LeonLouisRicci This Follow-Up to Svengali (1931) is a Similar Story, the Lush Art-Deco Production and the Stylish Direction from Michael Curtiz makes this a more Sprawling and Grander Film, but perhaps, not a better one. There are Many Highlights of Pre-Code Daring that are Evident throughout Dealing with Drug Addiction (Cocaine), Sex, and a number of Scantily Clad Dancers (mostly dancers warming up) and Spicy Dialog with Innuendos Galore. A Bloody Axe-Wielding Ending with a "Phantom of the Opera" Feel and to Lighten things now and then, Charles Butterworth's Smooth Talking Nonsensical Dolt. There's Boris Karloff, a heartbeat before Frankenstein (1931), in a very Small but Noticeable Role as a Sadistic Child Abuser, and Marion Marsh as a Doll-Faced Dancer that can Light Up the Screen. John Barrymore's Lead Performance is Captivating Evil and Playful at the same time. Donald Cook is the Love Interest. Barrymore's "Golem" is OK but Unremarkable.Overall, the Film is Rich with Ingredients as it Globe Hops and most of the Money (evident On Screen) was Not Recovered at the Box Office Forcing WB to Cancel Barrymore's Pricey Contract. Definitely Worth a Watch for Movie-Buffs, Pre-Code Enthusiasts, Art-Deco Fans, and Early Sound Techniques. The Look of the Movie is Outstanding.

MartinHafer John Barrymore had some wonderful performances over his film career. But, he also had some really terrible performances as well--ones which were far from subtle and terribly overacted. One of these embarrassingly bad performances was his famous "Svengali" and another was the follow-up film, "The Mad Genius". In fact, both performances seem just about identical--with Barrymore playing essentially the same sort of guy--a creepy manipulator who is troll- like and with a thick, thick accent. The plot of "Svengali" involves a creepy guy using his hypnotic-like powers to bend a woman to his will and make her a star. Here, it's a guy instead...but otherwise it's the same 'ol same 'ol.The bottom line is the film lacks subtlety and originality. While it might have played well back in the day, today it just seems very dated and dumb. Barrymore was capable of so much better than this and the film is extremely difficult to finish.

kidboots 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.

reptilicus There is a story that has since become part of Hollywood folklore that Boris Karloff, still a relatively unknown supporting player, was summoned to the office of director Michael Curtiz. The Hungarian expatriate took one look at the slender, soft spoken Englishman and allegedly said "Good God, you're not Russian! I sent for you because your name is Karloff. It certainly sounds Russian! Oh well, now that you're here I guess I'll have to use you." It seems like a lot to go through for a role that lasts about 2 minutes onscreen and was probably completed in 1 day but Boris got the part anyway. In truth, Boris is so convincing hidden behind a beard and using a Russian accent that many people do not realise it is him! In those pre-FRANKENSTEIN days you could also spot Karloff in THE YELLOW TICKET in which he has no lines at all; or in THE PUBLIC DEFENDER where he is quite noticeable; or even CRACKED NUTS where he appeared opposite comedians Wheeler and Woolsey. It was not long after THE MAD GENIUS that director James Whale asked Karloff to test for, as he (Whale) put it, " . . .a damned awful monster." The rest, as they say, is history. Frankie Darro, whose role is almost as small as Boris', had already costared with Rin Tin Tin Sr in THE LIGHTNING WARRIOR (1930) and would meet up with Rinty Jr in THE WOLF DOG (1934).