The Mad Genius (1931)

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I feel like no other decade seems to have as many obscure gems lost to time as the 1930's; case in point, The Mad Genius. Coming out in the same year as the iconic adaptations of Frankenstein, Dracula and Dr Jekyll & Mr Hyde; but in my humble opinion, The Mad Genius is a better and more intriguing film than any of those.The opening of The Mad Genius does a superb job at setting a time and place; central Europe in the early 20th century. There is an impeccable level of detail in creating the world of a travelling performer; with the falling of the rain, the wind and the sound of horse and carriage taking full advantage of sound technology to create a world. Equally as impressive is Vladimar Ivan Tsarakov's (John Barrymore) Berlin theatre and the large scale stage set with hints of German expressionism throughout and the wide spread use of music in the soundtrack, unlike other early talkies.John Barrymore is (unsurprisingly) mesmerising as Vladimar Ivan Tsarakov (quite a name), one of the most repulsive characters he ever played as he spends the movie spewing pompous and at times mad scientist like dialogue. He has a misogynistic attitude towards women and is even seen ogling up the skirts of his dancers, in one of the film's very pre-code elements. He is even a drug dealer, although the word drug is never used in the film nor is it indentified what substances appear in the film. In one scene in which he refuses to deal drugs with the stage director played by Luis Alberni, I love his summary on drugs when he throws them into the fire; "If I drop this, you will be free, but you will suffer of course, but in the end, you will be happier than you could ever dream". Likewise In one of the movie's comic highlights there is an early use of profanity in film; "It's unbelievable that there's any human being living, who should be such a stupid ass".One of the many interesting observations in The Mad Genius is the combination of elements from other movies. The plot itself is derivative of Barrymore's previous horror outing Svengali, while Tsarakov's desire to create a great ballet dancer out of a young boy is a variation on Dr Frankenstein (which the movie itself alludes to). When Tsarakov is wearing on overcoat he is bent over like Quasimodo; Barrymore's facial appearance is very similar to that of Bela Lugosi in White Zombie, likewise his voice is reminiscent of Lugosi's Dracula. The theatre setting has vibes of The Phantom of the Opera and perhaps most interestingly are the elements of The Red Shoes with the film's inclusion of ballet and the themes of going to extremes for one's art. Could Powell and Pressburger have taken inspiration from The Mad Genius?

The Mad Genius is far from the best of John Barrymore's sound films. But it certainly provides a character for him to go full blast in terms of style and yet not seem overacted. Barrymore's plays a cripple who wanted to be a great ballet dancer, but only is confined to doing puppet shows with his sidekick Charles Butterworth.One day he and Butterworth rescue young Frankie Darro from a cruel father Boris Karloff. Barrymore sees in young Darro the promise and form of the dancer he wanted to be. This was before the Code so the homoerotic ideas in the scene are exploited to the max.Fast forward a dozen years and Darro is now Donald Cook at the top of his game as a ballet dancer, a veritable Nijinsky. He's also got eyes for pretty Marian Marsh, but so has Barrymore.Barrymore's years of training in the puppet theater have stood him in good stead as he's now a real puppet master, scheming and manipulating people to his will. His scene with Luis Alberni who is manager of the company to get him to do something he doesn't want to do is unforgettable. I won't reveal what he has over him, but this also was a subject later banned by the Code.Not the best of Barrymore's work, but it should provide a real introduction to his acting. And he's given great support by the ensemble Warner Brothers and director Michael Curtiz gave him.

This movie was so obviously an attempt by Warners to cash in on John Barrymore's earlier "Svengali", they even reunited a lot of the cast - Barrymore, Marian Marsh, Carmel Myers and Luis Alberni. This movie was to ballet what "Svengali" was to opera, purportedly based on the relationship between Diaghilev and Nijinsky, although in reality Nijinsky had already created a stir in the ballet world before he met Diaghilev.John Barrymore gets a chance to play another "warped" genius and his performance dominates the film, without him it would be just a forgettable romance played out against a ballet background. This time he is a crippled puppeteer who, as a child, was rejected by his ballerina mother because of his clubfoot. Since then he has crushed his dreams and now runs a traveling marionette circus. When he gives shelter to a village boy, Fedor, (Frankie Darro) who is hiding from his cruel father (Boris Karloff), Tsarakov (Barrymore) vows "I will make him the greatest dancer of all time"!!! and within 15 years, Fedor (now played by Donald Cook) has taken the ballet world by storm. You definitely don't see Cook perform many intricate steps but he handles the dramatic part of the story okay. Tsarakov is now manager of a "Ballet Russe" (shades of Diaghilev) but behind his kindly uncle demeanor is an evil tyrant who manipulates people through their own weaknesses.Fedor is in love with the beautiful Nana (Marsh) but that does not fit in with Tsarakov's plans and he plots to have Nana expelled from the company. He forges a letter and forces drug addicted choreographer Bankieff (Luis Alberni) to sign - or he will withhold the drugs that he knows Bankieff craves. His plan backfires however and Fedor and Nana run away together, Fedor getting a job in a seedy cafe (a rare chance to hear Cole Porter's "You've Got That Thing") and sinking into a depression when he realises that ballet is in his blood. There is an interesting plot development when Fedor starts to exhibit the same characterizations as Tsarakov, in his voice and speech but apart from a couple of characters remarking on it, it doesn't go anywhere. It all ends in a completely melodramatic way that would have pleased Barrymore no end.In a 1985 Films in Review article, Marian Marsh recalled the happy memories she had of working with Barrymore. He was enjoying a period of great calm, he was happily married to Dolores Costello, he wasn't drinking (much) and his wife and little daughter "Dee Dee" often visited him on the set. Miss Marsh said that far from being "the Great Actor" he was very kind to her and helped her in her craft.

In another of John Barrymore's bizarre characterizations the great actor portrays a club-footed itinerant puppeteer who rescues an abused boy from vile existence,recognizes the lad's incredible of agility and footwork and begins to train the youngster to be a "new" Nijinsky.Years go by,the boy reaches manhood,and Barrymore the impresario of a successful ballet company.But when the ballet dancer begins to have ideas of his own,falls in love with pretty Marian Marsh,Barrymore,consumed with madness and jealousy attempts to manipulate their lives leading to shocking results. This extraordinary film oscillates between intriguing drama and moments of near horror with Barrymore in masterly control of his human puppets. Boris Karloff is the boy's monstrous father and Luis Alberni stands out as the drug-addicted ballet director.Magnificent direction by Michael Curtiz