{"id":11823,"date":"2016-05-11T12:22:28","date_gmt":"2016-05-11T15:22:28","guid":{"rendered":"http:\/\/culturedarm.com\/?p=11823"},"modified":"2016-05-11T12:22:28","modified_gmt":"2016-05-11T15:22:28","slug":"february-film-under-the-red-robe-analysis","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/february-film-under-the-red-robe-analysis\/","title":{"rendered":"February Film: Under the Red Robe Analysis"},"content":{"rendered":"
\n
\"Under<\/div>\n

A dowdy swashbuckler even at the time of its release in 1937, Under the Red Robe<\/em> remains a curiosity today as the final film by Victor Sj\u00f6str\u00f6m, the father of Swedish cinema. Born in Silbodal in western Sweden, an infant Sj\u00f6str\u00f6m moved with his parents to Brooklyn, returning to Sweden at the age of seven and spending the remainder of his youth in Stockholm following the death of his mother during childbirth. At seventeen he took up acting as part of a touring theatre company, and in 1912, the thirty-two-year-old Sj\u00f6str\u00f6m was hired by Svenska Bio along with Mauritz Stiller, famous for his\u00a0part in establishing Greta Garbo’s Hollywood career.<\/p>\n

Between 1912 and 1923, Sj\u00f6str\u00f6m directed forty-one films in Sweden. Thirty-one of these appeared across his first three years as a director, and most are now lost, although the social drama Ingeborg Holm<\/em> is regarded as a high-water mark in the history of early cinema for its realism and narrative continuity. The Outlaw and His Wife<\/em> (1918) was groundbreaking for its expressive use of nature, The Sons of Ingmar<\/em> (1919) and Karin, Daughter of Ingmar<\/em>\u00a0(1920) were adaptations of Selma Lagerl\u00f6f’s novel Jerusalem<\/em> which met with little acclaim, but switching his attention to\u00a0Lagerl\u00f6f’s Thy Soul Shall Bear Witness!<\/em>, with The Phantom Carriage<\/em> – a grim tale of alcoholism which makes extensive use of flashbacks – Sj\u00f6str\u00f6m won international renown.<\/p>\n

He was invited to Hollywood by Louis B. Mayer, his first two American pictures Name the Man<\/em> and He Who Gets Slapped<\/em> (both 1924) straddling the line as Goldywn Pictures merged to become Metro-Goldwyn-Mayer. In Sweden Sj\u00f6str\u00f6m had acted in his own films, but in Hollywood he focused on directing, enhancing his reputation for\u00a0studied character portrayals, strong female leads, and psychologically compelling landscapes. Under the Anglicised name Victor Seastrom, he directed stars including Garbo, John Gilbert, Lon Chaney, and Norma Shearer, but the highlights of his time in America were his two collaborations with Lillian Gish, The Scarlet Letter<\/em> (1926) and The Wind<\/em> (1928), the latter considered a late silent-era classic.<\/p>\n

After A Lady to Love<\/em> (1930) Sj\u00f6str\u00f6m left Hollywood, uncomfortable with the new demands imposed by the talkies. Thereafter he worked mostly in theatre, returning for one last fling with the director’s chair in Under the Red Robe<\/em>, a British-American production distributed by 20th Century Fox. In later life, Sj\u00f6str\u00f6m became something of a mentor to Ingmar Bergman, who reluctantly cast the ageing actor as Professor Isak Borg, the central role in Wild Strawberries<\/em> (1957). Bergman said that Sj\u00f6str\u00f6m<\/a>:<\/p>\n

‘took my text, made it his own, invested it with\u00a0his own experiences:\u00a0loneliness, coldness, warmth, harshness, and ennui. Borrowing my father’s form, he occupied my soul and made it all his own – there wasn’t even a\u00a0crumb left over for me! He did so with the sovereign power of a gargantuan personality. I had nothing to add, not even a sensible or irrational comment. Wild Strawberries was no longer my film; it was Victor Sj\u00f6str\u00f6m’s!’<\/em><\/p>\n

In the context of such a career, Under the Red Robe<\/em> is entertaining but unexceptional fare, nicely framed but with a convoluted plot, some peculiar casting choices, and a determined lack of action. It is based on the 1894 novel of the same name by Stanley J. Weyman, which Arthur Conan Doyle had praised for possessing ‘the most dramatic opening of any historical novel I know’. Set in seventeenth-century France during the ascendancy of Cardinal Richelieu, and coming to a climax on the Day of the Dupes when Richelieu’s enemies wrongly believed that they had succeeded in ousting him from power, the novel had been turned into a Broadway play in 1896 starring Viola Allen and William Faversham; into a British silent film in 1915, directed by William Noy; it was given the silent treatment in America in 1923, directed by Alan Crosland and starring Robert B. Mantell, Alma Rubens, and the opera singer John Charles Thomas; and in 1928 it also became a musical, with songs by the composer Jean Gilbert and the lyricist Harry B. Smith.<\/p>\n

In\u00a0Sj\u00f6str\u00f6m’s version, Conrad Veidt – a German actor who featured in several of the landmark films of German Expressionism, but despite his fervent opposition to the Nazis, once in Britain and the United States found himself typecast as a heavily accented villain – plays\u00a0Gil de Berault,\u00a0a notorious swordsman known as ‘The Black Death’ whose penchant for dueling almost leads to his execution. The authoritarian minister\u00a0Cardinal Richelieu, right hand to King Louis XIII and here played by Raymond Massey, steps in at the last moment to issue Gil with a risky assignment. To spare his life he must travel to the south of France and arrest\u00a0the Huguenot rebel Edmond, Duke of Fiox, in a gambit meant to bolster Richelieu’s position and centralise the monarch’s power.<\/p>\n

Gil is given a manservant named Marius, played by Romney Brent, who despite his loyalty to Richelieu is an irresistible pickpocket and provides Under the Red Robe<\/em> with its comic mischief. Once in the south, Gil begins infiltrating the Duke’s castle, developing romantic feelings for Marguerite, who he believes to be the Duke’s wife but is in fact his sister. The role of Marguerite is occupied\u00a0by the French actress Annabella, who had debuted with a small part in the epic Napol\u00e9on<\/em> in 1927, and earlier in 1937 had made her first foray into English-language film as the female lead in Wings of the Morning<\/em>. For that film she was given top\u00a0billing despite appearing opposite a young Henry Fonda, and she is the star too of\u00a0Under the Red Robe<\/em>, perhaps not the perfect counterpart to a dry Veidt, but able to shift seamlessly\u00a0from cultivated amour to cool knowing as she pleads on behalf of her lover.<\/p>\n

* * *<\/p>\n

‘My chief objection to the Little Carnegie’s Under the Red Robe is its selection of Conrad Veidt for the dashing, romantic role of Gil de Berault. Mr. Veidt is an excellent actor […] but I very much doubt that any beauteous Lady Marguerite ever could fall in love with him at first sight […] Mr. Brent’s Marius […] serves to relieve the dour monotony of Mr. Veidt’s performance and gives the film its much-needed comic relief’ – New York Times<\/em>, 1 June 1937, Frank S. Nugent<\/strong><\/p>\n

‘As one might expect from a director famous for his ability to concretise interior struggles on celluloid, this adaptation of Stanley Weyman’s costume romance of 17th century France (dealing with Cardinal Richelieu’s hounding of the Huguenots) is a swashbuckler more concerned with character than action. Set in a deliciously stylised Sternbergian world – a contrast to the realistic tone of most of Sj\u00f6str\u00f6m’s films – it follows Conrad Veidt’s attempts to square his role as a mercenary with his conscience and his eventual salvation in love. Massey is equally sombre as Richelieu, and the photography by Georges P\u00e9rinal and James Wong Howe is stunning.’ – Time Out, PH<\/a><\/strong><\/p>\n

‘Our own too-seldom seen Conrad Veidt, who in this picture looks like a blend of John Bunny and Douglas Fairbanks, is disappointing. It was for something more worthy of that commanding figure and of those incisive tones that we have been waiting.’ – Punch<\/em>, ‘At the Pictures’, 25 August 1937, E.Y.<\/strong><\/p>\n

‘Romney Brent […] gives an admirable comedy performance as Gil’s unscrupulous servant. Annabella suffers from too many close-ups, and Raymond Massey from farcical make-up as Richelieu. Conrad Veidt, as Gil, at any rate looks\u00a0<\/em>impressive. Although not convincing from an adult point of view, the film would probably be found quite exciting and entertaining by children.’ – Monthly Film Bulletin<\/em>, 31 August 1937, A.V.<\/strong><\/p>\n

<\/div>\n

Watch Under the Red Robe<\/em> (1937) at Culturedarm.<\/strong><\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

A dowdy swashbuckler even at the time of its release in 1937, Under the Red Robe remains a curiosity today as the final film by Victor Sj\u00f6str\u00f6m, the father of Swedish cinema. Born in Silbodal in western Sweden, an infant Sj\u00f6str\u00f6m moved with his parents to Brooklyn, returning to Sweden at the age of seven […]<\/p>\n","protected":false},"author":1,"featured_media":11827,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3960,3875,4020],"tags":[4330,4332,4333,4335,4336,4337,4334,4329],"class_list":{"0":"post-11823","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-monthly-film","8":"category-movies","9":"category-world-cinema","10":"tag-annabella","11":"tag-british-film","12":"tag-conrad-veidt","13":"tag-ingmar-bergman","14":"tag-louis-b-mayer","15":"tag-swedish-film","16":"tag-under-the-red-robe","17":"tag-victor-sjostrom"},"jetpack_publicize_connections":[],"yoast_head":"\nFebruary Film: Under the Red Robe Analysis<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"February Film: Under the Red Robe Analysis\" \/>\n<meta property=\"og:description\" content=\"A dowdy swashbuckler even at the time of its release in 1937, Under the Red Robe remains a curiosity today as the final film by Victor Sj\u00f6str\u00f6m, the father of Swedish cinema. Born in Silbodal in western Sweden, an infant Sj\u00f6str\u00f6m moved with his parents to Brooklyn, returning to Sweden at the age of seven […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/\" \/>\n<meta property=\"og:site_name\" content=\"Culturedarm\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/culturedallroundman\" \/>\n<meta property=\"article:published_time\" content=\"2016-05-11T15:22:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/culturedarm.com\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"803\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Christopher Laws\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/culturedarm\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Christopher Laws\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/\"},\"author\":{\"name\":\"Christopher Laws\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5\"},\"headline\":\"February Film: Under the Red Robe Analysis\",\"datePublished\":\"2016-05-11T15:22:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/\"},\"wordCount\":1312,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/culturedarm.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1\",\"keywords\":[\"Annabella\",\"British Film\",\"Conrad Veidt\",\"Ingmar Bergman\",\"Louis B. Mayer\",\"Swedish Film\",\"Under the Red Robe\",\"Victor Sj\u00f6str\u00f6m\"],\"articleSection\":[\"Monthly Film\",\"Movies\",\"World Cinema\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/\",\"url\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/\",\"name\":\"February Film: Under the Red Robe Analysis\",\"isPartOf\":{\"@id\":\"http:\/\/culturedarm.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1\",\"datePublished\":\"2016-05-11T15:22:28+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1\",\"width\":1200,\"height\":803},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/culturedarm.com\/staging\/5793\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"February Film: Under the Red Robe Analysis\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/culturedarm.com\/#website\",\"url\":\"http:\/\/culturedarm.com\/\",\"name\":\"Culturedarm\",\"description\":\"Where the Strands of Culture Entwine\",\"publisher\":{\"@id\":\"http:\/\/culturedarm.com\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/culturedarm.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"http:\/\/culturedarm.com\/#organization\",\"name\":\"Culturedarm\",\"url\":\"http:\/\/culturedarm.com\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1\",\"width\":2000,\"height\":2000,\"caption\":\"Culturedarm\"},\"image\":{\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5\",\"name\":\"Christopher Laws\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g\",\"caption\":\"Christopher Laws\"},\"description\":\"Christopher Laws is the writer and editor of Culturedarm, currently based in Ume\u00e5, Sweden.\",\"sameAs\":[\"http:\/\/www.culturedarm.com\",\"https:\/\/www.facebook.com\/culturedallroundman\",\"http:\/\/instagram.com\/culturedarm\",\"https:\/\/x.com\/https:\/\/twitter.com\/culturedarm\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"February Film: Under the Red Robe Analysis","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/","og_locale":"en_US","og_type":"article","og_title":"February Film: Under the Red Robe Analysis","og_description":"A dowdy swashbuckler even at the time of its release in 1937, Under the Red Robe remains a curiosity today as the final film by Victor Sj\u00f6str\u00f6m, the father of Swedish cinema. Born in Silbodal in western Sweden, an infant Sj\u00f6str\u00f6m moved with his parents to Brooklyn, returning to Sweden at the age of seven […]","og_url":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/","og_site_name":"Culturedarm","article_author":"https:\/\/www.facebook.com\/culturedallroundman","article_published_time":"2016-05-11T15:22:28+00:00","og_image":[{"width":1200,"height":803,"url":"https:\/\/culturedarm.com\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg","type":"image\/jpeg"}],"author":"Christopher Laws","twitter_card":"summary_large_image","twitter_creator":"@https:\/\/twitter.com\/culturedarm","twitter_misc":{"Written by":"Christopher Laws","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#article","isPartOf":{"@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/"},"author":{"name":"Christopher Laws","@id":"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5"},"headline":"February Film: Under the Red Robe Analysis","datePublished":"2016-05-11T15:22:28+00:00","mainEntityOfPage":{"@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/"},"wordCount":1312,"commentCount":0,"publisher":{"@id":"http:\/\/culturedarm.com\/#organization"},"image":{"@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1","keywords":["Annabella","British Film","Conrad Veidt","Ingmar Bergman","Louis B. Mayer","Swedish Film","Under the Red Robe","Victor Sj\u00f6str\u00f6m"],"articleSection":["Monthly Film","Movies","World Cinema"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/","url":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/","name":"February Film: Under the Red Robe Analysis","isPartOf":{"@id":"http:\/\/culturedarm.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage"},"image":{"@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1","datePublished":"2016-05-11T15:22:28+00:00","breadcrumb":{"@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#primaryimage","url":"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1","contentUrl":"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1","width":1200,"height":803},{"@type":"BreadcrumbList","@id":"https:\/\/culturedarm.com\/february-film-under-the-red-robe-analysis\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/culturedarm.com\/staging\/5793\/"},{"@type":"ListItem","position":2,"name":"February Film: Under the Red Robe Analysis"}]},{"@type":"WebSite","@id":"http:\/\/culturedarm.com\/#website","url":"http:\/\/culturedarm.com\/","name":"Culturedarm","description":"Where the Strands of Culture Entwine","publisher":{"@id":"http:\/\/culturedarm.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/culturedarm.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"http:\/\/culturedarm.com\/#organization","name":"Culturedarm","url":"http:\/\/culturedarm.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1","contentUrl":"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1","width":2000,"height":2000,"caption":"Culturedarm"},"image":{"@id":"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5","name":"Christopher Laws","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/culturedarm.com\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g","caption":"Christopher Laws"},"description":"Christopher Laws is the writer and editor of Culturedarm, currently based in Ume\u00e5, Sweden.","sameAs":["http:\/\/www.culturedarm.com","https:\/\/www.facebook.com\/culturedallroundman","http:\/\/instagram.com\/culturedarm","https:\/\/x.com\/https:\/\/twitter.com\/culturedarm"]}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Under-the-Red-Robe-3.jpg?fit=1200%2C803&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pg4g5X-34H","_links":{"self":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts\/11823","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/comments?post=11823"}],"version-history":[{"count":3,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts\/11823\/revisions"}],"predecessor-version":[{"id":11837,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts\/11823\/revisions\/11837"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/media\/11827"}],"wp:attachment":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/media?parent=11823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/categories?post=11823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/tags?post=11823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}