20. Sep, 2018

Scaramouche Telugu Full Movie Download

Scaramouche Telugu Full Movie Download >>> DOWNLOAD (Mirror #1)

In France during the late 18th Century, a man sets out to avenge the death of his friend at the hands of a master swordsman.

Download Formats: M4V, AVI, MTS, MKV, M2TS, 3GP, ASF

original title: Scaramouche

genge: Action,Adventure,Comedy,Drama,Romance

imdb: 7

duration: 1h 55min

tags: The Company that made "Quo Vadis" brings the world another spectacular romantic triumph!

budget: $3,500,000

keywords: napolonbonapartecharacter, 18thcentury, swashbuckler, frenchrevolution, menintights, brotherversusbrother, twobrothersinlovewiththesamewoman, damselindistress, referencetocleopatra, referencetoaphrodi

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In France during the late 18th Century, a man sets out to avenge the death of his friend at the hands of a master swordsman. Andre-Louis Moreau is a nobleman's bastard in the days of the French revolution. Noel, the Marquis de Mayne, a nobleman in love with the Queen, is ordered to seek the hand of a young ingenue, Aline, in marriage. Andre also meets Aline, and forms an interest in her. But when the marquis kills his best friend Andre declares himself the Marquis's enemy and vows to avenge his friend. He hides out, a wanted man, as an actor in a commedia troupe, and spends his days learning how to handle a sword. When de Maynes becomes a spadassinicide, challenging opposing National Assembly members to duels they have no hope of winning, Andre becomes a politician to protect the third estate (and hopefully ventilate de Maynes). As is often the case with stories set in France around the time of the Revolution, the theme of this movie is the brotherhood of man, metaphorically represented by brothers (and sisters) in a more literal sense. Andre Moreau is the bastard son of an unknown aristocrat who has supported him for years as a way of buying his silence. His lover is Lenore, an actress with a traveling troupe that performs in commedia dell'arte. Though they plan to get married, yet one can see a certain playfulness between them, almost as if they are brother and sister, and thus we never take their relationship too seriously. Philippe, Andre's adoptive brother, is to be their best man, but the marriage plans get interrupted when Andre finds out that soldiers are looking for Philippe, having found out that he is the author of subversive pamphlets.

Andre goes to the lawyer Fabian, who has mediated the allowance payments, in order to get an advance. When Andre finds out that the allowance has been cut off, he compels Fabian to tell him that his father is the Count de Gavrillac. With Philippe by his side, he journeys to the Gavrillac estate to insist that the allowance be continued. Along the way he meets and falls in love with Aline. Unlike his love for Lenore, this love is serious, the love of his life. But alas, he soon discovers that she is the daughter of the Count de Gavrillac, and thus is his sister. Later, he also finds out that the Count de Gavrillac has died, thereby explaining why the allowance has been stopped.

He and Philippe stop off at an inn, where they run into Noel, Marquis de Maynes, who realizes that Philippe is Marcus Brutus, the author of the pamphlets. He provokes Philippe into a duel and kills him. Andre swears that he will kill de Maynes with a sword, making him die the way Philippe did. To avoid being imprisoned, Andre joins the troupe as Scaramouche, a stock character who wears a mask. This gives him time to take fencing lessons.

Meanwhile, at the behest of Marie Antoinette, de Maynes, who is her lover, agrees to marry Aline, so that his noble family can continue, but he soon falls in love with her. Eventually Andre is ready to meet de Maynes in a duel, but complications keep them apart. Finally, one night at the theater, Scaramouche spots de Maynes, removes his mask, and the long-awaited sword fight begins. When he finally has his sword at de Maynes' breast, he finds that he cannot kill him. Later, he discovers the reason why. His real father was the previous Maquis de Maynes, and thus he and Noel are brothers. As his adoptive father tells him, he could not kill his brother. This also means that Andre and Aline are not really brother and sister, and thus are free to marry.

The idea that Andre cannot kill de Maynes because, unbeknownst to him, they are brothers sounds far-fetched, but this is to be understood metaphorically. In the motto of the French Revolution, "Liberty, Equality, Fraternity," the idea of Fraternity is that all men are brothers and thus should treat one another as such, which means, in part, that they not kill each other. It is in this metaphorical sense that just before his duel with Philippe, de Maynes said, "A de Maynes is no man's brother," although he also thought he had no brother in the literal sense too. Of course, when we say, "All men are brothers," we use the masculine gender to include both sexes. I suppose one could say, "All persons are siblings," but that just does not quite stir the soul in the same way. In any event, all the confusion as to who is the brother (or sister) of whom throughout this movie, leads us to the question, "Who is my brother?" for which the answer is, "Everyone."

There are several differences between this movie and the book, but in many ways, the movie is better. My favorite difference, however, concerns the fencing skills of the main characters. It is almost a cliché in stories like this that the villain is thought to be the greatest swordsman in all France, only the hero turns out to be even better. And so it is that in the book, when Andre takes fencing lessons, he becomes so good that he has to pretend to lose to his fencing instructor so as not to embarrass him, so he can keep his job as assistant.

At first, the movie seems to be setting up that kind of situation. While de Maynes and Philippe are fencing, Andre insists that the duel is nothing but murder, because de Maynes is the greatest swordsman in France. But later, Andre watches through a window and sees de Maynes practicing with his fencing instructor, who knocks the sword out of de Maynes' hand. It is then Andre realizes that de Maynes can be beaten. And when Andre takes lessons himself, he is never as good as his instructors. In other words, de Maynes and Andre are gifted amateurs, but neither is as good as the professionals who teach them, which is definitely more realistic.

When the climactic sword fight occurs in the theater, almost everyone of significance seems to be there, especially Lenore (as Columbine), Aline, and Andre's adoptive parents. Noticeably absent, however, are the fencing instructors. That is for the best. Otherwise, they would have been looking on, shaking their heads, saying, "He left himself wide open that time," and, "I've told him and I've told him not to thrust before the second parry of that sequence." But as the instructors are not there spoiling the mood, de Maynes and Andre are able to treat everyone to the greatest sword fight in all Hollywood. Wow, Scaramouche was a great experience today, just the cream in my Sunday coffee. I won't repeat what others commented. But if you have sufficient time on hand, let me recommend another movie to double-feature with Scaramouche.

Marquise (1997), starring Sophie Marceau. She hated making it, I loved the final product - a different take on a traveling theatre company in 18th century France, and involvements with the high and noble. Riveting.

Or, second choice: The Reckoning (2003/I). Set in England, and several centuries earlier, but again, the story of a traveling theater company (more in a proto-detective vein).

All these may seem incredibly old to you. But after all, theatre was the ancient history of movies... :^) Scaramouche (1921) is a historical romance novel, set during the French Revolution (1789-1799) and written by Italian/English author Rafael Sabatini. The screenplay for Scaramouche was written by Ronald Millar, George Froeschel, and Talbot Jennings, who also took elements from an earlier silent film, Scaramouche (1923) (1923). No. Scaramouche (Italian Scaramuccia meaning "skirmish") was an iconic masked, roguish, conceited, and buffoon stock character (stereotype), originating in 17th century Italian commedia dell'arte theatre and often associated with the Punch and Judy puppet shows. He was often dressed in black Spanish medieval dress, wearing a black mask that included a long, pointy nose.


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