Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Lumsdal Good , But It Is Overrated By Some

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

alexanderdavies-99382 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.

bkoganbing 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.

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.

MARIO GAUCI Warner Brothers were clearly eager to give the 1931 public what it wanted and also consolidate the success of SVENGALI made earlier that year by instantly reuniting the leads from that film – John Barrymore and Marian Marsh – in a quickly rehashed potboiler on similar lines. Barrymore is an embittered puppeteer whose lameness had dashed his dreams of a dancing career but, as fate would have it, is provided with the opportunity of living that glory vicariously through the agile street urchin he saves one day from the clutches of his cruel father (a small role for a pre-fame Boris Karloff). Growing up to be a peerless dancer (played by an uncharismatic Donald Cook) through the ruthless patronage of his foster father, he is ready to give it all up for the love of an innocent girl in the show (Marsh) but, needless to say, Barrymore will not let anything stand in the way of art and his ambitious plans for the prized pupil. Amusing sidekick Charles Butterworth helplessly looks on as Barrymore sadistically convinces dope-addicted choreographer (Luis Alberni) to fire Marsh but Cook overhears their heinous scheme and this causes a rift between impresario and protégé. Years pass but more scheming on Barrymore's part enables the estrangement of the lovers and the rekindling of the working relationship between father and son. Once again, however, fate intervenes with Barrymore eventually getting his just desserts at the hands of the distraught Alberni – on stage during the performance of what was to be Cook's crowning achievement! Admittedly, the plot is much inferior to that of SVENGALI but an unhinged Barrymore is always worth watching, Marsh is typically lovely while Michael Curtiz's expressionistic direction (his first of three notable forays in the genre) and Anton Grot's stylish sets lend the production a touch of class that keeps one watching if not exactly enthralled.