The Great Impersonation is often sub-categorized as a horror film by the fact that it was produced by Universal Studios in 1935. It uses many of the sets from Bride of Frankenstein, some of them seeming nearly identical to that film. This film, the second of three versions, is of the rare espionage genre and has only elements of suspense and horror.
Edmund Lowe plays a dual role as the Baron and Dominey. This film relies on the doppelganger theory, which seems to have been fact to the people of the early 1900s. So many films and books have used this idea that each of us has an exact double somewhere in the world; someone who looks and sounds just like us. Even more coincidental, these doubles meet in Africa, far from their homes. Even more ridiculous, they had gone to Oxford together years earlier!
The plot of The Great Impersonation is pure pulp. Even putting the doppelganger theory aside, the film assumes that no one in these peoples' lives would recognize that they weren't themselves. But, even more confusing is that Dominey changes his own personality! When we first see him, he is a complete drunkard, and upon his return, he is sensitive, competent and suave. There is a lot of exposition in the first half and this film seems to condense what must have been an intricate book. It is still a very entertaining diversion with terrific sets and costumes. Murray Kinnell lends his usual excellent support as the villain and Valerie Hobson is quite good as the estranged wife. Wera Engels is gorgeous as the Baron's ex-lover. Those looking for Dwight Frye will be sorely disappointed. He has a key role, but no dialog and is only seen in long shots. Most impressive is the art direction of Charles D. Hall. He was the gem of the lot at Universal in the 1930s and his hand is very obvious to fans of classic Universal Horror films.
Alan Crosland, a pedestrian director, who nevertheless ironically directed three very important films was behind the camera on this film. He had directed the first film to have synchronized sound effects and music in Don Juan (1926); the first American film of Conrad Veidt and co-starring the other gigantic actor (John Barrymore) of the twenties, The Beloved Rogue(1927); and the landmark sound film - The Jazz Singer (1927). None of these films were remarkable despite their historical importance, but they do resemble the solid work in this one. The Great Impersonation is a fun film for fans of 1930s melodrama.
Edmund Lowe plays a dual role as the Baron and Dominey. This film relies on the doppelganger theory, which seems to have been fact to the people of the early 1900s. So many films and books have used this idea that each of us has an exact double somewhere in the world; someone who looks and sounds just like us. Even more coincidental, these doubles meet in Africa, far from their homes. Even more ridiculous, they had gone to Oxford together years earlier!
The plot of The Great Impersonation is pure pulp. Even putting the doppelganger theory aside, the film assumes that no one in these peoples' lives would recognize that they weren't themselves. But, even more confusing is that Dominey changes his own personality! When we first see him, he is a complete drunkard, and upon his return, he is sensitive, competent and suave. There is a lot of exposition in the first half and this film seems to condense what must have been an intricate book. It is still a very entertaining diversion with terrific sets and costumes. Murray Kinnell lends his usual excellent support as the villain and Valerie Hobson is quite good as the estranged wife. Wera Engels is gorgeous as the Baron's ex-lover. Those looking for Dwight Frye will be sorely disappointed. He has a key role, but no dialog and is only seen in long shots. Most impressive is the art direction of Charles D. Hall. He was the gem of the lot at Universal in the 1930s and his hand is very obvious to fans of classic Universal Horror films.
Alan Crosland, a pedestrian director, who nevertheless ironically directed three very important films was behind the camera on this film. He had directed the first film to have synchronized sound effects and music in Don Juan (1926); the first American film of Conrad Veidt and co-starring the other gigantic actor (John Barrymore) of the twenties, The Beloved Rogue(1927); and the landmark sound film - The Jazz Singer (1927). None of these films were remarkable despite their historical importance, but they do resemble the solid work in this one. The Great Impersonation is a fun film for fans of 1930s melodrama.