REVIEW: Rupert of Hentzau

Episodes and broadcast dates:

The Queen’s Goodbye: Sunday 19 April 1964
Return to Zenda: Sunday 26 April 1964
Audience with the King: Sunday 3 May 1964
The Wheel of Chance: Sunday 10 May 1964
A Perilous Reunion: Sunday 17 May 1964
The Decision of Fate: Sunday 24 May 1964

Character: Rupert

Above: Peter as Rupert of Hentzau

Some Background

Among the many British television productions lost to history, few are as intriguing as the BBC’s 1964 serial Rupert of Hentzau. Adapted from Anthony Hope’s 1898 novel and broadcast in six half-hour episodes, the series served as a sequel to the celebrated Ruritanian adventure The Prisoner of Zenda. The production featured an impressive cast led by George Baker, Barbara Shelley, and Peter Wyngarde, with adaptation by Donald Wilson and direction by Gerald Blake. Unfortunately, all six episodes are believed to be lost, making the serial a notable casualty of the BBC’s archival policies of that era.

Despite its absence, Rupert of Hentzau retains a particular fascination. The combination of its source material, cast, and genre places it firmly within the tradition of romantic adventure stories that enjoyed immense popularity during the mid-twentieth century.

The serial was based upon Hope’s acclaimed sequel to The Prisoner of Zenda. Set three years after the original story, the plot finds Queen Flavia torn between duty and love. Although she has fulfilled her obligations by marrying King Rudolf of Ruritania, her feelings for the English gentleman Rudolf Rassendyll persist. When she writes to him, the letter is intercepted by Rupert of Hentzau, a disgraced aristocrat who seeks to restore his fortunes by exploiting the situation. This precipitates a tale of intrigue, assassination, and sacrifice, drawing Rassendyll back into the volatile politics of Ruritania.

The story possesses all the hallmarks that made Ruritanian romances so enduringly popular: clandestine plots, swordplay, mistaken identities, and noble acts of self-sacrifice. At its core lies the conflict between personal happiness and public obligation, a theme that provides the adventure with surprising emotional depth.

Central to the production was George Baker in the role of Rudolf Rassendyll. By 1964, Baker had established himself as one of Britain’s most reliable leading men. Possessing a natural sense of authority and a commanding presence, he was ideally suited to the role of the English hero who repeatedly risks everything for a foreign kingdom. Rassendyll is a compelling character because he does not seek adventure for its own sake; rather, he is compelled by honor and loyalty, even when doing so threatens his own happiness.

Left: Above left: Peter, Barbara Shelly and George Baker during rehearsals.

Baker’s casting appears particularly inspired, as he brought a necessary balance of strength and vulnerability to the role. Rassendyll must be capable of heroic action while simultaneously carrying the emotional burden of his impossible relationship with Flavia. It is easy to imagine Baker balancing these aspects of the character with considerable skill.

Equally significant was the casting of Barbara Shelley as Queen Flavia. While Shelley is often remembered today for her work in classic British horror, she was a versatile actress capable of conveying dignity, intelligence, and emotional complexity. As Flavia, she would have been required to embody the tragedy at the heart of the narrative.

Flavia is neither a helpless heroine nor a mere romantic interest; she is a queen whose personal desires have been sacrificed for political stability. Her dilemma provides the narrative with much of its emotional weight. Bound by her responsibilities to her country despite her love for Rassendyll, she is, in many ways, the most tragic figure in the saga. Shelley’s natural elegance made her an excellent choice, providing the grace and seriousness required to make Flavia convincing as both a monarch and a woman caught between duty and desire.

However, for many admirers of the serial, the greatest attraction was undoubtedly was Peter’s portrayal of Rupert of Hentzau. Appearing in all six episodes, Peter was perfectly suited to one of adventure fiction’s most charismatic villains.

Rupert is no ordinary antagonist; unlike many villains, he is not driven by ideology or outright malice. Instead, he is ambitious, manipulative, and opportunistic. Simultaneously, he possesses a charm and intelligence that make him as fascinating as the heroes he opposes. These qualities aligned perfectly with Peter’s strengths as an actor. Throughout his career, he excelled at portraying sophisticated, enigmatic, and morally ambiguous characters. His aristocratic bearing, distinctive voice, and remarkable screen presence made him uniquely qualified to bring Rupert to life.

It is easy to imagine Peter relishing the character’s wit and audacity. Rupert is a man who thrives on danger, treating life as a game played by his own rules. Such characters often dominate every scene, and Peter possessed the precise charisma required to ensure audiences found Rupert irresistible despite his villainy.

The supporting cast was equally impressive. John Phillips played the loyal Colonel Zapt, while Tristram Jellinek appeared as Fritz von Tarlenheim. Along with Sally Home and Derek Blomfield, they formed a strong ensemble that brought the world of Ruritania to life.

Broadcast between 19 April and 24 May 1964, the serial consisted of six episodes: The Queen’s Goodbye, Return to Zenda, Audience with the King, The Wheel of Chance, A Perilous Reunion, and The Decision of Fate.

These titles suggest a narrative rich in suspense and romance. Like many BBC serials of the era, the production was designed to unfold gradually, encouraging viewers to return weekly to discover the latest developments in the drama.

Unfortunately, modern audiences cannot judge the production directly, as all six episodes are listed as missing. Consequently, the serial survives only through documentation, cast records, programme schedules, and the memories of those who viewed it during its original transmission.

The loss is particularly regrettable given that the series brought together three performers at pivotal stages of their careers. Baker would later achieve international recognition through numerous film and television roles; Shelley became one of Britain’s most beloved screen actresses; and Peter would rise to immense popularity as Jason King, establishing himself as one of television’s most distinctive personalities.

From a historical perspective, Rupert of Hentzau represents a fascinating moment in British television. It belongs to an era when literary adaptations were a cornerstone of BBC drama and adventure serials attracted large family audiences. The production combined romance, political intrigue, and swashbuckling action in a manner that now feels nostalgic yet remains undeniably appealing.

Although the episodes themselves are lost, the reputation of Rupert of Hentzau endures. The prospect of seeing George Baker’s heroic Rassendyll, Barbara Shelley’s noble Flavia, and Peter’s dazzlingly villainous Rupert sharing the screen continues to capture the imagination. As a result, this forgotten 1964 serial remains one of the most intriguing lost treasures of British television history.

The Character of Rupert

The character of Count Rupert of Hentzau is an allegory for the corrupting influence of power. Rupert is a charismatic and charming man who uses his power to manipulate and control others. He is a symbol of the dangers of unchecked ambition and the corrupting influence of power. Rupert’s character is marked by his sly ambition, leaving a trail of deception and intrigue in his wake.

Breakdown of the episodes As they appeared in the Radio Times

‘The Queen’s Goodbye’ – Sun, Apr 19, 1964
Exiled from Ruritanta for treason, Rupert of Hentzau returns secretly, determined to discover what takes Fritz von Tarlenheim to Wintenberg.

‘Return to Zenda’ – Sun, Apr 26, 1964
Rudolf Rassendyll is again forced to imitate his cousin Rudolf V after Rupert of Hentzau fatally shoots the King in a remote hunting lodge.

‘Audience With The King’ – Sun, May 3, 1964
Rudolf Rassendyll sets a trap and Rupert of Hentzau receives an eagerly-awaited summons.

The Wheel of Change – Sun, May 10, 1964
Rudolf Rassendyll goes on a journey with surprising results, and the King receives an unexpected visitor.

‘A Perilous Reunion’ – Sun, May 17, 1964
Queen Flavia is reunited with her true love Rudolf Rassendyll but the circumstances are less than ideal.

‘The Decision of Fate’ – Sun, May 24, 1964
Rupert of Hentzau meets the play-actor face to face and the future of the kingdom is resolved.

Left: The New Statesman – 29th April, 1964

A bit of Trivia

For the part of Rupert in the series, Peter was required to wear some tight riding breeches which the director, Gerald Blake, felt were a bit too revealing in the crotch area. In the absence of anything with which to disguise the offending bulge, Peter had stuffed cotton wool down the front of the breeches.

It was Sally Home who was played Helga von Tarlenheim in the series , and who had previously worked with Peter in ‘Duel of Angels‘ and ‘Night Conspirators‘, who first noticed the newly padded area when Peter walked on set at BBC TV Centre, exclaiming: “Oh, Peter, do take it out, it looked much better before!”

REVIEW: Jesus of Nazareth

Broadcast Dates:

A prologue was shown before the series proper entitled, ‘Preparing the Way’

Episode 1: ‘The Beloved Son’ – Broadcast: Sunday 19th February, 1956
Episode 2: ‘Jesus the Healer – Broadcast: Sunday 26th February, 1956
Episode 3: ‘Jesus the Teacher’ – Broadcast: Sunday 4th March, 1956
Episode 4: ‘Jesus the King’ – Broadcast: Sunday 11th March, 1956
Episode 5: ‘The Road to Jerusalem’ – Broadcast: Sunday March 18th, 1956
Episode 6: ‘Behold the Man’ – Broadcast: Sunday 25th March, 1956
Episode 7: ‘I Am Always With You’ – Broadcast: Sunday 1st April, 1956

Character: John the Baptist

Peter as John the Baptist

In 1956, the BBC made Television history with a series of eight programmes on the life of Christ. Before this production censorship regulations prohibited the portrayal of Christ by an actor in public performances. It was only after the Central Religious Council approved the project, and the choice of actor in the central role, that the BBC were given the go-ahead.

Treated as an experiment, Jesus of Nazareth was placed in the children’s programmes slot on Sundays. But it attracted an adult audience whose appreciation placed it, as a BBC survey showed, next to the Coronation of 1953 in national appeal.

The series was produced by Joy Harington and would be considered her most notable work for television, for which she received the 1956 award of the Guild of Television Producers and Directors, the first to be presented for a children’s serial. Tom Fleming created a moving interpretation of Christ, and unusually for a live serial, with filmed locations in Galilee and Jerusalem, it was telerecorded so it could be reshown over the Easter holidays in future years. The scenes, especially of the Crucifixion, were regarded as some of the most powerful ever televised.

Writing in the Radio Times in February 1956, Freda Lingstrom, the Head of Children’s Television, wrote: ‘Our aim is to awaken the interest of children in the origins of the most significant influence in their lives, and help them to understand something of the background against which the Christian story was enacted.’

Lingstrom went on to explain the approach that the producer had taken; ‘In spite of this widely practised attempt to put the story of Jesus into modern speech, reverence for ‘Holy Writ’ remains for many people as sacrosanct as the spiritual truth it sought to present in the reign of James the First. It may come as a shock to some people that, although phrases which become household words remain, the cycle of plays we are about to represent will be in modern colloquial speech.’

In order to embark on such an important and ground-breaking project, advice was sought from several members of the clergy, whose scholarship and wide theological knowledge were put at the disposal of Joy Harrington, who wrote the eight scripts which began with Jesus as a boy of twelve, living in an occupied country, and ended with the Resurrection.

For the all-important casting, Harrington wanted an actor who was strong, virile, full of life and energy and convinced of his mission. Tom Fleming, born in Edinburgh, Scotland, in June 1927, was relatively unknown to television audiences in 1956, having only appeared in half-a-dozen productions, which were all single plays. The son of a Baptist preacher, he was initially anxious about playing the part. It was his interest in the spiritual value of the project that finally convinced him to undertake a part which, according the Freda Lingstrom, he approached with humility and a high sense of purpose.

In the spring of 1955, Fleming and Harrington and a contingent of the Children’s Film Unit, travelled to the Middle East, where certain sequences were shot in order to enrich the live productions. As Freda Lingstrom wrote; ‘Children will see him as Jesus in the scorching sun of the wilderness with hot desert wind blowing his robes and hair in disorder, far from the lifeless coloured-print image stamped on the minds of so many.’

This was a huge undertaking for the BBC. It was unheard of, prior to this, to take a film unit abroad to record original material for any of their productions. No doubt the Corporation was very much aware of the possible impact the series of plays could have. Especially if they got it wrong.

Linstrom again; ‘Throughout, the plays will present happenings in a straightforward manner with little emphasis on the miraculous. It is not our intention to rationalise events, nor shall we put forward any new interpretation of the gospels; our purpose is to offer children as true a picture as we can with the weight of authority behind it. Throughout, the humanity, courage and endurance of Jesus will be manifest; we shall not minimise the tragedy of the Crucifixion but care will be taken to see that it will be presented in such a way as to give older children food for thought while in no way alarming younger ones or leaving them with any suggestion of horror.’

Summing up, Lingstrom offered a word of advice to parents. Advice that most likely ensured an increased adult audience for what was seemingly being presented as a children’s series: ‘It should be remembered that this project is designed for older children and parents are asked to see that younger ones should not see the play alone.’ Nice bit of marketing.

Jesus of Nazareth began on Sunday 12 February 1956 with ‘The Prologue’. The play opened with a boy of twelve travelling with his parents to Jerusalem for the Passover feast. Jesus is seen talking with the elders in the Temple and subsequently found by Mary and Joseph and taken home. The eighth and final part of the series was broadcast on Easter Day.

In 1977, a British-Italian co-production was produced for television under the same title.

Trivia:

The series was partly shot in Galilee and Jerusalem.

Making the series was a courageous undertaking. At that time, censorship regulations prohibited the portrayal of Christ by an actor in public performances.

The series was commended by The Guild of Film and Television Directors.

After it’s first broadcast in 1956, the series was reshown every Easter for three years afterwards.

The following was written by Mark Goodacre – Professor of New Testament and Christian Origins at Duke University, in the Religious Studies Department.

So, have you ever seen the TV series Jesus of Nazareth? No, not that series, but the one made twenty years earlier by the BBC? Me neither. In fact I didn’t even know about it until yesterday. Here’s the story.

I have been reporting recently on my research into the forgotten BBC production Paul of Tarsus (1960) ), research which led to the book of the series produced by its writer, producer and director Joy Harington. In the preface to that book, she writes the following:

The idea for this book and the Television series that preceded it was born in 1956 when the series ‘Jesus of Nazareth’ ended with these words from Jesus to his disciples: ‘Go and teach all nations the things that you have seen and heard . . . . . And know that I am with you always — even unto the end of the world.’ It left one with the feeling ‘What happened then?’ After all, it was a big order to give a handful of fishermen and peasants in a small occupied country . . .

And so on. So, it seems, there was a TV series on Jesus’ life broadcast in 1956 on the BBC. I didn’t think I had heard of this before, so I went to the net to see how many others had heard of it. The answer is: very few.

The IMDb weakly mentions Jesus of Nazareth from 1953, starring Tom Fleming. In the light of the above, the date is certainly wrong. Is it even the same production? Well, it looks like it is because this TV series clearly featured Tom Fleming playing Jesus. There is a good paragraph or so on it on the BFI’s Screenonline. Profile of Joy Harington:

But perhaps what is considered her most notable work for television was the eight-part Sunday serial Jesus of Nazareth (BBC, 1956) for which she received the 1956 award of the Guild of Television Producers and Directors (now BAFTA), the first to be presented for a children’s serial. A live studio production with exteriors filmed on location in Galilee and Jerusalem, it was a courageous undertaking. At that time, censorship regulations prohibited the portrayal of Christ by an actor in public performances. However, the Central Religious Council approved the project and Tom Fleming was cast as Jesus Christ. The serial was an outstanding success. Harington followed with a similar ten-part series, Paul of Tarsus (BBC, 1960), for which the exteriors were filmed mainly in Crete.

So we now know that Paul of Tarsus was filmed in Crete, and Jesus of Nazareth was partly filmed in Israel, and the latter was considered “a children’s serial”. There is more research to be done about this lost series, and I look forward to reporting back on this in due course.

Above: A page from the Radio Times (12th April, 1957) – published to coincide with the first rescreening of the series at Easter that year.