The Scarlet Coat (1955)

Copyright 1955. A Metro-Goldwyn-Mayer picture. New York opening at the Palace: 29 July 1955 (ran two weeks). U.S. release: 19 August 1955. U.K. release: 23 April 1955. Australian release: 6 September 1955. 104 minutes. SYNOPSIS: In 1780, Washington places General Benedict Arnold in charge of the garrison at West Point.COMMENT: Although critics blamed director John Sturges for the lack of tension and suspense in this promising story idea, the blame should have been sheeted home to Karl "Fumble-Fingers" Tunberg who allows the film's central character, Benedict Arnold, to simply disappear after an elaborate (and well-written) introduction. We keep waiting for him to re-enter and then figure in a climactic unmasking and showdown, but he never does. Instead the screenplay focuses on a subsidiary figure, Major John Andre, so pallidly played by Michael Wilding, he allows everyone in sight (except Anne Francis) to steal his scenes. Fortunately, charismatic George Sanders leads the scene-stealers. He is easily the movie's greatest asset. Miss Francis is not only wasted, her part has no point or purpose at all. When the screenplay suddenly decides to bring Major Andre center stage, she simply disappears. As for Mr. Wilde, he is forced to struggle with a role that both he and Sturges (and the movie-going public) knew was quite beyond his range. (It was written for Stewart Granger, but he wisely turned the part down). Despite a lot of money up there on the screen, including its rich production values in costumes, locations and splendid autumnal CinemaScope panoramas, M-G-M was forced to sell "The Scarlet Coat" to exhibitors as a "B" attraction. It was the fourth CinemaScope movie from any studio to lose money. "Jupiter's Darling" was the first casualty, "Bedevilled" was the second loser, "The King's Thief", the third. So strike four for Metro-Goldwyn-Mayer!

Although no one should depend on this film for his honor's thesis on the American Revolution. But this account of the foiling of the plot of Benedict Arnold to betray the American Revolution is certainly a fine drama with Cornel Wilde in the lead as an American secret agent who stops the Arnold betrayal of the fort at West Point way before the site became where the U.S. Military Academy is located. Wilde is no James Bond type spy, he's got the charm of an 18th century Bond, but he survives on his wits not any gadgets.The focus on this story is Major John Andre who was the go between for Arnold with the British. Andre is played with the charm and heroic dash that he has come down in history with by Michael Wilding. He's captured but Arnold escapes and joins the British army in the last year of the Revolution. A little too late for the Mother country to put his knowledge to good use.Although I liked this film very much I wish a film would come out with Arnold as the central character instead of Andre. Arnold is played here by Robert Douglas. With some very good reason Arnold felt he was not getting his due from the colonial cause. He may have been a sellout rat, but he was in possession of a brilliant military mind. His second wife Peggy Shippen of Philadelphia who was of Tory sympathies had a lot to do with him selling out the Americans. She's fascinating in herself and we don't see her. Wilde and Wilding are a matched pair of gallant adversaries. I recommend The Scarlet Coat for dash and élan, if not accuracy.

I was glad to see that THE SCARLET COAT, after being absent from television for many years, has begun showing up on cable - usually on TURNER NETWORK. It is one of those films that I have referred to elsewhere that once was shown pretty frequently but then vanished from the small screen.It is not as well recalled as other films about the Revolution - many of which are inferior. People recall 1776 for the solid musical underneath it.They remember THE DEVIL'S DESCIPLE for Laurence Olivier's excellent (and fun) performance as General Burgoyne, and for the good work of his co-stars Burt Lancaster and Kirk Douglas. But they remember THE HOWARDS OF VIRGINIA, a dull film from the early 1940s that may be the most mediocre performance in Cary Grant's career. Except for 1776 the other two films have stars in them (1776 had some good character actors, William Daniel as John Adams - repeating his stage performance fortunately - and Howard De Silva as Ben Franklin - even in the small role of Edward Rutledge there is John Cullum singing that fascinating economic lecture "Mollasses to Rum to Slave".). So it goes with all of the other films - Griffith's America does have a diabolic performance of Lionel Barrymore as Walter Butler, the Tory. LAFAYETTE has Orson Welles portraying Ben Franklin (oddly enough nobody thought of making the musical BEN FRANKLIN IN Paris into a film - with Robert Preston in the lead as on Broadway). Robert Stack starred as JOHN PAUL JONES (a movie sunk by a wooden, lifeless script). Even Al Pacino could not save REVOLUTION. As for Mel Gibson's THE PATRIOT, it collapses in his desire to show sadistic British incidents which never happened (if a British Cavalry officer had burned down an Anglican Church with it's parishioners inside in the South in 1780, King George III - who took his being head of the Anglican Church seriously - would have had that officer hung!). A sad list - fortunately there is 1776 and DRUMS ALONG THE MOHAWK and THE SCARLET COAT.The conspiracy of Benedict Arnold - Sir Henry Clinton - and Major John Andre is a subject that has only appeared in two movies - and oddly enough both were good. One is the comedy THE TIME OF THEIR LIVES, where Abbott and Costello link their colonial characters to the fate of Arnold's local co-conspirators. However, only the first twenty minutes of the film deal with the conspiracy at all (though the plot hinges on clearing Costello's name of treason charges). THE SCARLET COAT is a solid dramatic treat, and wisely concentrates on the real tragic hero in the story: Major John Andre. Yes, he was a spy, and had he succeeded American history would have been part of the British Empire for at least another century (Arnold was selling more than control of West Point and the Hudson - Washington and his staff were scheduled to be there on the day the trap would have been sprung). But unlike Arnold (whatever blows he unfairly received after doing such marvelous service for the American cause up to 1777) Andre never betrayed his country - he was fighting for his king and homeland, and thought he was in the right. Michael Wilding makes this point very eloquently in the film's court-martial scene. As a result, the viewer's sympathies (as well as those of Cornell Wilde's character, and all the other characters in the film) remain with the Major even unto death. It is interesting to note that in the 19th Century the Arnold Conspiracy did remain the subject of American drama - but the play that held the boards was not named "Arnold" but "Andre". He couldn't be saved but we still regret what happened to him.And then there is this 1955 film.

scarlet coat like most revolution flicks wasnt well received but is nears perfection in the art of movie making. a great character study of john andre the heroic redcoat who is revered by both friend and foe for courage,,, scarlett coat also probes the duality of the undercover agent ,,, as a counterfeit traitor maj bolton befriends andre and undertakes a high level penetration of british intelligence yet he defends andre in andre's courtmartial ... the film captures the moral ambiguity of the spyhow much of the spy's world is real ,,, which reality does he belong to the reality of his mision or the reality which the cover story createsandre's capture and courtmartial is a success for bolton in his mission beyond that whch wahington would have ever demanded ,,, the mission was merely to identify the traitor in us ranks ,,, bolton has knocked out enemy intelligence as well ,,, yet bolton mourns the death of the man he was sent to destroyann francis plays a stock american character,,, compliant with the british but willing to engage them in a war of witsa movie well worth revisiting