Lovesusti The Worst Film Ever

Moustroll Good movie but grossly overrated

Humbersi The first must-see film of the year.

Kinley This movie feels like it was made purely to piss off people who want good shows

mark.waltz That lovable old rascal, George Arliss, certainly got around in costume dramas, focusing on the eighteenth and nineteenth centuries. Between Disraeli, Voltaire, Alexander Hamilton, and Cardinal Richelieu, Arliss had played his share of historical characters on screen. Unfortunately, today most of his films are pretty much the same; he continuously sticks his thespian nose into government business, rises in power, and seems to spend more time working to reunite young lovers than he is in trying to accomplish anything to benefit society. Arliss is pretty much doing the same thing here, playing vicar by day and pirate by night. This is a convoluted version of an often filmed tale, and after a great beginning where a pirate betrayer is left to rot on a deserted island (strapped to a pole so he can't escape), it moves quickly downward into an 80 minute long boring piece of British celluloid that is often difficult to watch due to an excessive number of characters and many convoluted plot twists. this seems more like a vehicle for British horror star Todd Slaughter rather than Arliss who concluded his film career here.The young couple whom Arlisw sticks his nose into is played by the young Margaret Lockwood and John Litel, and a plot twist that is revealed three- quarters into the film is just too absurd to believe and to try considering Arliss is previous foray into these type of roles. While expertly crafted and beautifully filmed, It suffers from severe mood swings, sometimes appearing to be several pictures smashed into one, and ultimately ends up an eye rolling mess. this is also one of those British films where the variety of accents makes it often difficult for American audiences to completely understand, and that is rather distracting and ultimately takes away from the interest of seeing the plot fleshed out.

bkoganbing The final screen role of George Arliss finds him back in the United Kingdom in the title role of Doctor Syn. At first glance he's the mild mannered vicar who takes a paternal interest in pretty Margaret Lockwood and her budding romance with the young squire in the area, John Loder. But in reality he's got a far better second career going as a smuggler.Doctor Syn ought to be good at it. In reality he's the famous pirate Captain Clegg thought to have been hung years ago. And some of the village establishment in Dymchurch where Arliss has his parsonage really work for him in the smuggling trade.Roy Emerton of the Royal Navy has come to Dymchurch to uncover the smuggling racket. He's a dogged fellow and his probing uncovers some disturbing information.Arliss gives a fine farewell performance in his last screen role done for his country's cinema as opposed to Hollywood. It's fascinating though that Alfred Hitchcock with an eye towards the American market and our Code changed the pirate/parson in his film, Jamaica Inn, while apparently no one felt any compunction about doing that for Dr. Syn.Two remakes were made of this story, Hammer did one with Peter Cushing in the title role and Walt Disney had a three part television story that starred Patrick McGoohan.Best performance in the supporting cast is that of Graham Moffatt who comes off as a British Lou Costello. He plays an apparently dimwitted young kid who turns out not to be so dumb in the end. Doctor Syn was a fine film for George Arliss to leave the cinema with and it still holds up very well today.

spj-4 I regard this black & white movie highly, for it has many applications into the modern struggles of those seeking justice - in any era! It has stood the test of time. That's something the lack of vision of fundamentalists & puritans, across time & place, fail to appreciate. Freedom of speech is not an issue to such conservative powers who had a powerful voice in 1937 when this movie was made, as to today. Rationalism & fundamentalism are entirely broad enough for themselves. No room for fantasy, adventure or contrary thought some would respectfully observe. No complexities of life or possibility.The character of "Dr Syn" is displayed as the quietly pious but genuine pastor looking after his flock, is a credible cover for his secretive nocturnal activities of much merit & substance in their justice. Such justice is something that hardliners would portray as an extravagance they can do without. Indeed, people without a breath of vision won't find much here. They can just listen to too many politicians or shock-jock media personalities who could have an immediate fix to any confrontation without justice but suitable to themselves.Dr Syn might have appeared to be a bible basher. But that is where his common bond with bigots & hypocrites ceases. He was of principle & integrity in his justice, remaining committed to the marginalised outcasts he is sympathetic to the cause of. As such, his expression of two seemingly conflicting characters neatly blends into his one person of integrity. No hypocrisy. No injustice.In a dictatorship of such historical authority of that time, he is forced to present a message faithful to his faith, but remain loyal to his kin of broader vision & concern for true justice & friendship beyond lip service. He is a bridge between kingdoms of much merit. Such as were his friends were people not intending to crucify a king of heaven or be unjust traffic cops, across time & place. In a modern world, harsh & unmoved in raking up revenues for corrupt governments, it has much relevance to its message.Of course, such things as rum-runs were anti-authority & subjective in judgement - something black & white thinkers who don't like others having free will, prefer to oppose. But the drama presented in "Dr Syn" is anything but black & white. The dilemmas of the broad-thinking parson not engulfed by religiousness as he might have been, are passionately voiced by the protagonist in actor George Arliss. If this final movie of his life was his only offering, it would have been a substantial contribution in an otherwise productive life & varied acting career.I think the plot is a realistic one & believable in the era of small churches were scattered along the English coast, & has been verified as historical fact. In such places, activities such as illegal liquor trade & potential invasion were commonly witnessed or experienced threats, that caused the citizens to be wary & vengeful in forming any trust bar their most trusted relationships.In reality, this movie is much more than an historical piece. Certainly, it is much more than a black & white movie as some may dismiss it!

hgallon There are some black and white films which as they grow older become more and more evergreen. (The obvious example is Casablanca). This is one such, although it may not appeal to the young and non-british. Some of its fascination lies in the attitudes, acting styles and techniques which are so neatly frozen in time. If the plot seems a little contrived here and there, or the dialogue rather stilted especially in the romantic scenes, it all adds to the feel of the period in which the film was made (rather than that in which it was set).The plot centres on the coastal hamlet of Dymchurch, where a detachment of the Royal Navy is about to make a search for smuggled goods. The inhabitants of the village are outwardly honest and simple folk, but many of them have nefarious secrets to conceal.The original novel "Dr. Syn", derived from Kentish local legend, was very much darker and bloodier than this film. Likewise, George Arliss's performance as the mild and unctuous parson bears little outward resemblance to the eponymous reprobate of the novel. However, Arliss's character becomes much more believable and deserving of the viewer's wholehearted sympathy towards the end of the film.There are some other acting highlights, notably Wilson Coleman's tipsy country doctor and Graham Moffat's Dickensian fat boy. This was one of Margaret Lockwood's early starring appearances and she smiles, bursts into tears and pouts beautifully throughout.The action sequences all start suddenly without any preceding build-up of tension, and end even more quickly. The comic aspects of the film are given greater emphasis than the action and this adds to the general lightness of atmosphere. The only menacing undertones are provided by the constant references to dark goings-on on the surrounding marshes, and Meinhard Maur's performance as the mutilated mulatto seaman, intent on revenge.All in all, the film is delightful nonsense which deserves more attention than it has received.