The Worst Film Ever

Plot so thin, it passes unnoticed.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Close shines in drama with strong language, adult themes.

John Barrymore was easily the most suitable actor for film, in comparison with his older brother and sister. He knew when it was right to town down the theatrical approach and when to be a bit larger-than-life. "The Mad Genius" was Barrymore's final film for "Warner Bros." He was paid the rather handsome sum of about $70,000 a film and gave some fine performances. "The Mad Genius" is a remake of a previous film for the studio, "Svengali." The former movie is far better than this inferior remake. The above film suffers from a very poor plot, leaden pacing and disappointing dialogue. Only the performance of John Barrymore and the direction from Michael Curtiz save this film. Boris Karloff is completely wasted in a brief appearance at the beginning of the film. "The Mad Genius" has no imagination or much in the way of sustaining the viewer's interest.

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.

John Barrymmore plays a puppeteer who takes in a small boy who grows to be a great dancer. Things get dicey when the boy's eye strays from dancing toward one girl in particular.Intrguing pre-code film that, at times, has Barrymore giving a great performance. Watch his early scenes and you'll see just how good he was. During bits later in the film he seems to be phoning it in but he's still a joy to behold. The movie itself is a potboiler in the Svengali mode, but it's entertaining. I love the ballet sets which are decidedly of the time the film was made.Worth a peak.

This film is an ideal companion piece to Barrymore's other mad manipulator "Svengali". It is just as eerie but unfortunately all but unavailable on the video market. I saw it one time on the late show and it stayed with me all my life. It is really an exaggeration of the relationship between impresario Diaghilev and his protégé Nijinski but it also inspired (is there a better word?) the Powell-Pressburger ballet epic "The Red Shoes". Funny how one story gets around...