THE MAN WHO PLAYED GOD (1932) Warner Bros. (80 minutes)
I have just watched this moving film for the third time, and it is now quite different for me than it had been in the past. Then, like Montgomery Royle, I had had no calamities in my life. In the past few years I have had many, and like Royle, have railed against God and felt sorry for myself and a victim of life. I have been able to get over this self-centered and selfish point of view and am learning humility and keeping myself open to learn a new path for my remaining years, where I can bring my life's learning to help others.
Arliss gives a moving and flawless performance. His pain, his frustrations, and his anger at being deprived of his hearing are very real and heart-felt. He is surrounded by very strong performances, most notably by a very young Bette Davis, with whom he appeared in two films, promoting her to the Warner brothers, and essentially giving her the advice and exposure she needed to become a major star. Indeed, in his second autobiography, MY TEN YEARS IN THE STUDIOS, he only praises two American actresses, Jeanne Eagels (with whom he shared a stage play), and Bette Davis.
Notable in the supporting cast are: Louise Hale as his sister, Florence; Violet Heming as long-loving friend, Mildred; and most notably, Ivan Simpson as his butler, Battle, a performance that deserved a Best Supporting Actor Oscar nomination, a category that did not exist is 1932. The scene where he saves Royle from suicide is stunning and stellar. Indeed, Arliss himself deserved a Best Actor Oscar nom for this performance, in my opinion.
An extremely young and extremely handsome Ray Milland makes an unbilled appearance towards the end. Hedda Hopper has a brief scene at a barbecue outing.
The film is solidly and sensitively directed and quite moving. It is one of Arliss' best performances and one of his best overall films.
I have just watched this moving film for the third time, and it is now quite different for me than it had been in the past. Then, like Montgomery Royle, I had had no calamities in my life. In the past few years I have had many, and like Royle, have railed against God and felt sorry for myself and a victim of life. I have been able to get over this self-centered and selfish point of view and am learning humility and keeping myself open to learn a new path for my remaining years, where I can bring my life's learning to help others.
Arliss gives a moving and flawless performance. His pain, his frustrations, and his anger at being deprived of his hearing are very real and heart-felt. He is surrounded by very strong performances, most notably by a very young Bette Davis, with whom he appeared in two films, promoting her to the Warner brothers, and essentially giving her the advice and exposure she needed to become a major star. Indeed, in his second autobiography, MY TEN YEARS IN THE STUDIOS, he only praises two American actresses, Jeanne Eagels (with whom he shared a stage play), and Bette Davis.
Notable in the supporting cast are: Louise Hale as his sister, Florence; Violet Heming as long-loving friend, Mildred; and most notably, Ivan Simpson as his butler, Battle, a performance that deserved a Best Supporting Actor Oscar nomination, a category that did not exist is 1932. The scene where he saves Royle from suicide is stunning and stellar. Indeed, Arliss himself deserved a Best Actor Oscar nom for this performance, in my opinion.
An extremely young and extremely handsome Ray Milland makes an unbilled appearance towards the end. Hedda Hopper has a brief scene at a barbecue outing.
The film is solidly and sensitively directed and quite moving. It is one of Arliss' best performances and one of his best overall films.