunts and athletic moves that are the envy of anybody regardless of their age, but brings also pathos to his performance as well. In support, everybody is very good but Nigel De Brulier is broadly venomous, Margarite De LaMotte will leave you really identifying with Constance and rooting for her and Ulrich Haupt is a sinister Rochefort but with somewhat a charm of his own. All in all, well worth looking out for, Fairbanks' touted farewell to silent swash-bucklers is an excellent film. 9/10 Bethany Cox

Fairbanks to the rescue!

[JohnHowardReid · 9/10 · 3 November 2014]

It's good to have this film in its complete version on an Alpha DVD, minus the two brief dialogue scenes in which Fairbanks steps out of character to address the audience. Mind you, the Alpha print is a bit distracting as the movie has been scrupulously reconstructed from an excellent Kodascope cutdown, fleshed out with not-so-well preserved footage from the complete version. Mind you, it works rather well – and for $5.95, who's complaining? Fans are more likely to complain that the three musketeers have so little to do in this version – but that's the way it was written by Dumas himself! And that's one reason "The Iron Mask" has never been even half as popular with readers as "The Three Musketeers". In fact, in my childhood days, I always thought D'Artagnan was a somewhat flawed hero. He spends a whole book fighting Cardinal Richelieu and his hired thugs, but at the end of the book, what does he do, but join them! However, the lead character of The Iron Mask is actually not D'Artagnan but Richelieu, here so charismatically played by Nigel De Brulier, reprising his role from the 1921 "Three Musketeers". The villain, the man in the mask himself, is brilliantly played by William Bakewell who differentiates between the two princes most adroitly. They certainly look alike, but Bakewell always ensures the audience knows who is who – even if the characters on the screen do not! Produced on a grand budget, and atmospherically photographed by Henry Sharp on sets designed by William Cameron Menzies, "The Iron Mask" rates as absolutely must-see entertainment!

Great Movie

[pypod · 9/10 · 10 July 2013]

Eighty-five years after it was made, The Iron Mask retains its luster, its magnetism, and it's delightful storytelling. Despite its veering from the plot of Dumas' great novel, The Iron Mask is a highly entertaining adventure in its own right. Of course, with Douglas Fairbanks as the D'Artagnan character, the film has an advantage right out of the gate. It has less over-the-top action than in earlier Fairbanks swashbucklers, and Fairbanks's acrobatics are more subdued than in his earlier actioners. But at age 46 he could still bound and leap and climb and buckle a swash better than the best men half his age, better, in fact, than almost any man of any age. And what an actor! Just his smile could make his audience joyful. His tenderness, his sincerity, and his depth were irresistible convincing, capturing every emotion he wished to convey. Although this was his last silent film, it contained a brief sound introduction to Part 1 and another to Part 2, both with shots of Fairbanks narrating in a stirring, proud voice. A few elements of the film are dated, most notably the shots of the evil royal twin, who emoted in the hammiest sense. Little items like that do not detract from the appeal of The Iron Mask. This was the first time I'd watched it. I will watch it again.

a swashbuckling delight

[j_eyon · 10/10 · 28 May 2022]

(this review is based on the Kino Video dvd of the 1929 silent film - not the reissued version with a narration by Jr)

this is an typically exuberant Douglas Fairbanks silent - silent except for a couple oratory excerpts by him - the first at the beginning - the second at the transition to part 2 of the story - this movie marks Fairbanks own transition to sound - but he would make only a handful before retiring - shortly before succumbing to a heart attack

this movie is visually lavish - and masterfully directed by the now undeservedly little-known Allan Dwan - who flits effortlessly between the court scheming - the massive sword fighting - and the bit of romance - and comedy

10 years later - the 1939 "The Man in the Iron Mask" used at least one scene from this 1929 film - the crowd scene at the beginning where the King shows his son to the crowd - and used the same actor Nigel De Brulier to play Cardinal Richelieu - this time with his voice

little needs to be said of the storyline - liberties were taken - but the spirit of the story remains - Fairbanks' stunts were swift and graceful - despite being in his mid-40s - that physical vigor and the makeup and lighting made the 20 year age difference between him and his Constance - played by Marguerite De La Motte - seem less

like many of Fairbanks Sr silent films - they can make a good introduction to silent films for those who are uncertain about the experience.

Emotional

[GAUCHO-3 · 10/10 · 8 August 1998]

Emotional end to the silent era. ERA

A really great movie made in a time when the movie industry tried to make great movies.

[ccunning-73587 · 9/10 · 4 September 2021]

A really great movie made in a time when the movie industry tried to make great movies, not the visceral garbage that they produce today. The actors & film aspire to lift up people to be more honorable, honest people who try to reach up to be of good character, not get sucked down into the swill of selfishness & self-centeredness. Brief synopsis: There are many twists and turns to keep your attention... The king of France had twin boys, one to rule France. To avoid future turmoil the second twin was to be killed but was secreted away to live, not knowing his heritage. Plots inside of plots the second twin displaces the first as ruler. The swashbuckling Fairbanks, as D'Artagnan, leads the other three Musketeers with devotion to duty at all costs in a struggle to overcome evil & return the rightful king to the throne. Enjoy!

Two Sons, Two Heirs, Big Dynastic Troubles

[bkoganbing · 9/10 · 7 July 2011]

For his farewell to the silent screen Douglas Fairbanks chose to continue with the further adventures of The Three Musketeers in The Iron Mask just as Alexandre Dumas did in his novel. It was certainly a worthy farewell.

Douglas Fairbanks probably could have continued his career in talkies and he did make a few films in that medium. But silent films were perfect for his boisterous personality. Neither he or Mary Pickford every really learned to dial it down a bit for sound. I like to think of this rather than The Private Life Of Don Juan as his real farewell picture.

Actually a bit of The Three Musketeers plot is brought in to set the stage for the twin sons of Louis XIII who threatened a dynastic crisis for the Bourbons in France. Rocheford the villain who dies in The Three Musketeers lives here in the person of Ulrich Haupt who takes over the raising of the second born twin in obscurity in the Pyrenees over the Spanish border. Rocheford works on the kid, but being abandoned by his parents will work on you psychologically no matter what the circumstances.

When the time is right Haupt strikes and substitutes one twin for the other, both played by William Bakewell. It's bad karma to kill royalty outright so Haupt devises this iron mask to imprison the real Louis XIV so no one knows who he is and thinks him a mad man.

Of course the plot is foiled and Fairbanks repeating the role of D'Artagnan does the foiling together with his musketeer companions of days gone by as they ride one last time for the honor of France.

The version I saw eschewed subtitles and had a narration supplied by Douglas Fairbanks, Jr. who did the dialog with proper élan and reverence for his father. It makes for marvelous viewing and hearing.

The Iron Mask has to be considered one of Douglas Fairbanks best films and holds remarkably well for today's audience.