Cyrano de Bergerac1950
Cyrano de Bergerac (1950)
Cyrano de Bergerac Photos
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as Cyrano de Bergerac
as Christian de Neuvillette
as Antoine Comte de Guiche
as Le Bret
as Orange Girl
as The Meddler
as Sister Marthe
as Man with Gazette
as Viscount Valvert
as Capuchin Monk
as Lackey (Assassin)
Critic Reviews for Cyrano de Bergerac
Audiences, traditionally willing to meet this impossibly romantic classic half way, may have to go a bit further this time.
Withal, there is beauty and magic in the things that Cyrano says. He is still a magnificent character. Thank goodness, he is on the screen.
Stanley Kramer's production, directed by Michael Gordon, is well acted by Jose Ferrer, who won the Best Actor Oscar.
Your opinion of Ferrer's work will depend upon your taste in acting. This is technique work, like Olivier's. The performance feels outward bound, theatrical, expert in that manner.
Audience Reviews for Cyrano de Bergerac
While this limited production creatively hides many associated flaws due to its lack of funding it cannot disguise, ironically, the big mouth of the unsympathetic center whose long winded rambles have passed the style of the day. Cyrano's poetry is undeniable, but I secretly rooted for someone, anyone, to shut his babblings. For me the failure was to somehow get me to care about the braggart, and that didn't happen. The technique, admirable, but when Cyrano cried I thought "good".
Jose Ferrer's version of Cyrano misses the mark. A fact that becomes all the more obvious when you compare it to the Depardieu version of the 80s. Cyrano is arrogance with no heart.
A poetic aristocrat with a large nose helps a pretty boy dolt win the heart of the woman they both love. The Rostand play of the same name is one of my favorites, and the conundrum of putting one's personal feelings aside for the good of others is a theme that resonates with me. While Jose Ferrer exquisitely captures Cyrano's eloquence and defensive arrogance, the deep-seated pain caused by the story's plot and his own insecurities are almost inscrutable and unexplored by the film. Overall, the source material is so good that it's almost impossible to screw this story up, but I think a more emotionally grounded performance that eclipses Cyrano's performative qualities would've made for a stronger interpretation.