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Political forces within the realm are such that, in order for the king to retain the crown, his coronation must proceed. In The Prisoner of Zenda, Anthony Hope relates the misadventures that befall. The story is about the King of Ruritania who is drugged on the eve of his coronation and thus is unable to attend the ceremony. The sequel Rupert of Hentzau is also available as a LIbriVox recording. The Prisoner of Zenda is an 1894 adventure novel by Anthony Hope. What story could ask for more? (Summary by Andy Minter)
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Woods, moated castles, pomp, swordplay, gallantry, villainy and a beautiful princess. Rassendyll bears a striking resemblance to the kidnapped king. But a man named Rudolf Rassendyll could ruin Michael's plan. Now the only thing in the way of Black Michael's plan is a confused distant cousin in England. But the King is now a prisoner in the Castle of Zenda. If were caught, well all be killed So Rudolf Rassendyll and Sapt gallop through the night to find the King of Ruritania. We must leave for Zenda at once, to find the King cried Sapt. There, by reason of his resemblance to the King of Ruritania he becomes involved in saving the King’s Life and his Throne from the King’s dastardly brother and his allies. The struggle reaches a new fervor at Rudolf's coronation, when Michael kidnaps his brother and takes him to the Castle of Zenda. Listen along with downloadable MP3 audio. The Prisoner of Zenda tells the story of Rudolf Rassendyll, an English gentleman on holiday in Ruritania, a country not a thousand miles from Bavaria.
The prisoner of zenda audiobook download#
Given the parallels, I must admit that I'm now very curious as to how the 1937 "Prisoner of Zenda" - which I've never seen - stands up in comparison! This one is a plush literary adaptation, but lacks the rollicking rapier-edge of laughter and daring that characterise the great classics of its genre.Download cover art Download CD case insert The Prisoner of Zenda I am reminded of Zoltan Korda's re-make of his own "Four Feathers" as the widescreen "Storm of the Nile": the story (and indeed in that case the script) is the same, but the spark is missing. It isn't the best work of any of the actors involved. Ultimately, I found this a decent film, but not as outstanding as it should have been, given its constituent parts. Deborah Kerr is sweet, fiery and entirely convincing as Princess Flavia, next in line to the throne, and Jane Greer is more than equal to the pivotal role of Antoinette de Mauban, whose complex motives prove the key to the whole plot. The other male characters are little more than one-dimensional down to Duke Michael's villainous limp, although Louis Calhern makes an upright Colonel Zapt. No stranger to charismatic villainy in the likes of "The Man in Grey", "Fanny by Gaslight" or "The Wicked Lady", he is here oddly lacking in Rupert of Hentzau's essential perverse charm, in what should have been a scene-stealing part. It was James Mason, sporting an incongruous Prussian bullet-head haircut, who was the real disappointment for me. However, I didn't find Rudolf Rassendyll to be one of his more memorable characters. Stewart Granger differentiates his dual roles admirably, to the extent that I caught myself becoming sceptical as to the actual resemblance between the two supposed doubles! His final duel is as athletic as any in his screen career, although the plot demands dogged defence rather than flashing brilliance indeed, the outcome is refreshingly unconventional. Swashbucklers should spring lightly this one has gloss, but a certain stilted air. and somehow, in every aspect that melded together to produce the classic that was its counterpart, it never quite catches up. Political forces within the realm are such that, in order for the king to retain the crown, his coronation must proceed. There were in fact *two* films released in 1952 starring Stewart Granger in sword-fighting heroics: one of them - enchanting, bittersweet, dancing of wit and of blade, and featuring what was to become one of the most famous fight sequences in screen history - was, of course, "Scaramouche". The Prisoner of Zenda (1894), by Anthony Hope, is an adventure novel in which the King of Ruritania is drugged on the eve of his coronation and thus is unable to attend the ceremony. not to mention a setting that's not only generically but genuinely Ruritanian! But on viewing it again after a lapse of some years, I find that it still doesn't work for me and there doesn't seem to be any obvious reason why. On the face of it, "The Prisoner of Zenda" has everything a swashbuckler could require to make it a glorious success: a star-studded cast with previous form, Technicolour pageantry, MGM production values, an Alfred Newman score, a classic story of self-sacrificing heroism.