Best movie of this year hands down!

What makes it different from others?

Good story, Not enough for a whole film

Clever, believable, and super fun to watch. It totally has replay value.

Ramon Novarro (André-Louis), Alice Terry (Aline), Lewis Stone (the marquis), Lloyd Ingraham (André's godfather), Julia Swayne Gordon (the countess), William Humphrey (the chevalier), Otto Mattiesen (de Vilmorin), George Siegmann (Danton), Bowditch Turner (Le Chapelier), James A. Marcus (Binet), Edith Allen (Climene Binet), Lydia Yeamans Titus (Madame Binet), John George (little man in the Binet company), Nelson McDowell (Rhodomont), De Garcia Fuerberg (Robespierre), Roy Coulson (Murat), Edwin Argus (King Louis), Clothilde Delano (Marie Antoinette), Willard Lee Hall (king's lieutenant), Skavko Vorkapich (Napoleon Bonaparte), Lorimer Johnstone (Count Dupuye), Edwin Connelly (king's minister), Howard Gaye (Viscount d'Albert), William Dyer (brutal gamekeeper), J. Edward Brown (Benoit), Carrie Clarke Ward (Madame Benoit), Edward Coxen (Jacques), Rose Dione (flag- bearer of the Revolution), Arthur Jasmine (student), Tom Kennedy (dragoon), Carrie Daumery (gossip), Kalla Pasha (gate guard), B. Hyman, Louise Carver, Snitz Edwards, David Sharpe, Marjorie Reynolds, Jacques Tourneur.Director: REX INGRAM. Screenplay: Willis Goldbeck. Based on the 1921 novel by Rafael Sabatini. Photography: John F. Seitz. Film editor: Grant Whytock. Art directors: John J. Hughes, Amos Meyers, Harold Grieve. Costumes designed by O'Kane Cornwell, Eve Roth, Van Horn. Titles designed by J. W. Robson. Production manager: Curt Rehfeld. Assistant director: Arthur Smith. Producer: Rex Ingram. A Rex Ingram Production for Metro Pictures.Copyright 10 October 1923. New York opening at the 44th Street Theatre: 30 September 1923. 10 reels. 9,850 feet. 124 minutes. COMMENT: A superb, wonderfully faithful, brilliantly directed, awesomely expensive condensation of the Sabatini novel which makes the 1952 re-make look like a shoestring effort. All the players acquit themselves with honor, although Lewis Stone succeeds in dominating the movie with his chilling impersonation of the callous marquis whose beautiful manners mask an intransigent heart. The sets are out of this world, the photography breathtaking. And Alice Terry looks stunningly radiant in her gorgeous costumes.

Before anyone gets angry from the summary title, let me say this: I really enjoy the 1952 Scaramouche. It's the perfect remedy for stress, Eleanor Parker is gorgeous, the fencing is great, and overall it's one of my favorite adventure flicks from the 1950s. However, it doesn't work nearly as well as this silent adaptation does. This Rex Ingram adaptation has more focus on character development and the historical setting of the French Revolution which make it a more mature and engaging experience.Ramon Novarro gives one of his greatest performances as the passionate and witty Andre Moreau. It makes me sad that he didn't get to do many more swashbuckling parts like this. Lewis Stone is also worthy of praise: though he could have just hammed it up and called it a day, he brings depth to the villainous Marquis. Alice Terry is given little to work with as the love interest Aline, but she does portray the character's struggle between ambition and love well.Rex Ingram's films are usually beautiful, but this is the most gorgeous I've seen yet. The sets and costumes fit the period. Most classic films time stamp their historical pictures by letting modern day fashions seep through. Fortunately, this is not the case here.And of course there's all the swashbuckling and adventure you could ask for. There's no climactic lengthy duel in a playhouse as there is in the talkie remake, but the amazing mob scenes are enough to compensate. There's so much energy in them that you cannot help but be swept up. The fencing is excellent too.This is one of the best silent epics there is. If you liked the remake and would like to see a more serious, novel-accurate version, then get your hands on this right away!

My TCM print has excellent picture quality, but the score is not up to scratch; it mainly fails to bring out the action of the film or direct the viewers reaction to what is on the screen; occasionally it succeeds, but overall is not very inspiring-- which describes the whole film, really. They may be historically accurate, but the costumes are dull,Alice Terry is no great beauty and Novarro, in his first major role, looks stodgy and not yet in possession of the looks which later led him to be described as "more beautiful than any man has the right to be!" Lewis Stone plays an arrogant but truly noble aristo who finally sacrifices himself for the benefit of those he loves. The mob scenes, where aristocrats are assaulted by the furious revolutionaries give a real sense of how frightening the experience must have been, but, as usual, no mention is made of the fact that, under "The Terror" , more common folks were guillotined than nobles. The film picks up pace in the second half, but I suspect that those familiar with the Sabatini novel will enjoy it more.

This 1923 adaptation of a mid-1921 novel is one of the most faithful-to-the-original screenplays I have ever seen. Granted, large blocks of the book are omitted or greatly condensed, but who wants a 20-hour movie? The basic story line is retained and well developed.The cinematography is superb, and the print we saw on cable was sharp and clear. It shows there is no excuse for the foggy, low-contrast prints we see in so many of the early thirties films. The sets, costumes, performances, and overall production are outstanding for any era. The silent film has been provided with a fine score, and even with its limitations is infinitely superior to the 1952 so-called "remake," which is virtually no relation to the book.The two-hour-plus production moves along briskly (with perhaps a few too many minutes of the final mob scenes) and is exciting. Suspense is maintained very well, though my wife anticipated the ending. It was hard to keep my previous knowledge of the plot to myself.I loved this production and give it an enthusiastic and unqualified 10.