Knightsfilms

WHEN KNIGHTS WERE BOLD (1916 - UK)
Script by Frank Miller, directed by Maurice Elvey
Produced by London Film Company
Cast:
James Welch Sir Guy de Vere
Janet Ross Lady Rowena
Gerald Ames Sir Brian Ballymote
Hayford Hobbs Widdicombe
Gwynne Herbert Isaacson
Philip Hewland Barker
Bert Wynne Whittle
Edna Maude Aunt Thornridge
Marjorie Day The Maid
Douglas Munro
BFI synopsis: “ Comedy in which commoner inherits title and wins Lady after a dream set in medieval times.”

The Bioscope (4 February, 1909 - p.25)

Plays on the Screen.
To the Editor of THE BIOSCOPE.

   SIR,—Surely Mr. A. Johnson cannot be serious when he suggests that the presentation of popular theatrical successes on the screen would have a beneficial effect for those plays by advertising them. If he will turn to another page of your last issue he will see that a theatrical manager was told by the lessee of halls where he offered to present a sketch that it was no good “because the people have seen it on the film.” Would Mr. Johnson go to see “When Knights were Bold” and pay a shilling for the gallery if he could see the same things without words for threepence in a comfortable tip-up seat? I doubt it.
   Yours, &c.,
   DRAMATIST.
   January 29.

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The Bioscope (11 May, 1916 - p.97)


	The Bioscope (10 August, 1916 - p.23)

(p.53)

MUSIC IN THE CINEMA.
By J. MORTON HUTCHESON.

TRADE SHOWS.

“THE HEART OF PAULA” (PALLAS FILM) AND “WHEN KNIGHTS WERE BOLD” (LONDON FILM)
AT THE WEST END CINEMA.

I have often contended in these articles that as much “local colour” as possible should be introduced into the “musical accompaniment,” and I was a little surprised that Mons. Luna in his “accompaniment” to the first-named film did not introduce more. That the opportunity was there cannot be denied, as nearly the whole of the play takes place in Mexico and there were many situations where typical Mexican or Spanish music could have been appropriately used and it was not done. The “accompaniment” given to the picture was good, but in many places the “local colour” was missing.
The second-named film, so well known as a play “on the boards,” featuring James Welch, received an artistic accompaniment, and I am hoping that it will be possible to arrange to have the overture played to this film, available for use where the film is being shown.

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The Kinematograph And Lantern Weekly (7 September, 1916 - p.51)

“WHEN KNIGHTS WERE BOLD”

With “Jimmy” Welch in his Original Part

THAT brilliant comedy, “When Knights Were Bold,” in which James Welch scored such a striking success, and which for so long kept huge audiences in continuous laughter, has been filmed by the London Film Company, with “Jimmie” in his original role, and we had an opportunity of viewing it one day last week at Jury’s, by whom it is being handled. The film version is exceptionally well done, and we should say that much care and thought has been spent upon it by Maurice Elvey, the producer, who has succeeded in obtaining the correct atmosphere. Settings and staging are alike excellent, and we believe we are correct in stating that many of the scenes were taken in and around Warwick Castle. It is a good picturization of a delightful play, and will undoubtedly be popular wherever it is shown. It perhaps loses a trifle through the absence of the spoken word, but this is inevitable, more particularly, perhaps, with comedy than with drama, but it will create roars of laughter, particularly the last two reels (there are four, by the way). Besides James Welch, the cast includes Gerald Ames, Douglas Munro, and Janet Ross, and the acting throughout is on a high plane, though as far as the opening of the springs of contagious laughter are concerned, it is “Jimmie” all the time. He is the champion fun-maker, and dominates the picture to a remarkable degree with his breezy personality. It might, in fact, despite the general excellence of the cast, be termed a one-man play. We cannot imagine anyone but Jimmie Welch undertaking the part of Sir Guy de Vere; he makes an excellent screen actor, and his many admirers will doubtless be delighted to renew their acquaintance with a play which has always been associated with his name, and which by his originality and humour he succeeded in making a household word.
There is just a small piece of criticism we have to offer. We think it would have been better in three reels than four, for a good part of the second reel seems to drag just a trifle. However, this is a minor point which is fully made up by the remainder of the picture, which we can thoroughly recommend to exhibitors. It should please almost any type of patron.

Romantic Heroine but Prosaic Hero.
Sir Guy de Vere, last of a long line of de Veres, and owner of a romantic castle, is in love with the Lady Rowena, a romantic-minded lady, who rejects his suit because she wishes her husband to be a man in whom all the glories of the past still live, and Sir Guy is a very modern young man. Isaac Isaacson, a wealthy Jew, desires to secure Sir Guy as a husband for his daughter Sara, and bribes the hard-up Sir Brian Ballymote to get him an introduction. The three get an invitation to Beechwood Castle, and to remove Rowena as a rival to Sara, Sir Brian makes love to her. Sir Guy, meanwhile, has been out shooting and comes home with a dreadful cold, so when the guests go in to dinner, he is reclining with his feet in a mustard bath, with dressing gown and slippers, before a blazing fire in the hall, with plenty of hot whiskey at his side. Presently he falls asleep and dreams of the good old times “when knights were bold.” His dream is depicted on the screen, and knights in shining armour and ladies clad in the costumes of centuries ago appear before our gaze. They are all his present-day friends and servants, but with manners, speech and dress of the olden times. He sees himself as master of Beechwood in the mediaeval days, and to the castle comes Lady Rowena, who has been attacked by the wicked Sir Brian. She claims his protection and urges him to buckle on his armour and go forth and slay Sir Brian, and after many exciting and amusing incidents, Sir Guy takes off his armour and goes for the fully-mailed Sir Brian with his fists, administering a knock-out blow, and standing as a conqueror with one foot on his fallen foe, he—wakes up!

A Taste of the Good Old Times.
Remembering his dream, and that his guests are still at dinner, he decides to give Lady Rowena her fill of “the good old times.” So, taking a large two-handed sword, he commences to order the servants about in the mediaeval language of his dream, and to woo Rowena in a fiercely romantic style which she resents. His valet and a friend are later taken into the plot, and when Sir Guy hears that Sir Brian has been making love to Rowena, he gives him the time of his life, and the audience a series of hearty laughs. His treatment of that gentleman is anything but gentle. Chased upstairs, downstairs and on the roof-tops, Sir Brian seeks refuge down a chimney, from which the surprised guests presently see a grimy and dishevelled figure appear. He is eventually kicked out, and Sir Guy gives up his little joke, and becomes engaged at last to Rowena, who now declares that she prefers the present day to “the good old times, when knights were bold.”

It is impossible to give an adequate description of the endless comedy situations; they must be seen to be appreciated, and exhibitors who have not already done so should make a point of seeing this excellent British comedy.

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The Kinematograph And Lantern Weekly (5 October, 1916 - p.6)

During a recent air-raid scare in a certain Midland town, the patrons in the local kinemas were turned out about nine p.m., and a lively controversy took place in one of the local papers as to whether the management ought not to have given pass checks for another evening to those unlucky persons who had just come in. How the manager was to know “who was who,” and how he was to get round the tax difficulty was not explained.

In the course of conversation with Mr. Howe, who controls Jury’s publicity department, a rather interesting point arose in regard to the question of entering a picture theatre when a picture was, say, half-way through.
I had just seen “When Knights Were Bold,” a picturisation of the play featuring James Welch, which Jury’s are handling, and Mr. Howe agreed with me that it was a very excellent idea to give a summary in front of each reel of what had gone before, so that the story could be picked up at any point. This had been done in the case of “When Knights Were Bold” and it is a custom that should, I think, be universally adopted, more particularly with films of any great length. It has. I notice, also been done with “Temporal Power,” so appears to be getting more popular. Producers would do well to bear this point in mind.

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The Birmingham Daily Mail (31 October, 1916 - p.5)

Those who have seen James Welch in the farce “When Knights Were Bold” should not miss the film of this merry play and the droll comedian at the New Street Picture House, and those who have not seen the play should certainly make a point of seeing the film. Last night crowded audiences followed the quaint adventures of Sir Guy de Vere with the utmost amusement and entertainment, the interest being accentuated by the fact that the interior and exterior of Warwick Castle and the ruins of Kenilworth formed the background of the animated and highly diverting scenes.

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The Aberdeen Daily Journal (18 November, 1916 - p.3)

THE PICTURE HOUSE.

A four reel screen version of Charles Marlowe’s whimsical farce, entitled “When Knights were Bold,” with James Welch in his original part, has been produced by the London Film Company, and will be shown at the Picture House, 181 Union Street, on Monday, Tuesday, and Wednesday next. Sir Guy de Vere, last of a long line of de Veres, and owner of a romantic castle, is in love with the Lady Rowena, a romantic-minded lady, who rejects his suit because she wishes her husband to be a man in whom all the glories of the past still live, and Sir Guy is a very modern young man. Isaac Isaacson, a wealthy Jew, desires to secure Sir Guy as a husband for his daughter Sara, and bribes the hard up Sir Brian Ballymote to get him an introduction. The three are invited to Beechwood Castle, and to remove Rowena as a rival to Sara, Sir Brian makes love to her. Sir Guy, meanwhile, has been out shooting, and comes home with a dreadful cold, so when the guests go in to dinner, he is reclining with his feet in a mustard bath before a blazing fire in the hall. Presently he falls asleep and dreams of the good old times “when knights were bold.” Remembering his dream, and that his guests are still at dinner, he decides to give Lady Rowena her fill of “the good old time.” Sir Brian seeks refuge down a chimney, from which the surprised guests presently see a grimy and dishevelled figure appear. He is eventually kicked out, and Sir Guy gives up his little joke, and becomes engaged at last to Rowena, who now declares that she prefers the present day to “the good old times when knights were bold.”
Other items on the Picture House programme for the first half of next week also includes:—“Industrial India” (interest), “The Youngest in the Family” (comic), “Just a Few Little Things” (comedy), Current Events, etc., etc.

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The Aberdeen Evening Express (18 November, 1916 - p.2)

“From Log Cabin to White House” runs the title of a well-known biographical work, and this phrase seems aptly to describe the transformation that takes place in the circumstances of Jimmie Welch, prince of comedians, in his film career. This week James is a hero—more or less—of the circus ring; next week we shall find him moving in the most aristocratic circles, amid scenes that have for a background those magnificent relics of mediæval times, Warwick and Kenilworth Castles. As Sir Guy de Vere in that brilliant farce “When Knights Were Bold,” Mr Welch adds another to his list of film successes. Funny as this diminutive knight, clad in shining armour, was on the stage, he is even funnier on the screen, where fuller scope is provided for his humorous antics. Supporting Mr Welch in the film version of the farce are Mr Gerald Ames as Sir Brian, Mr Douglas Munro as Isaacson, and Miss Marjorie Day as the pretty maid. As in all London Film productions setting and photography are excellent. “When Knights Were Bold” will be screened at the Picture House next week.

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The Aberdeen Evening Express (20 November, 1916 - p.4)

The Tamworth Herald (17 February, 1917 - p.5)

THE GRAND.

The famous play, “When Knights were Bold,” was admirably screened at the Grand on Monday, Tuesday and Wednesday. The main features of this popular production have been carefully filmed, the hero James Welch being seen at his best. Other pictures of merit went to make up a first class entertainment. This week-end there is a capital five-part drama, “Sunshine Molly” (instead of “Me and Me Moke,” which is coming next month), and another instalment of the fascinating serial “Liberty.”

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IL CAVALIERE DEL SILENZIO (1916 - Italy)
Directed by Oreste Visalli
Produced by Aquila Films
Cast:
Giulio Del Torre
Signor De Mori
Jeanne Nolly
Leo Ragusi
Claudia Zambuto
Gero Zambuto

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WHEN KNIGHTS WERE BOLD (1929 - UK)
Directed by Tim Whelan
Produced by British and Dominions Film Corporation
Cast:
Nelson Keys Sir Guy de Vere
Miriam Seegar Lady Rowena
Eric Bransby Williams Sir Brian Ballymore
Wellington Briggs Widdicombe
Lena Halliday Lady Walgrave
Martin Adeson Barker
Hal Gordon Whittle
Edith Kingdon Aunt Thornridge
E.L. Frewyn Dean
Fanny Wright

The British and Dominions Film Corporation was set up by Herbert Wilcox and an advert for the company appeared in The Daily Express on February 15th, 1928. Wilcox also went on to produce the 1936 musical version.

The Bioscope (29 August, 1928 - p.48)

Tim Whelan Takes A Welsh Castle

   Tim Whelan has taken his “When Knights Were Bold” company to Caldicot, South Wales, where British and Dominions have been fortunate enough to obtain special permission to use the Castle exteriors.
   I understand that the company will return this week-end, after having a jolly and useful time on location. The cast is, of course, headed by Nelson Keys, who plays Sir Guy de Vere; Miriam Seegar, who becomes Lady Rowena, and Eric Bransby Williams, who plays Sir Brian.
   The cast includes also Lena Hallway, Wellington Briggs, E. L. Frewin, Hal Gordon, and Harold Huth.

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The Bioscope (6 February, 1929 - pp.41-42)

“When Knights Were Bold”

Offered by: W. and F. Directed by: Tim Whelan Length: 7,213 feet.
Release Date: December 30, 1929. Certificate: U. Type: Comedy.
Cast: Nelson Keys, Miriam Seegar, Eric Bransby Williams, Wellington Briggs, Lena Halliday, Martin Adeson, Hal Gordon, Edith Kingdon, Eli Frewin.

   IN BRIEF: Clever adaptation of the comedy presented so successfully by the late James Welch, in which a nineteenth century baronet finds himself back in the middle ages. Amusing and well played comedy.
   Suitability: For any audience.
   Selling Angles: The reputation of the play and of Nelson Keys; the elaborate production.
   Plot: Sir Guy de Vere unexpectedly succeeds to an ancient baronetcy and finds himself hampered with a family of stiff set relations, who are obsessed with their own importance and very much resent Guy’s modern ways and thoughts. He finds himself back in the middle ages and the experiences he suffers enable him to overcome the prejudices of his relations by compelling them to practise the ancient customs which they had been in the habit of upholding.
   Comment: This is a very free adaptation of the merry farce in which James Welch made so great a success, and with the greater scope of the screen, with some characters omitted and new ones introduced, there remains little beyond the main idea to make any comparison with the original more than a matter of antiquarian history. As, however, the majority of modern picture audiences will never have seen the original play, the film will be judged on its own merits, and there is little doubt that its fantasy and quaint humour will recommend it to popular favour.
   Acting: Nelson Keys plays Sir Guy with spirit and fully brings out the satire of the situation. Miriam Seegar makes a charming Lady Rowena and the bold bad Sir Brian is capably played by Eric Bransby Williams. All the parts in a long cast are excellently rendered.
   Production: The production is elaborate and, even viewed from an acute angle of the screen, appear to be effective. Clifford Pember, the art director, adds to his laurels as a creative artist.

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Britannia (22 February, 1929 - p.13)

The Daily Mirror (5 April, 1929 - p.13)

The Hull Daily Mail (30 December, 1929 - p.4)

Daily Express (30 December, 1929)

The Bioscope (8 January, 1930 - p.23)

Victoria Films: British Successes

The Paris trade shows of the six British films which are being distributed by Victoria Films (A. Graham-Maingot) have met with considerable success, and exhibitors affirm that these films show, with perhaps one exception, a considerable advance upon what has hitherto been sent over from England. “When Knights Were Bold” will probably be the greatest success in the cinemas, closely followed by “Would You Believe It?” “The Scarlet Pimpernel” and “The Bondman.” “High Treason” is admired, but even if it passes the Censor it will probably be difficult to exploit with success, excepting where “Metropolis” has previously pleased. Political arguments and problem plays have no strong appeal for French spectators.

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Burnley Express and Advertiser (11 January, 1930 - p.5)

NEW SUCCESS AT THE GRAND.

Everyone who has seen that uproarious comedy, “When Knights were Bold,” will want to see the film version, which has just been released, and which will be at the Grand next week. Many London critics have acclaimed it as one of the few films funnier than the original play, and all are agreed that it is clever and amusing entertainment. Nelson Keys is a comedian who has won fame on both sides of the Atlantic, and his performance in this picture is really brilliant. For the benefit of younger patrons who have not seen the play, it will perhaps be as well to give an outline of the story. It concerns a young and rich nobleman, whose only trouble is his relations. He is glad that he comes of an ancient and glorious line, and he is pleased to succeed to the baronetcy; but he is glum when he thinks of his relatives. Any bright young fellow would be depressed with such a set of relations, though Lady Rowena, a very distant relation, helps him to avoid becoming morbid. Needless to say, Lady Rowena is young and charming. The young Sir Guy dreams a dream. He is taken back into the good old days when knights were bold, and in true knightly fashion, overcomes his enemies to save his “faire ladye.” The dream has a startling effect on his subsequent conduct, and the film ends in most delightful fashion. Mr. Keys has been given admirable support from a well-chosen cast, and the settings throughout are elaborate and effective. We can be justly proud of this as a British picture.
“Not Quite Decent,” which will be shown in support, has a much better moral than its title would suggest. It is also very entertaining, telling the story of a mother who makes herself out as unworthy in order that he daughter might not make a big mistake. June Collyer and Louise Dresser are admirable in the leading roles.

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The Dundee Courier (14 January, 1930 - p.9)

THE KING’S.

   “Broadway Babies,” a film dealing with theatrical life and happenings behind the scenes, heads the programme of the King’s Theatre.
   Alice White, one of the youngest film stars, makes a pretty leading lady. She is the most attractive member of a trio of dancing girls who set out to win fame on Broadway.
   She sings and dances well, but in talking, as in the case of many others of the cast, much of her smart Yankee touches slip past without notice, the dialogue being none too clear at times. her companions are Sally Eilers and Marion Byron.
   Charles Delaney does not speak as distinctly as one might expect this fine actor to do. He is the young stage producer who is engaged to the “Baby of Broadway.”
   There are many entertaining theatrical scenes, and the principal songs are “Broadway Baby Dolls,” “Waiting and Waiting for Love,” and “Jig, Jig, Jigaloo.”
   The silent film, “When Knights were Bold,” is a clever comedy, with Nelson Keys as the bold knight. He does many queer things which are both bright and amusing, and the scenes where he dreams he fights the “army” for his enemy are exceptionally funny. It is adapted from Charles Marlowe’s stage play. Miriam Seegar as Lady Rowena is the principal lady and Eric Bransby Williams is the villain.

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Western Daily Press (25 February, 1930 - p.3)

Premier.

“When Knights Were Bold” was an undoubted success on the stage, but as a film it is almost overpowering in its farcical humour. It is the chief item at the Premier Picture House on Tuesday and Wednesday. nelson Keys, who plays the chief role, has never been more amusing. There is in the film, which is wonderfully photographed, a glorious mediæval battle at the castle built specially for that purpose at Stanmore, where knight in armour and hundreds of men-at-arms storm the battlements. Nelson Keys is supported by Mirian Seegar, a pretty and clever actress, and Eric Bransby-Williams. A fine drama, “The Silent Sentinel,” is the other attraction. During the latter half of the week Matheson Lang leads an accomplished cast in “The Blue Peter,” and Jack Mulhall plays with typical abandon in “Actress and Angel.”

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The Bioscope (24 June, 1931 - p.18)

Miriam Seegar, who played Lady Rowena in the 1929 film of When Knights Were Bold, died on 2nd January, 2011 at the age of 103. There is an obituary on The Telegraph site and an interview with the actress includes the following information about When Knights Were Bold:

“... After high school, when I was 18, I went to London where I acted in an American play, ‘Crime’ (‘28), that was running over there.”
While in England, Miriam made her screen debut. “I did three pictures, mostly silently. The third one, ‘When Knights Were Bold,’ (shot in ‘28; released in ‘29) was directed by Tim Whelan. We went back later and did dialogue sequences, so it was never released as a silent. Tim and I began to date, and in 1931 we were married!”

On the It’s not just Michael Powell site, this photo carries the description, ‘Miriam Seegar in When Knights Were Bold’ but no further information is given.

When Knights Were Bold - The Films continued

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