Reviews (8)

CRASH DIVE SOARS - TRANSFER IS SUSPECT, THOUGH.
"Crash Dive," a melodramatic lover's triangle between naval heroes (Tyrone Power and Dana Andrews) and the girl they both love (Anne Baxter), is one of those standard war flicks made at the height of conflict (1943). Remarkably, it continues to stir up patriotism and lift the spirits, despite a somewhat heavy handed script and some truncated bits of romance that seem to be inserts into an otherwise straight forward and compelling adventure movie. Powers is a reluctant executive officer aboard a submarine. His relationship with his new captain (Andrews) becomes strained after he realizes that they are in love with the same woman. All this is background fodder for the real plot of the movie - a mid-Atlantic ambush of a secret German island and its Nazi military base.
THE TRANSFER: Filmed on location, Leon Shamroy's lush Technicolor photography is the real star of "Crash Dive" and although the film has dated considerably, there's still enough gleam in the original negative to compel the viewer onward. Colors are rich and for the most part, nicely balanced. Occasionally there are scenes in which the color scheme becomes unstable or flickers. There is also an abundance of age related artifacts that detract from the overall visual presentation. Black and contrast levels are generally solid. There's a slight haze over some of the scenes as well. Digital anomalies are not an issue on this disc. The audio has been cleaned up and is nicely presented. EXTRAS: None.

BOTTOM LINE: If you're a cinema war junky, then "Crash Dive" will suit you tastes. But it does not represent the best of genre by any means. The DVD's middle of the road picture quality is a let down.

A nice surprise for the war effort
Filmed as the actual battle for the Atlantic was taking place is the 1943 drama "Crash Dive" starring Tyrone Powers. These types of movies are a common phenomenon during wartime to help lift peoples spirits on the homefront and drum up patriotic fervor. Here the American sailors are fighting the good fight against the despicable Nazi war machine.
However, this DVD offers a surprise. It is actually a very well made and entertaining adventure movie with enough splashes of romantic subplot and action to keep everyone in the family happy.
Powers plays a PT boat crewmember who is unwillingly transferred as executive officer aboard a submarine based out of the New London, Conn. base. Initially he gets along well with his new captain until he realizes that the two of them are in love with the same woman. The two must learn to trust one another and work together to investigate a mysterious ship in the mid-Atlantic and destroy the secret German island base that is being used by the Nazi's as a staging point for attacks on the Allied shipping lanes.
Filmed on location with the full cooperation of the War Department the movie is presented in technicolor and although the color on the DVD transfer is somewhat saturated it is still relatively clear of blemishes. Where the DVD is lacking however is in special features merely offering a selection of trailers of the other Fox war titles.

Good Hollywood Submarine Film for War Effort
This 1943 film made during the War boasts beautiful color Cinematography by Leon Shamroy. Basically it sets up a love triangle between naval heroes Tyrone Power and Dana Andrews and the girl they love Anne Baxter. The actual United States Navy submarine base at Groton, Connecticut was used in some of the location photography. Fred Sersen won an Oscar for Special Photographic Effects and Roger Heman for Special Sound Effects. Also featured are James Gleason, Dame May Whitty and Henry Morgan.

Submarines and Anne Baxter
Crash Dive was released the same year as Destination Tokyo, and I think the latter was the better film. Not to slam this movie too much, because it's entertaining enough. But the focus in Crash Dive is different, spending a considerable amount of time off the submarine as Tyrone Power and Dana Andrews clash over the affections of an incredibly beautiful Anne Baxter. The performances are as good as you could expect with this kind of material, and the action scenes are quite effective. But it's the kind of movie you can watch and then forget pretty soon afterwards. It's entertaining, but without much impact.

Tyrone Power in one of his best action films.
Tyrone Power shows us in this film, he's a real man, and a real ladies man with love interest Anne Baxter. Dana Andrews co-stars in this example of a fine war movie. If you collect war films, this one is a must. ... Read more

Reviews (17)

The End of the Road
I've had the advantage of seeing The Petrified Forest as a movie and on stage. Taking into account the fact that the stage production I saw wasn't the greatest, I still think that the movie version captured the story better. The story is dated and clearly belongs in the time period it was made, but that works in the film. The performances also work. Leslie Howard, sort of a forgotten Thirties' star these days, manages to make some difficult dialogue play well. Humphrey Bogart, in an early role as the young gangster, makes his character an interesting and sympathetic figure, despite not having many moments to really develop the character with dialogue. Bette Davis brings a lot of conviction to her role as the young, full of ideas waitress that Howard falls in love with. The Petrified Forest is a hostage drama, but it's more than that. It looks at life, growth, love, and disillusionment. It presents a nice contrast of characters, since Howard and Bogart are both at the end of their roads, having gotten there in very different ways. Bearing in mind that the film/play was written for an audience in the Thirties, today's movie fan will still find truths and entertainment in it.

Should Be on DVD!!
I taped The Petrified Forest a couple of years ago when it was shown on TCM and I thought it was a very good movie! Bette Davis plays a young woman who lives in a desert town with her father and works as a waitress in his desert cafe, she is bored and would love to leave home and go see the world! A disillusioned writer played by Leslie Howard stops at the cafe and she falls for him but when a criminal played by Humphrey Bogart and his gang are on the run from the law they hide out in the cafe and hold everyone hostage. This is a good movie and I like that Bette Davis is playing a nice girl who is sweet and compassionate when it seems that she was generally known for playing ruthless, cold and calcuating women so this is a nice change. I recommend this movie, I don't think it's been put on DVD yet but I really think it should be put on DVD!

Fascinating film debut for Humphrey Bogart
Actually, this was not quite Bogart's debut. He had been in a few utterly forgettable films in tiny roles in the early 1930s before returning to Broadway, but this is his "real" debut.

THE PETRIFIED FOREST had been a highly successful stage play starring Leslie Howard and Humphrey Bogart, and Warner Brothers wanted to do a film version of it. They therefore approached Howard with the offer, indicating that they would like to have him reprise his starring role, and have him star opposite Edward G. Robinson as Duke Mantee. Howard, however, indicated that he would only make the film if his Broadway costar, Bogart, played Duke Mantee. At this point in his career, Bogart's acting career had consisted primarily in playing juvenile parts in various plays (the famous line "Tennis anyone?" is perhaps mythically attributed to one of his roles, but sums up the spirit of onstage persona) and failed attempts to break into film. Playing Duke Mantee had been a dramatic departure for Bogart, who had never previously played a heavy. Luckily for film history, Howard insisted that he would not make THE PETRIFIED FOREST unless Bogart played Mantee.

Historically, the most important thing about this film is that it launched Bogart's film career. Although he would spend the next four years playing a huge number of gangsters, he was, nonetheless, after this film, a Hollywood mainstay, becoming the number four gangster in the Warner Brother stable after Robinson, Cagney, and Raft.

THE PETRIFIED FOREST is, however, entertaining on its own. The one great negative of the film is the fact that it is very obviously a film version of a stage play. The action of the film is limited to only a few locations, and overall the production has a very static feel. Although there are some interesting sets, with some fascinating painted backdrops of Arizona landscape (some of it was shot live, but most of it is done in a studio), the real interest in the film lies in the performances. Leslie Howard made far too few films for my taste. I know he was deeply involved in the stage, but he was both immensely talented and quite charismatic. Unfortunately, his bizarre death cut his talent off far too soon (during WW II, the Luftwaffe shot down a plane he was in, thinking that a military or political VIP was on it). Bogart is striking as Duke Mantee. Bette Davis is as enjoyable in this as any film I have seen her in. I have to confess that by and large I don't care for Bette Davis. She has a tendency to over enunciate every word in a way that is not merely unnatural but a little unnerving. She never seems at ease on screen. She always seems to be "acting." Still, she is well suited to this role.

Leslie is the star, but Humphrey's the cover guy? Strange...
I could sum this up in a very brief paragraph, and I will, because it simply did not thrill me to the depths of my soul, leaving me appropriately petrified.

Bette Davis was fine. Leslie Howard is, as usual, a watery intellectual, this time turned hitchhiker. Humphrey Bogart is the tough guy whose entire role required little more than sitting pointing a gun at people. The others were unremarkable.

This movie wants so much to live, and love, and be loved, but there is nothing to be found for it - not here nor anywhere else. It longs to be buried somewhere in the Petrified Forest, where the winds can blow over it, and perhaps - being so chocked full of dramatic, poetic statements, some will leak out from its grave, and the occasional tourist will hear the gentle whisper, "'Tis for this end that we twain are met!"

Let this movie rest in peace.

Classic Story of Good vs. Evil Battle -- One of the Best
Humphrey Bogart and Leslie Howard reprise their stage roles as "bad guy/good guy" in this ever timely tale of greed and ruthlessness vs. selfless and compassionate courage. Caught in the middle of this age old story is a young Bette Davis, who in the course of hours learns to love the "hero", never stopping to despise the evil enemy.

The setting is a diner, suddenly held-up by Bogart, who eventually shoots and kills the kindly Howard who 'dared' to stand up to the bully (mainly to protect Davis). The helpless waitress (with the universal 'dream' to get away and make a better life for herself), sees the crisis as a 'sign'. Before dying, Howard makes Davis the sole benefitiary of a modest insurance policy, which Davis tearfully accepts.

This film lives on in Cinema History as one of the true classics of all time. The transition from stage to silver screen was sucessful, especially when considering that the story was made available to a much greater audience. This is a highly recommended 5-star film!***** ... Read more

Reviews (8)

Look Into My Eyes...
At first glance, SVENGALI (John Barrymore) is just a slimy, heartless music instructor, taking advantage of the folly of his female students (victims). On closer inspection, he is a demonic presence, mesmerizing those he desires with those hideous eyes of his! Trilby (Marian Marsh) is a beautiful young model, who captivates SVENGALI and drives him to obsession. He simply must possess her and sets out to do so by hypnotizing her (in the guise of a headache cure). The various shots of SVENGALI's eyes are unforgettable. In them we see an evil that is otherwise hidden deep in SVENGALI's heart. While others think of him as a harmless buffoon, we know what he REALLY is, as well as what he's really capable of. Trilby is drawn into those eyes, becoming his slave. Though she becomes a singing sensation, we realize that she is only a puppet for her new master, a caged bird chirping for her captor. Her life is reduced to SVENGALI. This is a horror story about domination, submission, and death. Eerie and disturbing, SVENGALI is a must-see classic. Highly recommended...

Barrymore's best
John Barrymore gives a performance for the ages as the title character. His walk, body language, makeup and voice are outstanding and he makes the mesmerist a very tragic character.
The overlooked Archie Mayo does a great directing job for this early sound film and the very green Marion Marsh, helped by Barrymore, is the doomed Trilby. This is Barrymores's greatest hour.

Under John Barrymore's spell
Maestro Svengali (John Barrymore), professeur du chant, dwells in a shabby attic. His hair is greasy and his goatee split like a snake's tongue. But one indifferent "Ja, Liebchen, I know how you feel" is enough to bring women to throw themselves at his head. But heaven help those who fall for his flattery. He has no use for a burdensom appendage, and a gullible woman who throws herself in the Seine because of him grieves him not particularly: "Ah, that was a pity. She was very sweet - but a bad businesswoman. Tsk, tsk, tsk". The scene of action is Paris. The Paris of MOULIN ROUGE and LA BOHEME.

Svengali's morning toilet is not too careful - he spits in a cuspidor - and the sight of a young briton taking a bath gives him the idea to play "God save the Queen" to make him stand up. Most of the time he grapples with the problem of how to pay his rent, but when his purse if filled he spruces himself up and goes to town, unaffected by the mockery of the passers-by.

One day, Trilby (Marion Marsh), a young, coquettish painter's model bursts into this bachelor's topsy-tuvydom. Casually dressed in a gendarme's uniform and comfortable slippers she poses for all those Toulouse-Lautec-wannabes and falls in love with Billie (Bramwell Fletcher), the young briton who soon proposes to her. While Billie falls for her looks, her singing-voice attracts Svengali's attention. He recognizes her potential as primadonna and uses his hypnotic powers to clear her brain until she thinks nothing but: Svengali. He heals her headache but her pain goes directly in his heart.

The next shot is famous: Svengali calls Trilby via long-distance-hypnosis: His eyes light up like electric bulbs, the camera moves from his pupils along the block of houses in Trilby's bedroom. She sleep-walks in his apartment. His powers are strong enough to transform he in a somnabulist, but to win her love... He obstructs her wedding: She feels guilty after Billie surprises her posing as life-model ("He saw me there, before all those men!"). Svengali lists her former lovers and appeals to her conscience: "You are good like a little bird, like a lark that must sing in the sunlight - but are you good enough to face Billie's mother?" and his cunning is crowned by success.

Five years later, Trilby, now Madame Svengali is a famous primadonna who sends the audience into raptures. Svengali, bemedalled, and "La Svengali", loaden with jewels look very new-rich, but the glittering facade crumbles: Svengali's heart is failing, slowly he loses his grip on Trilby. In those moments she wakes up and greets her old friends as if nothing ever happened. Billie too is in the audience, Billie who still loves her...Svengali pulls himself together and Trilby is spellbound again. He showers her with presents, but she is unable to give him what he wants most - her love: "You are beautiful, my manufactured love, but it is only Svengali talking to himself".

Two components contribute to make SVENGALI a classic: The famous surrealistic sets and John Barrymore's performance. One aspect of his performance is problematic: The protagonist in Du Mauriers novel was a Polish jew, and Barrymore, with his tog, his make-up and his thick german accent may look like a wildly racistic caricature for those who don't know him. But nothing could be further from the truth! He was such a good, open-minded man. His eye-twinkling charm enchants the viewer, and near the end his performance becomes nearly soul-stirring. This was probably his sexiest performance. His biographer Margot Peters found him the personification of seductive guile - Lucifer as serpent, and was remembered of a tomcat watching a mousehole. Barrymore's fourth wife fell so completely in love with him after watching this film, that she chased him by train, plane and even radio-address until he finally said: "yes".

AN INTERESTING ANTIQUE.
For those who are interested to catch a glimpse of the legendary John Barrymore - before he basically became a parody - this film from 1931 is a good choice. In the title role, Barrymore is still quite mesmorising and the photography is interesting. Svengali, of course is that immortal teacher of female singers who can work wonders via his hypnotic glare: Trilby is his newest conquest: she becomes the toast of Europe as Madame Svengali, the singer - all because of his supernatural powers. Marian Marsh makes a visually perfect Trilby but her acting isn't nearly on a par with her benefactor - but then few actresses could really do much with such a mealy, whacko role. Barney McGill's inspired photography won him an AA nomination. Based upon the nearly immortal novel by George Du Maurier, this was - rather unbelievably - first filmed in 1896 (!) by Biograph as TRILBY AND LITTLE BILLEE. Later, in 1915 Equitable filmed the story with Clara Kimball Young and Wilton Lackaye (what a name!) : it was directed by Maurice Tourneur.

Visually Intriguing
John Barrymore stars as a composer and hypnotist who takes control of Marian Marsh through hypnosis and turns her into a great singer and his lover. Barrymore gives a striking performance as the sinister, yet humorous Svengali, sometimes a bit hammy but acting circles around the rest of the cast. The sets and photography are strange, yet stunning, creating an eerie, almost other world feel. There are a number of great camera shots, including a long shot that moves from Svengali's apartment to another building that must have been a real challenge technically back in 1931. It is a very talky film with little action, but the visual presentation of Barrymore and the sets helps to make up for it. It's not a great film, but it does leave an impression. ... Read more

Reviews (19)

The Marx Brothers' Farewell Film
"A Night in Casablanca" (1946) is the best of the later Marx comedies and a fitting finale to their screen career. ("Love Happy," made in 1949, is a Harpo Marx vehicle with Chico and Groucho as guest stars -- it never was intended to be a legitimate Marx Brothers film and should be viewed in that context.) Perhaps their finest effort since "A Night at the Opera" (1935), this postwar escapade features the Marxes in splendid form and recaptures some of the rough-edged spontaneity of their early Paramount comedies. Harpo, in particular, is superb -- this is easily his best performance since "Duck Soup" and, unlike the MGM films, his talents are given a free reign. The absence of Margaret Dumont is compensated by the return of comic villain Sig Rumann (as Heinrich Stubel), who was a terrific foil in "A Night at the Opera" and "A Day at the Races." It may seem odd to place Groucho, Harpo and Chico in a post-WWII setting, but the brothers' shenanigans inside the Hotel Casablanca are a refreshing throwback to their first film, "The Cocoanuts" (1929). In many ways, the Marxes have come full circle. The final image of Groucho, Harpo and Chico chasing beautiful Lisette Verea through the streets of Casablanca ends the movie on an appropriately Marxian note -- which wasn't the case in most of their MGM efforts. Though not without its minor faults, "A Night in Casablanca" is a much better film than its critical reputation would have you believe. The print quality is excellent and, for the first time in many years, this video is recorded in SP mode.

A Fond Farewell
By 1946 the Marx Brothers considered themselves retired as a screen team--but brother Chico's on-going financial difficulties coaxed them back into the studio for a final film. The result is a film that will never compete with their sharp-edged comedies of the 1930s but which possesses considerable charm nonetheless.

A NIGHT IN CASABLANCA finds Groucho employed as the manager of the Hotel Casablanca--where three previous managers have met sudden death at the hands of post-war Nazis in search of treasure hidden at the hotel during the war. Time, it seems, mellowed the brothers, and although they retain their sparkle they perform without the manic edge that characterized their earlier films; the result is a much friendlier, cozier style of comedy that feels as comfortable your bedroom slippers.

All three brothers have ample opportunity to shine, and the film includes its share of memorable moments--perhaps most notable the diminishing dancefloor and the hilarious suitcase packing scene. It all has tremendous charm, and all the more welcome for following the several uninspired films the brothers made in the early 1940s. A fitting finish and fond farewell to one of Hollywood's greatest comedy acts; recommended.

"You schweinhund!"
A NIGHT IN CASABLANCA is a film more famous for the correspondence it allegedly provoked (there's a possibility that the entire thing was a publicity stunt) between Groucho Marx and the Warner Brothers' legal department (WB stated they had a claim on 'Casablanca'; Groucho countered with a claim on 'Brothers') than for any of the gags it contained. I think this is a pity as, while it certainly can't compare to the Marx Brothers at their height, it isn't an awful film. In fact, taken on its own merits, it's quite good.

The first thing that struck me when I put on this DVD (this was the first time I'd seen the film) was how much older the Marx Brothers themselves looked, particularly Harpo. His character was always a sort of ageless clown and seeing wrinkles sort of spoilt the illusion for me. On the other hand, Groucho actually looks more in character at this age. It gives him easier access to his "dirty old man" routine, which he played perfectly.

Despite the title (and apparently the original intentions of the filmmakers), the movie doesn't have much to do with the more famous film with a similar name. The action centers in and around a hotel rather than a nightclub (Groucho is now the manager after the last few died under mysterious circumstances). The search is for treasure instead of travel papers. And, of course, instead of Humphrey Bogart and Ingrid Bergman as the romantic couple, we have bland Zeppo-replacement and bland Zeppo-replacement's bland girlfriend. Well, we can't have everything.

While most of the secondary cast is uninspired, it is nice to see Sig Ruman and his eye-popping indignation back again after his stints in A NIGHT AT THE OPERA and A DAY AT THE RACES. His over-the-top, sputtering reactions almost make up for the lack of Margaret Dumont. In the sequence where he's trying to pack his suitcases and trunks while the Marx Brothers invisibly impede his progress, he helps turn a great scene into a classic one.

The joke writing in this movie is quite strong compared to some of the other MGM Marx features. In particular, Groucho's one-liners are at full strength; I have this movie on in the background while I type up this review, and I'm catching hilarious little jokes and double entendres that I missed the first time around. And while some of the gags have the hint of unoriginality about them, there's enough that's fresh. Sure, the scene of Harpo pantomiming that Groucho was about to be blackmailed by a femme fatale had already been done in A DAY AT THE RACES, but they wisely don't use the same lines to fuel the jokes (although strangely they do use the same music: both Groucho seduction scenes feature Johann Strauss' "The Blue Danube"). The same is true for the crowded dance-floor sequence that mimics the crowded stateroom scene from A NIGHT AT THE OPERA. Same premise, but different funny jokes.

The DVD extras are nothing special. I suppose someone must be enjoying the vintage cartoons that they're putting on these Marx Brothers DVDs, but that person isn't me. The extras aren't important anyway; unfortunately, they don't add anything to the experience. Picture and sound quality are both excellent for a film of this age.

This movie may come from the less celebrated portion of the Brothers' career, but to my surprise I really enjoyed it. No film can go wrong that features a scene of Harpo Marx grinning madly at the controls of an airplane. If you go in expecting DUCK SOUP, then you might be disappointed. But if you take it for what it is rather than what it isn't, you'll find a film that's funnier than most.

The Fab Three.
While "A Night in Casablanca" is not the Marx Bros. at their best, it still has enough chuckles and gags to amuse Groucho, Chico and Harpo's legion of fans. Sure--it doesn't compare to "Horse Feathers", "Monkey Business", "Duck Soup", "A Night at the Opera" or "A Day at the Races"--but--to be fair--how many comedies do ?

All three of "Minnie's boys" have a chance to shine in this wacky hotel farce set in "exotic" Casablanca. What fans will appreciate most is that the Marxes are on screen for most of the film. For this viewer at least, some of their MGM films were spoiled by saccharine romantic sub-plots, with some boring young tenor of the day crooning to a starlet. While there is some music in this film--including expected turns on piano by Chico and on harp by ( duh ) Harpo--it doesn't detract from the fun.

Groucho shines as the new hotel manager--Harpo is valet to a very suspicious-looking German ( Sig Ruman, hamming it up wonderfully )--Chico seems to be a con-man, intent on ensuring that Groucho does not meet the same nasty fate of previous hotel managers. Of course, we have the usual number of pompous, arrogant people who run head-long into Groucho's rapier wit. I did miss Margaret Dumont though.

The quality of the DVD is excellent--crisp B & W picture--clear mono sound.

Groucho, Chico and Harpo were quite simply three of the funniest human beings of the 20th century. While "A Night in Casablanca" is not a top-tier Marx movie, it will still provide you with a lot of amusement, and deserves a spot in your classic comedy DVD collection.

Pretty funny
Except for the numbers with the clothes and the airplane which were comical at first but then endless, I think this movie almost ranks with their first 5 (or 4 not counting Duck Soup, which I don't). It was really funny. The brothers were a little long in the tooth by 1946 and it showed, which made their capers seem more childish and dumb than childlike and elfin, but I thought the flick was pretty funny. It was a serious plot (murders, nazis), and once again Harpo got knocked around instead of doing his usual former fey bit of chasing and scaring the pants off girls. The old Marx trademarks were gone (except once, Harpo put a girl's thigh into the palm of his dangling hand, but alas, it was only to catch her cigarette in his shoe, and she wasn't annoyed), but I laughed a lot, didn't recognize the names of the authors, liked Harpo's and Chico's musical numbers, liked all the sight gags, thought some of the lines (a lot of them, actually) were really witty and generally had a good time. I think these (except the 7 disc set which I haven't seen) are the only DVDs of these movies available, but I'll tell you anyway that there are (at least not in Opera or Casablanca) no papers in the DVD cases with notes or scene indices. They are nicely done sets, but I thought that was a little cheap, especially considering what these flicks cost. One last note. The first 5 Marx Bros movies were crowded, loaded, rife with incidents and pranks and jokes and stuff. This and Opera (I bought but have yet to watch Races) seem pretty thin, sparse and barren, particularly in comparison. ... Read more

Reviews (8)

Look Into My Eyes...
At first glance, SVENGALI (John Barrymore) is just a slimy, heartless music instructor, taking advantage of the folly of his female students (victims). On closer inspection, he is a demonic presence, mesmerizing those he desires with those hideous eyes of his! Trilby (Marian Marsh) is a beautiful young model, who captivates SVENGALI and drives him to obsession. He simply must possess her and sets out to do so by hypnotizing her (in the guise of a headache cure). The various shots of SVENGALI's eyes are unforgettable. In them we see an evil that is otherwise hidden deep in SVENGALI's heart. While others think of him as a harmless buffoon, we know what he REALLY is, as well as what he's really capable of. Trilby is drawn into those eyes, becoming his slave. Though she becomes a singing sensation, we realize that she is only a puppet for her new master, a caged bird chirping for her captor. Her life is reduced to SVENGALI. This is a horror story about domination, submission, and death. Eerie and disturbing, SVENGALI is a must-see classic. Highly recommended...

Barrymore's best
John Barrymore gives a performance for the ages as the title character. His walk, body language, makeup and voice are outstanding and he makes the mesmerist a very tragic character.
The overlooked Archie Mayo does a great directing job for this early sound film and the very green Marion Marsh, helped by Barrymore, is the doomed Trilby. This is Barrymores's greatest hour.

Under John Barrymore's spell
Maestro Svengali (John Barrymore), professeur du chant, dwells in a shabby attic. His hair is greasy and his goatee split like a snake's tongue. But one indifferent "Ja, Liebchen, I know how you feel" is enough to bring women to throw themselves at his head. But heaven help those who fall for his flattery. He has no use for a burdensom appendage, and a gullible woman who throws herself in the Seine because of him grieves him not particularly: "Ah, that was a pity. She was very sweet - but a bad businesswoman. Tsk, tsk, tsk". The scene of action is Paris. The Paris of MOULIN ROUGE and LA BOHEME.

Svengali's morning toilet is not too careful - he spits in a cuspidor - and the sight of a young briton taking a bath gives him the idea to play "God save the Queen" to make him stand up. Most of the time he grapples with the problem of how to pay his rent, but when his purse if filled he spruces himself up and goes to town, unaffected by the mockery of the passers-by.

One day, Trilby (Marion Marsh), a young, coquettish painter's model bursts into this bachelor's topsy-tuvydom. Casually dressed in a gendarme's uniform and comfortable slippers she poses for all those Toulouse-Lautec-wannabes and falls in love with Billie (Bramwell Fletcher), the young briton who soon proposes to her. While Billie falls for her looks, her singing-voice attracts Svengali's attention. He recognizes her potential as primadonna and uses his hypnotic powers to clear her brain until she thinks nothing but: Svengali. He heals her headache but her pain goes directly in his heart.

The next shot is famous: Svengali calls Trilby via long-distance-hypnosis: His eyes light up like electric bulbs, the camera moves from his pupils along the block of houses in Trilby's bedroom. She sleep-walks in his apartment. His powers are strong enough to transform he in a somnabulist, but to win her love... He obstructs her wedding: She feels guilty after Billie surprises her posing as life-model ("He saw me there, before all those men!"). Svengali lists her former lovers and appeals to her conscience: "You are good like a little bird, like a lark that must sing in the sunlight - but are you good enough to face Billie's mother?" and his cunning is crowned by success.

Five years later, Trilby, now Madame Svengali is a famous primadonna who sends the audience into raptures. Svengali, bemedalled, and "La Svengali", loaden with jewels look very new-rich, but the glittering facade crumbles: Svengali's heart is failing, slowly he loses his grip on Trilby. In those moments she wakes up and greets her old friends as if nothing ever happened. Billie too is in the audience, Billie who still loves her...Svengali pulls himself together and Trilby is spellbound again. He showers her with presents, but she is unable to give him what he wants most - her love: "You are beautiful, my manufactured love, but it is only Svengali talking to himself".

Two components contribute to make SVENGALI a classic: The famous surrealistic sets and John Barrymore's performance. One aspect of his performance is problematic: The protagonist in Du Mauriers novel was a Polish jew, and Barrymore, with his tog, his make-up and his thick german accent may look like a wildly racistic caricature for those who don't know him. But nothing could be further from the truth! He was such a good, open-minded man. His eye-twinkling charm enchants the viewer, and near the end his performance becomes nearly soul-stirring. This was probably his sexiest performance. His biographer Margot Peters found him the personification of seductive guile - Lucifer as serpent, and was remembered of a tomcat watching a mousehole. Barrymore's fourth wife fell so completely in love with him after watching this film, that she chased him by train, plane and even radio-address until he finally said: "yes".

AN INTERESTING ANTIQUE.
For those who are interested to catch a glimpse of the legendary John Barrymore - before he basically became a parody - this film from 1931 is a good choice. In the title role, Barrymore is still quite mesmorising and the photography is interesting. Svengali, of course is that immortal teacher of female singers who can work wonders via his hypnotic glare: Trilby is his newest conquest: she becomes the toast of Europe as Madame Svengali, the singer - all because of his supernatural powers. Marian Marsh makes a visually perfect Trilby but her acting isn't nearly on a par with her benefactor - but then few actresses could really do much with such a mealy, whacko role. Barney McGill's inspired photography won him an AA nomination. Based upon the nearly immortal novel by George Du Maurier, this was - rather unbelievably - first filmed in 1896 (!) by Biograph as TRILBY AND LITTLE BILLEE. Later, in 1915 Equitable filmed the story with Clara Kimball Young and Wilton Lackaye (what a name!) : it was directed by Maurice Tourneur.

Visually Intriguing
John Barrymore stars as a composer and hypnotist who takes control of Marian Marsh through hypnosis and turns her into a great singer and his lover. Barrymore gives a striking performance as the sinister, yet humorous Svengali, sometimes a bit hammy but acting circles around the rest of the cast. The sets and photography are strange, yet stunning, creating an eerie, almost other world feel. There are a number of great camera shots, including a long shot that moves from Svengali's apartment to another building that must have been a real challenge technically back in 1931. It is a very talky film with little action, but the visual presentation of Barrymore and the sets helps to make up for it. It's not a great film, but it does leave an impression. ... Read more

Description

A Faustian fantasy classic!Mobster Eddie Kagel (Paul Muni) is murdered by a double-crossing associate, finding himself in Hell.When Satan (Claude Rains, Casablanca, The Invisible Man), sees Kagel resembles an adversary, Judge Frederick Parker, he puts Kagel's soul in The Judge's body.Satan wants Kagel to destroy The Judge's chances of running for Governor, but all Kagal wants to do now that he's back on Earth is seek revenge against his own murderer.The Judge's fiancee (Anne Baxter, All About Eve) soon discovers that Kagal has taken over The Judge's body and pursuades Kagal to find goodness in his own heart. ... Read more

Reviews (13)

Devil or the Angel?
Paul Muni plays a gangster brought back to life after he was killed by another evil guy named Smiley Williams. Muni makes a deal with the devil (Claude Rains) and he's brought back as a man who's a judge running for governor! Muni doesn't know Cluade Rains is the devil because he just calls himself Nick, and he says he's an ex- con. Anne Baxter plays the fiancee of the judge and Muni likes her a lot. Lots of people see the change in Muni and soon are wondering if it really is him. There's one scene where Muni wants a drink of liquor and a cigar. But since he's now in the judge's body he coughs it up and feels horrible. Later, Muni finds out that Nick is the Devil and starts distrusting him. Somehow even thoguh this is a little serious, it is also quite funny. THis is a good movie! ENJOY!

Judge for your self
Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

GOOD QUALITY
This VCI disc is good. The image is mostly crisp and clear, say above 90%. There are a few frames that are fuzzy and dull. There is no hissing or dropout in the sound. There is a comedy short with Leon Errol. It's image sound is also good.

As the other reviewers stated the story and acting are top-notch. Even on the short. I have one other VCI disc and there is a Leon Errol short on it. I had never heard of him. He is actually pretty funny.

A Gangster goes to Hell and meets the Devil.
If you can't sleep or it's raining outside and you don't have to work tomorrow, here is a good late night movie to watch. Paul Muni plays a gangster, "Eddie", who has just been released after four years in prison. A gangster pal, "Smiley", picks him up in a car. Suddenly, Eddie is shot and he ends up in Hell. Claude Rains plays the Devil. The Devil decides to let Eddie go back up on Earth. He puts him in another body, a look-alike who is a Judge. All that Eddie can think of is getting even with Smiley for shooting him. But everyone else looks at him as The Judge who is not himself anymore. Ann Baxter plays Miss barbara.

A Classic for All Generations
The popularity of "Angel on My Shoulder" spans seven decades. This 1946 classic film stars Paul Muni, Claude Rains, and Anne Baxter. Originally written by Harry Segall, it is the reverse telling of his earlier work, the stage play "Heaven Can Wait", (which was adapted for the screen as "Here Comes Mr. Jordan" and remade in 1978 by Warren Beatty). Whereas "Heaven Can Wait" is the story of a man who's prematurely sent to Heaven, "Angel" tells the tale of a mobster, Eddie Kagle, who is sent to Hell after he's gunned down by his best friend. The Devil gives him an opportunity to spend a few days back on Earth to seek revenge. While there, Eddie manages to redeem himself... much to the Devil's chagrin. It's a clever re-telling of Faust.

Both "Here Comes Mr. Jordan" and "Angel on My Shoulder" not only spoke to the era in which they were made, but also became classics in their own right. Despite the fact that "Angel" was produced during the tail end of World War II, it continues to be enjoyed by audiences year after year. Its heartwarming comedy and central theme of redemption have stood the test of time.

Paul Muni plays the lead with much charm, while Claude Rains is a debonaire Devil. There's a few loose ends in the story's structure and non-organic characters whose only purpose is to serve a utility function. However, in the end the overall film delivers an entertaining viewing... and afterall, isn't that the bottom line?

Current rumor has it that a re-make is in the works with a major actor to play the lead. I personally can't wait to see the update. ... Read more

Reviews (13)

Devil or the Angel?
Paul Muni plays a gangster brought back to life after he was killed by another evil guy named Smiley Williams. Muni makes a deal with the devil (Claude Rains) and he's brought back as a man who's a judge running for governor! Muni doesn't know Cluade Rains is the devil because he just calls himself Nick, and he says he's an ex- con. Anne Baxter plays the fiancee of the judge and Muni likes her a lot. Lots of people see the change in Muni and soon are wondering if it really is him. There's one scene where Muni wants a drink of liquor and a cigar. But since he's now in the judge's body he coughs it up and feels horrible. Later, Muni finds out that Nick is the Devil and starts distrusting him. Somehow even thoguh this is a little serious, it is also quite funny. THis is a good movie! ENJOY!

Judge for your self
Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

GOOD QUALITY
This VCI disc is good. The image is mostly crisp and clear, say above 90%. There are a few frames that are fuzzy and dull. There is no hissing or dropout in the sound. There is a comedy short with Leon Errol. It's image sound is also good.

As the other reviewers stated the story and acting are top-notch. Even on the short. I have one other VCI disc and there is a Leon Errol short on it. I had never heard of him. He is actually pretty funny.

A Gangster goes to Hell and meets the Devil.
If you can't sleep or it's raining outside and you don't have to work tomorrow, here is a good late night movie to watch. Paul Muni plays a gangster, "Eddie", who has just been released after four years in prison. A gangster pal, "Smiley", picks him up in a car. Suddenly, Eddie is shot and he ends up in Hell. Claude Rains plays the Devil. The Devil decides to let Eddie go back up on Earth. He puts him in another body, a look-alike who is a Judge. All that Eddie can think of is getting even with Smiley for shooting him. But everyone else looks at him as The Judge who is not himself anymore. Ann Baxter plays Miss barbara.

A Classic for All Generations
The popularity of "Angel on My Shoulder" spans seven decades. This 1946 classic film stars Paul Muni, Claude Rains, and Anne Baxter. Originally written by Harry Segall, it is the reverse telling of his earlier work, the stage play "Heaven Can Wait", (which was adapted for the screen as "Here Comes Mr. Jordan" and remade in 1978 by Warren Beatty). Whereas "Heaven Can Wait" is the story of a man who's prematurely sent to Heaven, "Angel" tells the tale of a mobster, Eddie Kagle, who is sent to Hell after he's gunned down by his best friend. The Devil gives him an opportunity to spend a few days back on Earth to seek revenge. While there, Eddie manages to redeem himself... much to the Devil's chagrin. It's a clever re-telling of Faust.

Both "Here Comes Mr. Jordan" and "Angel on My Shoulder" not only spoke to the era in which they were made, but also became classics in their own right. Despite the fact that "Angel" was produced during the tail end of World War II, it continues to be enjoyed by audiences year after year. Its heartwarming comedy and central theme of redemption have stood the test of time.

Paul Muni plays the lead with much charm, while Claude Rains is a debonaire Devil. There's a few loose ends in the story's structure and non-organic characters whose only purpose is to serve a utility function. However, in the end the overall film delivers an entertaining viewing... and afterall, isn't that the bottom line?

Current rumor has it that a re-make is in the works with a major actor to play the lead. I personally can't wait to see the update. ... Read more

Reviews (13)

Devil or the Angel?
Paul Muni plays a gangster brought back to life after he was killed by another evil guy named Smiley Williams. Muni makes a deal with the devil (Claude Rains) and he's brought back as a man who's a judge running for governor! Muni doesn't know Cluade Rains is the devil because he just calls himself Nick, and he says he's an ex- con. Anne Baxter plays the fiancee of the judge and Muni likes her a lot. Lots of people see the change in Muni and soon are wondering if it really is him. There's one scene where Muni wants a drink of liquor and a cigar. But since he's now in the judge's body he coughs it up and feels horrible. Later, Muni finds out that Nick is the Devil and starts distrusting him. Somehow even thoguh this is a little serious, it is also quite funny. THis is a good movie! ENJOY!

Judge for your self
Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

GOOD QUALITY
This VCI disc is good. The image is mostly crisp and clear, say above 90%. There are a few frames that are fuzzy and dull. There is no hissing or dropout in the sound. There is a comedy short with Leon Errol. It's image sound is also good.

As the other reviewers stated the story and acting are top-notch. Even on the short. I have one other VCI disc and there is a Leon Errol short on it. I had never heard of him. He is actually pretty funny.

A Gangster goes to Hell and meets the Devil.
If you can't sleep or it's raining outside and you don't have to work tomorrow, here is a good late night movie to watch. Paul Muni plays a gangster, "Eddie", who has just been released after four years in prison. A gangster pal, "Smiley", picks him up in a car. Suddenly, Eddie is shot and he ends up in Hell. Claude Rains plays the Devil. The Devil decides to let Eddie go back up on Earth. He puts him in another body, a look-alike who is a Judge. All that Eddie can think of is getting even with Smiley for shooting him. But everyone else looks at him as The Judge who is not himself anymore. Ann Baxter plays Miss barbara.

A Classic for All Generations
The popularity of "Angel on My Shoulder" spans seven decades. This 1946 classic film stars Paul Muni, Claude Rains, and Anne Baxter. Originally written by Harry Segall, it is the reverse telling of his earlier work, the stage play "Heaven Can Wait", (which was adapted for the screen as "Here Comes Mr. Jordan" and remade in 1978 by Warren Beatty). Whereas "Heaven Can Wait" is the story of a man who's prematurely sent to Heaven, "Angel" tells the tale of a mobster, Eddie Kagle, who is sent to Hell after he's gunned down by his best friend. The Devil gives him an opportunity to spend a few days back on Earth to seek revenge. While there, Eddie manages to redeem himself... much to the Devil's chagrin. It's a clever re-telling of Faust.

Both "Here Comes Mr. Jordan" and "Angel on My Shoulder" not only spoke to the era in which they were made, but also became classics in their own right. Despite the fact that "Angel" was produced during the tail end of World War II, it continues to be enjoyed by audiences year after year. Its heartwarming comedy and central theme of redemption have stood the test of time.

Paul Muni plays the lead with much charm, while Claude Rains is a debonaire Devil. There's a few loose ends in the story's structure and non-organic characters whose only purpose is to serve a utility function. However, in the end the overall film delivers an entertaining viewing... and afterall, isn't that the bottom line?

Current rumor has it that a re-make is in the works with a major actor to play the lead. I personally can't wait to see the update. ... Read more

Reviews (13)

Devil or the Angel?
Paul Muni plays a gangster brought back to life after he was killed by another evil guy named Smiley Williams. Muni makes a deal with the devil (Claude Rains) and he's brought back as a man who's a judge running for governor! Muni doesn't know Cluade Rains is the devil because he just calls himself Nick, and he says he's an ex- con. Anne Baxter plays the fiancee of the judge and Muni likes her a lot. Lots of people see the change in Muni and soon are wondering if it really is him. There's one scene where Muni wants a drink of liquor and a cigar. But since he's now in the judge's body he coughs it up and feels horrible. Later, Muni finds out that Nick is the Devil and starts distrusting him. Somehow even thoguh this is a little serious, it is also quite funny. THis is a good movie! ENJOY!

Judge for your self
Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

GOOD QUALITY
This VCI disc is good. The image is mostly crisp and clear, say above 90%. There are a few frames that are fuzzy and dull. There is no hissing or dropout in the sound. There is a comedy short with Leon Errol. It's image sound is also good.

As the other reviewers stated the story and acting are top-notch. Even on the short. I have one other VCI disc and there is a Leon Errol short on it. I had never heard of him. He is actually pretty funny.

A Gangster goes to Hell and meets the Devil.
If you can't sleep or it's raining outside and you don't have to work tomorrow, here is a good late night movie to watch. Paul Muni plays a gangster, "Eddie", who has just been released after four years in prison. A gangster pal, "Smiley", picks him up in a car. Suddenly, Eddie is shot and he ends up in Hell. Claude Rains plays the Devil. The Devil decides to let Eddie go back up on Earth. He puts him in another body, a look-alike who is a Judge. All that Eddie can think of is getting even with Smiley for shooting him. But everyone else looks at him as The Judge who is not himself anymore. Ann Baxter plays Miss barbara.

A Classic for All Generations
The popularity of "Angel on My Shoulder" spans seven decades. This 1946 classic film stars Paul Muni, Claude Rains, and Anne Baxter. Originally written by Harry Segall, it is the reverse telling of his earlier work, the stage play "Heaven Can Wait", (which was adapted for the screen as "Here Comes Mr. Jordan" and remade in 1978 by Warren Beatty). Whereas "Heaven Can Wait" is the story of a man who's prematurely sent to Heaven, "Angel" tells the tale of a mobster, Eddie Kagle, who is sent to Hell after he's gunned down by his best friend. The Devil gives him an opportunity to spend a few days back on Earth to seek revenge. While there, Eddie manages to redeem himself... much to the Devil's chagrin. It's a clever re-telling of Faust.

Both "Here Comes Mr. Jordan" and "Angel on My Shoulder" not only spoke to the era in which they were made, but also became classics in their own right. Despite the fact that "Angel" was produced during the tail end of World War II, it continues to be enjoyed by audiences year after year. Its heartwarming comedy and central theme of redemption have stood the test of time.

Paul Muni plays the lead with much charm, while Claude Rains is a debonaire Devil. There's a few loose ends in the story's structure and non-organic characters whose only purpose is to serve a utility function. However, in the end the overall film delivers an entertaining viewing... and afterall, isn't that the bottom line?

Current rumor has it that a re-make is in the works with a major actor to play the lead. I personally can't wait to see the update. ... Read more