lugonian
SVENGALI (Warner Brothers, 1931), directed by Archie Mayo, stars the great profile, John Barrymore, in one of his most celebrated movie roles of his career as well as one of his finest for the Warner studio. Based on the classic 1894 novel "Trilby" by George DeMaurier, which had been filmed twice before under its original book title during the silent film era (1915 and 1923), this latest edition, the first with sound and retitled SVENGALI, certainly fits with the Barrymore style through voice and dark pointed beard image, almost similar to the Fagin character from Charles Dickiens "Oliver Twist." Marian Marsh, a newcomer to films with some previous extra roles to her credit, assumes the role of Trilby.The screenplay by J. Grubb Alexander, set in 19th century Paris, introduces Svengali (John Barrymore) as a composer and music teacher living in an apartment which he shares with Becko (Luis Alberni), and not only owes some back room rent, but owes everybody in town. After Ronori (Carmel Myers), one of his pupils, leaves her husband for Svengali, who rejects her for not getting a cash settlement from her spouse, Svengali encounters a doll-faced beauty named Trilby O'Ferrall (Marian Marsh), a model in the studio of fellow artists Monierd (Donald Crisp), DeTefi (Lumsden Hare) and Billie (Bramwell Fletcher). Because Trilby shows more attention towards the younger artist, Billie, Svengali, who wants her all to himself, hypnotizes her affection over to him. Later, Svengali takes Trilby with him to Paris where, under his trance, develops "his manufactured love" into a famous concert opera singer. Left to believe Trilby had taken her own life following his disapproval of her posing in the nude, Billie, discovering Madame Svengali to be his one and only Trilby, follows their concert tours, hoping to somehow set her free of her maestro's hypnotic eyes.Often classified as a Gothic horror film with similarities between this and Bram Stoker's "Dracula," with female victim living under a trance from her evil mentor, SVENGALI is very much a love story of rejection told through the crazed hypnotist's point of view. Released the same year as Universal's own "Dracula" (1931) with Bela Lugosi in the title role, it's a wonder how SVENGALI might have turned out had Lugosi assumed the task instead of Barrymore. Definitely Lugosi's Hungarian accent would have been natural enough for good measure, but through Lugosi's acting style, his Svengali might have leaned heavily towards Dracula, thus, stirring some confusion for its viewers as to which role he's playing. Yet even by not doing Svengali in the Dracula mode, his Dracula has permanently cemented Lugosi's screen image as Svengali has for Barrymore.For Barrymore's interpretation, his Svengali is a German Jew, ja (though classified by uncertain terms as being of Polish decent by the Billie character), who often addresses his protégé Trilby as "mein leibchen" (German for "my dear"). For a little dose of humor, Svengali must leave a foul odor about town, considering his reputation for not bathing. When asked when he last took a bath, Svengali's reply: "Not since I tripped and fell into the sewer," thus, having his fellow artists stripping and placing Svengali into the tub covered in soap suds. As for Marian Marsh, such a role should have turned her into a major star attraction for the Warners studio. Although she did get plenty of exposure and movie parts during her two years at the studio, she soon drifted to obscurity after leaving Warners by 1932. SVENGALI, along with her Marlene Dietrich style-like interpretation in Columbia's CRIME AND PUNISHMENT (1935), and her featured role opposite Boris Karloff in THE BLACK ROOM (1935), are certainly the only other two films of distinguishable effort by Marsh before her movie retirement by 1941. Paul Porcasi (Senor Banelli); Adrienne D'Ambricourt (Madame Vinard) and Ferike Boros (Marta) are other members in the supporting cast seen in smaller parts.Aside from Barrymore's bravura performance, highlights include the close-up caption of Svengali's hypnotic glass-marble eyes, along with camera tracking around the buildings as Svengali hypnotizes Trilby at a distance from his quarters to hers to the sound of passing winds. The pacing is good as is its direction, special effects and occasional underscoring helps with the proceedings during its 81 minutes.The success of SVENGALI lead to Warners to re-teaming its major cast members of Barrymore, Marsh, ALberni and Carmel Myers in THE MAD GENIUS (1931), but it's SVENGALI that has had more exposure in latter years on commercial television in the sixties and seventies, followed by further exposure in the eighties on numerous cable and public television stations, such as the 1989 presentation on The Learning Channel where its opening seven minutes with Barrymore and Myers was cut for time restrains involving movie discussion in its 90 minute time slot. Becoming a public domain title, SVENGALI became available onto video and DVD formats from various distributors.Even with newer SVENGALI editions as the 1955 British adaptation and 1983 made to television presentation, it's the 1931 oldie with John Barrymore and the blondish Marian Marsh film buffs seem to remember most. Watch for it the next time it appears on Turner Classic Movies. (***)
MidLebowski
Recommended, but it is disturbing. Some reviewers found the film out-of-date. in fact, the theme of sexual predation, and of a character played by a 17-year-old, is still a horrible topic. The Legosi version of Dracula, which had its own undertones of seduction, came out 3 months later.John Barrymore is excellent, but Marian Marsh almost steals the show, until the point where Svengali takes her over and she loses her personality. The rest of the characters are strictly of two dimensions. I see where they remade the film for release this year, and horrors, it will be a musical version. I don't know if they will gloss over the seduction element, or maybe make Svengali less awful to look at (in 1931 version, the running joke is that he never bathes).
jotix100
Svengali is an impoverished singing professor, of Polish extraction, down on his luck. Living is Paris in precarious conditions, he forces his way into the flat of Taffy, and the Laird, two Englishmen painters. He seizes the opportunity for a bath and borrows clothes that turn him into a more distinguished person.The unexpected appearance of Trilby, a model that has been sent to the English painters, produces a change of heart in Svengali. He cannot have the beautiful girl on his looks alone, so he decides to use his mental powers to cast a spell on the unsuspecting young woman. This will change them forever; Svengali will use Trilby as his trophy because he finds she has the right bone structure in her mouth to be a great singer.Trilby, who was attracted to a young friend of the Englishmen, Billee, until to his shock, he finds her posing nude for a group of painters. Overnight, Trilby becomes a singing sensation with Svengali taking her throughout Europe. The spell works out for a while, but Trilby begins to have problems and Svengali cancels her appearances. It is in Cairo, where Billee had followed Trilby and Svengali that she is able to break the spell she has fallen under.Archie Mayo directed this classic 1931 production. The great John Barrymore, almost unrecognized in his appearance, makes a wonderful take on the legendary man with magical powers. Marian Marsh, one of the screen early beauties is seen as Trilby O'Farrell. The restored DVD had an excellent picture and sound qualities. The supporting cast included Donald Crisp, Bramwell Fletcher, Luis Alberni and Lumsden Hare.What was remarkable in this feature was the art direction of Anton Grof. For the time it was made, and with the resources of the time in which it was filmed, one cannot help being impressed by the sets that were used in the film. Barney McGill was the cinematographer and the musical score is credited to David Mendoza. Archie Mayo directed with an eye for detail the classic novel by George DuMaurier.
Lebossufantome
Having read the original book, I watched this one and adored it. One of the things that first struck me was the incredible detail put into it. The set and costume design are matched perfectly with the original illustrations. Svengali, at the start, even plays Chopin's impromptu. Even though the story itself is a trifle different from the book, it is still mesmerizing to watch. In contrast to the book, Svengali is deprived of his malice, and left only with a frightful hypnotizing power. Other than Svengali himself, the other characters are exactly as in the book, and was wonderful. It was very moving, to have the first half hour or so be comical, and light-hearted, then the last half be absolute tragedy. It was such a great film.
