User reviews

Almost never shown these days, "Cyrano de Bergerac", one of the best films of 1950, turned up the other night unexpectedly on a cable channel. It was a pleasure to see it again after so many years since we first saw it. Michael Gordon directed the screen version that became a favorite of people who were delighted to make concessions to a man that was far from being endowed with any physical attributes.

The enjoyment of the picture is due to the amazing tour de force by that wonderful actor, Jose Ferrer, a man whose friendship we cherished because he enriched our life with his honesty, frankness and charisma. Mr. Ferrer's contribution to the stage and screen can be best sampled as we watch him become Cyrano, a man in love with his cousin Roxanne, whose great fear is the possible rejection of the beautiful young woman in favor of the handsome, and younger, Christian.

This beloved theater play by Edmond Rostand had been translated by Brian Hooker, in what became the most familiar way American audiences met the illustrious French author. The screen play by Carl Foreman clarifies the text in ways that the movie going public of that era could relate to this man whose wit and charm outweighed his appearance, which was dominated by a big nose that rendered him an unattractive man. The poetry of the play is preserved even though it is not done in verse like the original manuscript. Dimitri Tiomkin's score lent itself to the action.

Mala Powers was a disappointment though. Yes, she was a beauty, but her Roxanne doesn't quite come across; she is at a disadvantage playing opposite an icon of the theater like Mr. Ferrer, who certainly had more experience. William Prince does a fair job as Christian. Morris Carnovsky, another great stage actor, appears as Le Bret and Ralph Clanton makes his contribution with his take of Guiche.

"Cyrano de Bergerac" is recommended to movie fans of all ages to watch the magnificent Jose Ferrer at his best.

Classy version of Edmond Rostand's play about romantic as well as grotesque-looking /poet Cyrano Bergerac (José Ferrer who provides his most sensitive and believable acting) who fears to reveal his love to the beautiful Roxanne (Mala Powers) because the feels his huge nose makes him unattractive . Cyrano bears the pain of his devotion Roxanne ; however , attempting to help his lover contender . So , he serves as a surrogate lover by encouraging another man's attention to her . As , he supports the good-looking but tongue-tied Christian (William Prince) to romance her . As Cyrano expresses his own feelings by helping handsome fellow soldier woo Roxanne instead . And , finally , declarating his love to the gorgeous Roxanne . Meanwhile , there is developed a bloody war between the French and Spanish Armies and in which the two lovers take part with tragic consequences . The most fabulous hero of all time, with the most famous nose in history! He fought because of it! .He loved in spite of it! He lived to immortalize it! Fabulous Hero! Famous Nose!The Most Loved of All Love Stories!... he was the three musketeers in one, and one lover in a million!

Ths is the vintage retelling around playwright Edmond Rostand's known story of a giant-nose yet poetic cavalier . Settings are well designed to show the environment and piece period . And language attempting to capture the intricate sense and rhymes of the original dialogue written by Edmond Rostand . This is a multi-awarded movie for its cast , costumes, production design , music and photography . José Ferrer gives an extraordinary acting as the large-nosed Musketeer who finds himself too ugly to be loved . Ferrer brings to exhilarating life Rostand's well-loved play , delivering a portentous acting . Ferrer became successful and really famous for this role , which won him a deseved Academy Award . Being based on Edmond Rostand play and Brian Hooke carried out the adequate translation of the play . It displays an evocative cinematography in black and white by Franz Planer . Although , it is also availble in horrible colorized version . An and atmospheric and appropriate musical score by Dimitri Tiomkin . This Stanley Kramer production released thru United Artists was well made by Michael Gordon . Rating : 7/10 . Better than average . Essential and indispensable watching .

Other adaptations about this famous play are the following ones : Cyrano Bergerac 1925 silent recounting by Augusto Genina with Pierre Magner and Ferrari . Cyrano Bergerac 1950 , a nice recounting well played by Derek Jacobi , Sinead Cusack , this is a Royal Shakespeare Company Production , being translated and adapted by Anthony Burgess . 1987 , titled Roxanne directed by Fred Schepesi , this is a marvellous adaptation for the modern age , a contemporary comic take on Rostand's Cyrano with a romantic triangle between a a big-nosed , small town fire chief , a shy fireman and the lovely astronomer they both love , being performed by Steve Martin, Daryl Hannah and Rick Rossovich . And the best : Cyrano Bergerac 1990 by Jean Paul Rappenau with Gerard Depardieu , Anne Brochet , Jacques Wever ,

Jose Ferrer first performed "Cyrano de Bergerac" on Broadway in 1946, where it achieved a very successful run (for a revival). Ferrer was highly acclaimed in the role and won a Tony for his performance. His success in the role enabled him to be the first actor to bring "Cyrano" to the big screen in English. This was in 1950, in a Stanley Kramer-produced film for which Ferrer won the Best Actor Oscar, beating out such actors as James Stewart in "Harvey", William Holden in "Sunset Blvd.", and Spencer Tracy in the original "Father of the Bride".

Until the 1990 Gerard Depardieu Technicolor spectacular in French, Ferrer's version of "Cyrano" was considered the one to see. But now, Depardieu's film has unfairly thrown this 1950 version into neglect. Part of the reason, perhaps, is the budget involved in this film. Cowardly studio executives who were afraid that a film in blank verse would fail at the box office refused to give this film the kind of budget that Laurence Olivier had enjoyed in his 1940's Shakespeare films, or the kind of budget that was used in films like the 1936 M-G-M version of "Romeo and Juliet" and the 1935 "A Midsummer Night's Dream".

And so, this "Cyrano" looks more like a cheap B-movie than a worthy film version of a classic play. There are no huge sets or spectacular camera shots--just the play, performed (with only a couple of added scenes in ordinary prose rather than the English translation's blank verse) on obvious Hollywood sound stages.

But, this film boasts what is certainly one of the greatest performances in the history of film--and especially American film. José Ferrer, an often maligned actor accused of hamminess and overemphasis, gives the performance of his life as Cyrano. His portrayal is in every way the equal of Depardieu's, and as far as I am concerned, even better. Depardieu relies on sincerity and subtle facial expressions. Ferrer also has these, but he has in addition one of the most beautiful, rich voices ever to come out of the theatre,and magnificent enunciation as well. Unlike Depardieu, who speaks the beautiful French verse as rapidly as if he were firing a machine gun (as do the others in the French film), Ferrer allows us to appreciate the rich poetry in Brian Hooker's translation, long considered the greatest verse translation of a play into English. His portrayal is more flamboyant than Depardieu, and he shows a heartbreaking sense of tragedy as he realizes that the beautiful Roxane will probably never be his. The "big moment" in the final scene is shattering in Ferrer's hands.

As for the rest of the cast, this is where the Depardieu and Ferrer versions differ. Depardieu's supporting cast was excellent, but here Mala Powers is disappointingly ordinary and one-note, though beautiful, as Roxane, and William Prince is quite good as Christian, but Ralph Clanton as De Guiche is rather cartoonish, an ordinary hissable villain until the last half-hour or so. The usually reliable Morris Carnovsky, though, is an excellent LeBret. The role of Ligniere, the drunk, has been eliminated,and his lines given to Rageauneau, the pastry cook (competently played by Lloyd Corrigan).

There are a few cuts in this version, as compared to Depardieu's, but Brian Hooker's English translation is given its due prominence. Michael Gordon's direction is excellent, and the duel at the theatre, while not allowed to roam all over the location, as in Depardieu's version, is well done and more faithful in staging to author Edmond Rostand's intentions.

This "Cyrano", however, definitely should not be allowed to fade away in obscurity, relegated to late-night TV, where it is now often mutilated for commercial breaks. It should be restored and brought back to cable to be fully appreciated.

"Cyrano de Bergerac" is based on the play by Edmond Rostand about a swordsman and poet with a long nose who helps another man to win the woman he loves. The film's story is an abridged version of the play based on the famous English translation from Brian Hooker.

José Ferrer is excellent in the title role as Cyrano de Bergerac. He handles all aspects of the character well, from the sharp poetic dialogue to the reluctance in conveying his feelings to Roxane. The rest of the performances were respectable as well, though clearly the title role requires the most acting ability.

This film is criticized for its minimalist sets. Admittedly they never bothered me, but at times the film was excessively dark, especially during the combat scenes toward the end of the film.

The story is abridged, but for me the essential components of the story were there with clever verse of Hooker's translation and the tragedy and humor of Rostand's story. The swordplay scenes are believable, though not exceptional other than for Cyrano's ability to fight and compose poetry simultaneously. "Cyrano de Bergerac" is a solid adaptation of Rostand's play best known for a striking performance from José Ferrer.

Cyrano has always been one of my favorite stage plays. I always felt I could very much relate to the feelings of being different. When I finally saw the film version, it took my breath away. What a spectacular piece of acting by Jose Ferrer. It was everything that the swashbucklers from the 30s and 40s were supposed to be!

I have always thought, however, in this version, that Cyrano should have ignored that ingrate Roxanne and run off with the Orange Girl (Elena Verdugo). Yowza!

A remarkable achievement in directing, acting, and writing. Jose Ferrer delivers the performance of a lifetime that strikes deep into the heart. Anyone who has even been mocked, scored, or ridiculed, or simply felt unworthy of the affections of another will sympathize with Cyrano, and Ferrer brings the character to life as no one has ever been able to do, before or since. The movie is exceptionally smart, humorous, and tragic all at the same time. A perfect film.

Classic story of the poet and brilliant sword fighter Cyrano, equally famous for his huge nose. Jose Ferrer plays the titular Cyrano who worships the lovely Roxanne from afar but must help bring her together with the talentless man she loves, never knowing that all he says is performed or written by Cyrano.

An unquestionably sensational performance by Ferrer raises this above the mediocre production it ends up being. It looks cheap and seems played out on a large stage and by a largely lacklustre cast. It is Ferrer who owns this, delivering the great lines with wit and pathos, he is both funny and sometimes desperately touching and thoroughly deserved his Oscar - the rest, bar a couple of impressive sword fights, is of no consequence.

I first saw this movie in 1950 when it was first released. I was 15 and knew immediately that this was THE film for me. I saw it three times in 1950, and watch at least twice a year since I bought the video.

Jose Ferrer covers all the possible emotions an actor can in his role. He is comedic, brave, adventurous, romantic, self-sacrificing, elegant, pitiful, nimble-witted, gallant, prideful, humble, he fully recognizes his short-comings, and, most of all, he is true to his code of honor. This is the best job of acting that I have ever witnessed in the thousands of movies I have seen.

I must confess that although I give the supporting cast a B+ , I would have chosen different actors for most of the roles, including Roxanne. However, William Prince as Christian, rates an A-. (Perhaps, at the time, the producers didn't know what a classic they were creating and, therefore, didn't give as much thought to the casting as they might have otherwise.)

It is a shame that Ferrer never again approached the level of excellence he displayed in Cyrano. But this does not detract from the honor I pay this actor who gave a 15 year-old boy an example to follow: a REAL man.

The best scene in the film is when Cyrano is dying in the court-yard at the nunnery, and the best line in the film is when Cyrano challenges Death with his final words which sum up his life, `… and that is, … my … white … plume.'

I would love to say that this is a great movie. It isn't, not by a long shot. Made on a skimpy budget with largely second-rate actors, this movie very seldom rises to the magnificence of one of the truly great masterpieces of French theater.

Except when José Ferrer is playing Cyrano. He is not, in my opinion, as good as Gérald Depardieu, but very often he takes a fusty old translation and makes it live. Had the adaptation of the play been better, i.e., had Cyrano been given more of his lines and in a better translation, I'm sure that Ferrer would have shone even more. As it is, he is the one shining star in this otherwise very mediocre production of a true masterpiece. Make sure you see the Depardieu movie, which is glorious. Make sure you don't see the Kevin Kline New York theater production, which is leaden. But if you can appreciate a movie for one stellar performance, watch this as well. Ferrer deserved a better script and a better production, but he does a very fine job with what he's dealt here.

Michael Gordon's "Cyrano de Bergerac" was a pleasant experience as long as it was carried by the flamboyant eloquence and thunderous voice of actor Jose Ferrer, which means a good portion of the film. But Edmond Rostand's iconic play isn't just the tale of a poet and a fighter, it is also an iconic romance, the story of a magnificent love triangle, where the looks of a man, and the wits of another create the perfect suitor for the heart of Roxane who's not a bland heroine either.

But Jose Ferrer, who won the Oscar for that role (and it was the only nomination) was good, too good, so good he made any role thankless. Young but witless Christian (William Prince) and the beautiful Roxane (Mala Powers) are unfortunately no match for Ferrer who owns the show whenever he appears. It's all natural when it comes to Cyrano who is a larger-than-life character (let alone the scenery) but the irony of the story lies on the way Cyrano must keep a low profile, to allow the romance between Roxanne and Christian to blossom.

Cyrano provides the good lines to Christian and consoles himself by the way she's truly conquered by the power of her love, it's as if she still loved a part of her doomed cousin. This is love by proxy, but the power is left intact and you can tell from the emotional involvement of Cyrano that he's accept his fate as half a doom, half a blessing. But Jose Ferrer is such a presence that the film's level of excitement inevitable fades where he's not there. His "nose" is so big it overshadows any other flaws. And reality joined fiction at the Oscar ceremony.

Ferrer wasn't even present at the ceremony but his voice was enough, you could tell it was Cyrano winning, and it's only fair that the other iconic performance of Cyrano de Bergerac, by Gérard Depardieu, won a similar award. Cyrano de Bergerac is just a daydream of any actor but not any actor can pull such powerful, over-the-top yet exhilarating performances. Ferrer does a magnificent job but even his performance can't make up for the rather, bland theatrical look, more apparent at the beginning, but the blurry black and white cinematography gives it the look of the TV movies we watched in little side.

The sword fights choreographs are actually very convincing and you could really hear the crossing of irons, but there are moments though that betrayed some low budget aspect and it doesn't really help to enhance the enjoyment of the story. One could think that the French version, considered now as the classic one did the film a disservice, in fact, it didn't, one could watch it with more forgiving eyes.

And it's a fair adaptation of Rostand's play but it needed a bigger budget and maybe a French version after all. The last line about the "panache" has been translated by "white plum", and I humbly believed it was a mistake, Cyrano has always been about a sword, a big nose, and a panache. But not in the meaning of a white plume.

If you like swordplay and like to hear King James-type Shakespearian verse, you'll like this film. Me, I can pass on both, as they both bore me, if overdone.

The swordplay early on in the film went on, and on and on and on....like the Duracell bunny. It was way too much. I like a good sword fight but when it goes on too long it gets boring. To me, it set the tone for the movie, meaning most exactly that: boring, whether action or just dialog. I'm not saying it wasn't intelligent. It was more intelligent than the remake called "Roxanne," starring Steve Martin. However, at least the latter was more entertaining than this.

In fairness, the language was colorful and fun to hear at times, and Mala Powers ("Roxanne") was nice to look at, but that was about it. Most of this film, particularly in today's world, would put you to sleep.

This movie is worth seeing for Jose Ferrer's performance alone. The other actors are just okay. My primary language is French and I have also seen Depardieu's version, which is great. But *nothing* can approach Ferrer's. This film is a must-see for drama-students. Where, Oh where !, has American cinema gone ?

Back years ago in high school studying Cyrano de Bergerac, with a textbook having pictures from this film, one of the other students asked simply why didn't he just get a nose job? It got a lot of amusement when the teacher told her that that procedure just wasn't available in Cardinal Richelieu's France.

I'm afraid that that might be the feeling of a lot of readers of the play and viewers of the film. Rostand, who wrote the play in the 19th century about the 17th century might as well have been writing about people on Mars.

If they take that tack then folks will be losing out on appreciating a great play and role essayed by a man who possessed one of the great speaking voices of the century. Jose Ferrer puts everyone else in the cast to shame with his performance of Cyrano.

To be sure Cyrano de Bergerac is a one man play. All the other characters Rostand gave absolutely no depth to. Roxanne is a sweet young girl looking for romance, Christian is a handsome dunce, Comte de Guiche is a Snidely Whiplash villain. But Cyrano, you have to be a real actor to play that one.

Cyrano is a soldier, writer, swordsman even a gourmet of sorts. But that proboscis fills him with doubt when the opposite sex is concerned. He's a tortured soul and Ferrer gives THE interpretation of Cyrano. It will be so a hundred years from now. He's a swashbuckler to be sure, but you certainly couldn't cast any of the normal movie swashbucklers in that part.

I don't know if the MTV generation will feel like my classmate of years ago, but if they turn away from music videos and watch this, they will be treated to a once in a lifetime acting performance.

How fast can character development be accomplished without stereotypes? See Jose Ferrer in Cyrano de Bergerac, and George C Scott in Patton.

I mostly watch just the long opening scene of Cyrano, which has two sensational pieces. The first is the listing of insults, all done in one cut. Compare this with Steve Martin's listing of insults in ROXANNE that had, as I counted, 37 cuts. How bad was that? Just this one piece set Jose Ferrer as top tier, later proved to me in SHIP OF FOOLS. The camera movement and staging of the "monologue of insults" demonstrates the skill of filmmakers of that era.

The second piece of the opening scene is the fencing. I think it is the best and most exciting fencing scene in all of film. Fencing skills were a big asset to actors as Basil Rathbone's parts attest to. I don't know what actor played Ferrer's fencing opponent in this scene, but he was good at swordplay. Perhaps he was a fencer first and an actor second.

Had Steve Martin been allowed to do a one-cutter, he also would have been sensational. What a good idea ROXANNE was, but what a bad execution!

Whew. What a classic film. American cinema at it's best. SEE THIS MOVIE! Jose Ferrer is simply brilliant! And though others have complained about it's production values, the new DVD version is a vast improvement from the older VHS copies. Also, I've noted that others have been less than kind to the supporting cast. I honestly don't know what they mean. I found them all, at the very least, good, if not great.

Look, it doesn't matter. SEE THIS! For Ferrer alone, or for an all-time great love story.

The story of "Cyrano de Bergerac" doesn't do much for me, but it's been so influential culturally and it's been remade so many times that I was curious to see the version that brought Jose Ferrer the Best Actor Oscar.

He's good, easily the best thing about the movie, using that deep, mellifluous voice to great effect. But the movie never really transcends its stage origins, nor overcome the film's famously low budget. The print aired on TCM, which I'm guessing is the best one available if TCM is involved, looks so bad that it renders the movie nearly unwatchable. The whole movie is out of focus, like you're watching it without your glasses. So maybe not fair to judge the whole movie for something it can't help, but I have a feeling I wouldn't have felt much differently about it had the print been pristine.

This also has one of the longest death scenes I've ever scene. It literally feels like it's going to go on forever.

Oscar trivia: Jose Ferrer was the first of only 4 men who would win the Best Actor Oscar for a movie that wasn't nominated in any other category. The other three are Cliff Robertson ("Charly"), Michael Douglas ("Wall Street"), and Forest Whitaker ("The Last King of Scotland").

Grade: B.

I am a little bit reluctant using such adjectives like "greatest". But when an "oeuvre d'art" deserves it, why not?

In this film all is fine tuned, well gauged, perfectly synchronized.

I shall in particular emphasize the unforgettable José Ferrer's play of Cyrano's fathomless sorrow.

If Hollywood could remember that there was a long time ago, in a far away galaxy, that thing named "The American Cinema"...

The under-rated Jose Ferrer gives a faultless performance as the man of words whose natural charm is undermined by the size of his hooter. Meanwhile William Prince is appropriately bland as the shallow object of lust of the subject of Cyrano's unrequited love. The lovely Mala Powers heaves her bosom with gusto.

This film is simply my favorite above all others. And I grant that accolade entirely because of the splendid performance of Jose Ferrer. He outshines all other cast members in what would be a forgettable B movie, were it not for his brilliant portrayal of the long nosed poet and swordsman. I suppose the character of Cyrano appeals to me so because he is a man of substance, not image (unlike so many contemporary heroes).

`True.I carry my adornments only on my soul, decked with deeds instead of ribbons, mantled in my good name and crowned with the white plume of freedom!'

Wow, what a line!

There will never again be another Cyrano, as there will never be another actor capable of playing him so well as Jose Ferrer.

Cyrano de Bergerac is a favorite play of mine, and so I was excited to see it on the silver screen. However, even though this is a movie, it feels like a filmed play. It's static and flat. Nevertheless, José Ferrer does make a great Cyrano. He delivers the lines in a believable way, and comes across as both arrogant and likeable, which isn't an easy tightrope to walk. And the script allows Edmond Rostand's/Brian Hooker's words to stand in the spotlight. I love the dialogue. Therefore I like this movie, because it is Cyrano, but I don't love it because it isn't as cinematic as I would have anticipated.

Jose Ferrer became probably the most UN-deserved recipient of an Oscar in film history when he was presented with an Academy Award for 'best actor' in this drab filming of Edmond Rostand's wonderful play, 'Cyrano de Bergerac'.

Ferrer's bombastically loud voice and tediously self-conscious acting destroys this little undertaking as soon as it gets started. Ferrer aggressively spits all of his dialogue while he poses and postures in defeatism to the lavish costumes and extravagance of Rostand's piece. Mala Powers plays Roxanne with a bit more subtlety, but she fails to impress in any way.

There are some rather clueless people out there who feel that Ferrer's performance was "brilliant". Anyone who thinks that knows absolutely nothing about acting.