At the time of its release, the New York Times published a review that heralded John Barrymore’s role as the eponymous Svengali as the very best of his career. It was a remarkable transition coming just one year after Barrymore’s take on Ahab in Moby Dick, said to be a performance in which the infamous drinker appeared inebriated on the screen. Barrymore’s performance is the most complex of the monsters from the 1930s deluge of horror films, a man equal parts diabolical and pathetic. In one scene, he considers using his hypnotic control over Marian Marsh for sexual purposes, but he collapses in a heap of self-hatred, pitifully wailing that, “it is only Svengali talking to himself again.” Beyond Barrymore’s…

For every time I have to compel my mom to watch a movie with Burt Lancaster, I must later indulge one of her cinematic whims, and in this case it was more important to her than most. At the end of her last year of college in 1970, her senior thesis as an English major was a paper on the works of French-British writer George du Maurier, including the 1894 novel Trilby. From this book sprang the concept of a "Svengali," a man who is able to hypnotize a vulnerable woman and maintain total control over her. It occurred to me how strange it is that "Trilby" is not also a term in our modern lexicon, in effect sensationalizing the…

"There are more things in heaven and earth than are dreamt of in your philosophy"

When Svengali (John Barrymore) hypnotizes young singer Trilby (Marian Marsh) and takes her on the road to exploit her talent, Billee (Bramwell Fletcher), the young man who loves her rushes off to her rescue. 

Barrymore gives a compellingly creepy performance as a monstrously menacing manipulator. His lanky stooped posture and pointed beard make for a striking and memorable villain. The expressionistic influence is something I'm always into, and so I love the cavernous, shadowy sets here. The visual effect used on Barrymore's eyes when he's using his hypnotic powers is pretty damn cool too. 

Ultimately though our supposed hero of the piece is mostly an…

“Don’t look at me like that.”

Sexy swarthy Svengali. Initially a bit of a goofball farce, with unwashed Svengali (John Barrymore) the butt of the Parisian neighborhood’s joke. But by the second half it’s settled into a horrific groove, with the maestro embracing his white eye hypnotism for some truly nefarious deeds.

The sets are all wonderfully off their axis, characters look like they could fall over at any moment. Ingénue Marian Marsh, with her “very classic figure” and the most beautiful foot in Paris, is wonderful in the first half as the blithe waif (I think the wig is becoming). But befitting the narrative, Barrymore’s Svengali takes full control over the second half, reaching the top of the mountain,…

John Barrymore has for quite some time been one of my all-time favorite actors. But unfortunately there aren’t that many noteworthy films with him do explore. I’ve only seen like 10 movies with him and in many of those he is only a supporting player. But it is a testament to his talent how much of an impression he left on me with such few movies.

For a long time I was eager to watch one of his most famous performances, “Svengali”. I was hoping for a proper restoration and Blu-ray release but at this point, I doubt it is happening anytime soon. So I bit the bullet and watched the movie on YouTube in, lets say, modest quality. Still,…

This one was a major hit in the 30's. Finding films like this is a big reason why I keep going through these Mill-Creek 50-movie packs. With this film being so dated and true hypnotism being such a hard sell for today's audiences I was really skeptical going into this one. This is only my third john Barrymore film, but he's been incredibly impressive and carried each one. This flick is no exception. In fact I can think of few other films I've seen that shouldn't have worked more than this one, but does simply from the stellar lead. This film is over 90 years old and it still kind of impressed, mainly due to Barrymore's role and insanely creepy…

John Barrymore, stop being a sexy ham. You're killing me. (No, seriously, he's so hot here.)

Wow, 17 year old Marian Marsh does look like Dolores Costello, it's spooky! (She was selected by Barrymore because she looked like Costello. But also begs the question why Costello couldn't have played the role. Is 28-ish too old to play a muse? I mean, Barrymore was already 21 years Costello's senior. Must the women all look so young that the men come off as pedos? Over thirty years Marsh's senior is where even I draw the line.)

I confused Marian Marsh with Mae Marsh at the beginning. Woops. Definitely not the same person. Nope.

Donald Crisp is in this, too, and he looks…

"A soundboard like an angel. The roof of her mouth is like the dome of the Pantheon."

John Barrymore is terrifying in this. Marian Marsh is perfectly cast in a role that suits her strengths (that reads vicious, but to be fair, I need to see more of her work.) Together, there's an eerie detachment even when there's nothing supernatural happening.

The film benefits most of all by its direction. Archie Mayo? Here I go. The amount of patience he has in his scenes allows for Barrymore to really nuance the pitiful desires of this figure.

There's a scene on a rooftop that you need to see to believe. It's fucking scary, taking cues from Caligari and turning it all…