Scen.: Léonce Perret, René Champigny, Dal Romanzo Di Pierre Benoît; F.: Jacques Bizeuil, Gustave Preiss; Scgf.: Georges Jacouty, Pierre Becker; Cost.: Boué Sœurs, Léon Bakst; Ass.R.: Henri Ménessier, Joseph Coenen; Int.: K. Heyl (Stephen Ii, Re Di Mégranie), Huguette Duflos (Principessa Aurore Tuméme), Henry Houry (Granduca Rodolphe De Lautenbourg), E. De Romero (Principe Tuméme), Marcya Capri (Contessa Mélusine De Graffenfried), Georges Vaultier (Duca Frédérick De Lautenbourg), André Liabel (Barone De Boose), P. Vermoyal (Cyrus Beck), Jean Fleury (Principe Joachim), Clara Tambour (M.Lle Totoche), Jacque Catelain (Raoul Vignerte), Jean Aymé (Conte De Marçais); Prod.: Films Radia; 35mm. L.: 4053 M. D.: 178’ A 20 F/S. Tinted, Stencil.
A rather flat synopsis of Kœnigsmark appeared in “Le Cinéopse” in December 1923: “Two likable lovers, a tragically impending danger, the search for a mystery, distinct characters with clearly outlined traits, action, movement, a taste for the picturesque, luxury, elegance, wonderful scenery”. As all commentators have noted, the film is pleasant and interesting: “A long succession of wonderful tableaux and climactic moments dealt with an in depth knowledge of all technical possibilities and with an artistic more than dramatic sensibility”, writes Robert Trévise in “Ciné pour tous” on 1 December 1923. It seems to me that with the words “more artistic than dramatic,” Trévise accurately described the sensation that I felt, that of looking at a nice book of illustrations rather than a drama. The reason is probably confirmed by many of the reports of the period: Kœnigsmark was designed to achieve a success in France and abroad, where abroad meant especially America.
Henri Bousquet, in Léonce Perret, edited by Bernard Bastide and Jean A. Gili, Paris/Bologna 2003