Downstairs (1932) User Reviews

Chilling Performance By The Great John Gilbert

[overseer-3 · 8/10 · 20 October 2003]

"Downstairs" features a great cast (John Gilbert, Virginia Bruce, Paul Lukas) and many memorable, tension-filled scenes. Its plot is a strange combination of old-fashioned class-conflict melodrama (servants' lives compared to the aristocracy's) and sexual satire. I think it has held up well for its age, undoubtedly because it was a pre-code movie and could deal with subjects which only two years later were taboo.

This film and The Big Parade are my two favorite John Gilbert films. He was an under-rated actor, very attractive, polished, but with a sharp edge of naughtiness. His voice was quite pleasant and intriguing, only slightly nasal, but you rarely notice that. He obviously had training to lower his voice and make it more cultured, just like all the actors did who crossed over from silents to talkies. However his battles with Louis B and his declining health limited his roles soon after Downstairs to B pictures.

The most dramatic scene in the film however belongs not to John Gilbert, but to Virginia Bruce, whom I must confess is not a favorite of mine. After being seduced by John Gilbert's character she boldly and passionately tells her husband (Lukas) off and insults his lovemaking in comparison. Wow-sa for 1932! No wonder TCM showcased this scene in the pre-code movies special a few months back. However the TCM special didn't lay the foundation for the scene, because if we had it we would have naturally sympathized with the husband much more than the seducer or the wife!

Watch Downstairs if you enjoy the saucy John Gilbert or if you like pre-code movies. You'll enjoy it.

A fun pre-code film, with a great John Gilbert

[runamokprods · 7/10 · 8 March 2012]

John Gilbert was known primarily as a silent film idol, and his career faded with the talkies, but this film shows it certainly wasn't for lack of talent. Or guts.

Gilbert – who also wrote the story - takes on the role of an irredeemable, if charming manipulator and rouge in this pre-code film. Hired on as the chauffeur in a wealthy house, he's quickly seducing, manipulating, and blackmailing his way through both the servants downstairs, and even the wealthy owners upstairs.

While many of the supporting performers can't keep up with Gilbert, and the plot is pretty heavily melodramatic, it is striking to see the honesty (and forgiveness on a human level) with which this film handles adultery and sexuality. Indeed, this feels more sophisticated than many movies of today in that regard.

It also has a wonderfully uncompromised ending, which again, would probably be stripped from the film in today's test score driven marketplace. Not a great film, but a fun one that's well worth seeing.

Gilbert Speaks Volumes

[bkoganbing · 8/10 · 15 January 2009]

Downstairs, written by star John Gilbert, finds him cast way against type as a George Sanders like cad who is hired by as a chauffeur by Paul Lukas the butler and major domo on Reginald Owen's estate. Gilbert works his considerable charm on all of the women in the estate including Lukas's new bride Virginia Bruce, cook Bodil Rosing, and the mistress of the house herself, Olga Baclanova.

There are many reasons given why John Gilbert's career tanked when sound came in, but on the silent screen he was a hero and great lover. Like Tyrone Power in the next generation who gave a great performance in Nightmare Alley that the public stayed away in droves from, the public wouldn't accept Gilbert as a total amoral louse. I'm also guessing the Austrian setting of the story didn't encourage anyone in Depression America to plunk down their nickel to see Downstairs.

That's a pity because Gilbert gives a powerful performance as the chauffeur. During the film he and Virginia Bruce married and were husband and wife when it was released.

By that time MGM and its head Louis B. Mayer were busy developing the new stars of sound like Clark Gable and Robert Montgomery. There was no place for Gilbert any more there. It would take Greta Garbo's intervention to get him cast the following year in Queen Christina.

The rest of the cast admirably supports Gilbert. The climax is definitely one where Gilbert's hero image is shattered by Paul Lukas. Too bad the public wouldn't buy it.

entertaining drama of below stairs

[didi-5 · 30 April 2004]

'Downstairs' is a curio; rarely seen, bombing at the time - possibly because of the change of image of John Gilbert, known as one of the silent screen's great romantic heroes and desperately trying to make good after the disaster of the previous year's 'His Glorious Night'. Here, Karl is an amoral and coarse creation, unfeeling and a louse - and Gilbert plays him brilliantly. A pity then that this film is all but forgotten.

Alongside him in the cast are Paul Lukas (slightly wooden as Albert the butler) and Gilbert's future wife, Virginia Bruce (an excellent performance as Albert's young bride, Anna, who lets her guard down and find she likes it), along with Reginald Owen (still going strong and as effective years later, and pretty good here) and Olga Baclanova (nicely judged as the guilty mistress of the house; this was her first movie after the controversial 'Freaks'), Hedda Hopper (a brief but entertaining appearance as Karl's previous employer), and Bodil Rosing (memorable as the daft ageing cook, Sophie).

'Downstairs', developed into a film from John Gilbert's original story, is a fairly run-of-the-mill story of masters and servants for the most part, but the scenes between Karl and Anna have a raw power that makes the film stand out from others of the period. There's no romance in this servants' hall; everyone is really out for what they can get.

Gilbert stars in this film and wrote the story

[blanche-2 · 6/10 · 27 September 2014]

Albert (Paul Lukas) is the head butler in a Baron's home, and is marrying Anna, a maid (Virginia Bruce, John Gilbert's real-life wife). On their wedding day, the new chauffeur (John Gilbert) arrives. It doesn't take long for Albert to start disliking Karl, who seems a little too interested in Anna and tries to seduce her when Albert is not around. Anna is an innocent and can't see him for what he is, which is an underhanded cad. In fact, Albert fires him, and Karl gets his job back by going to the Baroness and threatening to blackmail her.

Nice precode, with the interest in the film mainly because of Gilbert. This type of leading man went out of style. To see him now, looking by today's standards older than his 35 years, slight, and mustached, one could easily wonder what all the fuss is about. I think the fuss was about his acting and charm, both of which hold up very well today.

Of course when one hears his voice, there's nothing wrong with it at all, and it's still a question today as to what happened when he appeared in his first sound picture. Did Mayer speed up the sound? I am of the opinion that it was just a horrible choice of script, similar to the sound picture with Jean Hagen in "Singin' in the Rain." As Barry Paris points out in his excellent Garbo biography, people in those days were not used to phrases such as "I love you" being said in public, and they probably laughed nervously at some of that flowery language in the movie theater when "His Glorious Night" played. Gilbert was his own worst enemy due to his alcoholism.

This is a light precode with Paul Lukas as a very serious husband and butler and Gilbert as a cheerful con man. Well worth seeing for John Gilbert, especially if you're not familiar with his work. He was, after all, an early superstar, and he deserves to be remembered. By the way, his grandsons, John Fountain and Gideon Fountain, are both actors who appear occasionally in film, though they both are involved in other professions as well. His daughter, Leatrice, who was also an actress, just turned 90 on September 6.

Gilbert triumphs as talking actor

[kah-2 · 9/10 · 4 September 1999]

John Gilbert was the highest paid actor in Hollywood in 1929, the year silent films breathed their last. By 1933 he was through with movies and by 1935 he was dead. Lots of people believe bad things about him, mainly that he had a high squeaky voice or that he was a ham who couldn't adjust to talkies. In "Downstairs" he proves that both of these myths are false. The film is a splendid little drama--"little" being the only kind of movie MGM would cast him in by then--about a scheming chauffeur who blackmails or steals from practically everybody at the mansion he works at. Paul Lukas, years from stardom, plays the head butler, and Virginia Bruce (who married Gilbert in real life) plays the butler's new bride. The script and story are flawless, and Gilbert, playing very much against type, shines as the amoral chauffeur. "Downstairs" is a sophisticated drama that could not have been made a few years later after the censors cracked down on Hollywood, but more importantly, it is a testament to John Gilbert, who might have had a successful career in the talkies if he had been given a chance.

good story by J Gilbert, great ensemble cast

[ksf-2 · 7/10 · 15 January 2009]

"Downstairs" opens with the wedding of servants Albert (Paul Lukas) and his new wife Anna (Virginia Bruce). The story was written by, and stars, John Gilbert as Karl Schneider, the chauffeur who never stays at one place too long. We learn at the wedding that he had been previously employed by "the Countess" (Hedda Hopper, in a small part). Throw in Reginald Owen as "the Baron" and you've got a story about the class differences, love, deceit, and intrigue, similar to the British series "Upstairs, Downstairs". Karl, the chauffeur, starts out as a suave, charming guy, but we quickly learn he isn't such a nice guy. There's also an interesting mix of accents here. Paul Lukas and "the Baroness" (Olga Baclanova) both have strong Hungarian accents. Reginald Owen is quite British, and both Gilbert and Bruce have pretty plain, flat American accents. Good story, good acting. Funny scene with Francoise, the drunk servant. Too bad Gilbert died so young - it all seemed to go downhill when he was dumped by Greta Garbo.

Gilbert's Best

[elpep49 · 10/10 · 18 November 2001]

This is John Gilbert's best talkie--a scathing drama about a man who'll use anyone to get ahead. Aside from being a tight drama, the film is important as the best of Gilbert's dozen or so talkies and also because it proves for anyone who has seen it, that the advent of talkies did not kill his film career because his voice was effeminate. Hollywood legend, never very accurate, has it that Gilbert's blazing film carrer was doused by his first talkie (His Romantic Night). Not true. The rude technology may have hurt his performance--as it did with many crossover stars--but his voice was not the problem. In Downstairs, Gilbert took a big chance in playing a non-romantic part, a part that shows off his acting chops. While the cook pleads with him not to throw her over, Gilbert casually picks his nose and wipes it on his pants--astounding for 1932. The film did not save John Gilbert's career, but it stands as proof of his talent. What a shame other forces were at work to ruin him. (drednm)

Racy but melodramatic pre code film explodes John Gilbert myths

[RickeyMooney · 6/10 · 20 January 2021]

One myth about John Gilbert, one of the biggest stars of the silent era, was that he failed in talkies because of his squeaky voice. Another is that MGM head Louis B. Mayer deliberately sabotaged Gilbert's career because of a personal or professional feud. This film, late in Gilbert's career, shows him to be an excellent actor with a fine voice, a bit reminiscent of William Powell in some of his more disreputable roles. Its production values, script and cast are all top-shelf, and Gilbert gets credit for the story line, so there doesn't seem to be much to either myth about his downfall. More likely Gilbert's alcoholism, which he died of a few years later, was the cause.

This story takes place in Hollywood's fantasy-land Europe of barons, counts, and castles with huge and loyal flocks of servants. Gilbert plays a chauffeur who lacks the others' loyalty. In fact he's an amoral Casanova whom women both upstairs and downstairs find irresistible, specializing in seduction, swindling and blackmail. However he has a self-destructive quality of consistently overreaching, the kind of crook who isn't satisfied with his conquests but has to rub everyone else's noses in them. This could strike us as unrealistic were it not for the behavior of some politicians in the last few decades.

I'd have liked the film more with a subplot or two. As is, it keeps striking the same chord over and over until the denouement, which is not quite what you'd suspect.

One very pre-code moment that may be unique for that era is a wife telling her husband, as explicitly as possible for that era, exactly why she prefers her lover to him.

A very good film that you won't forget seeing

[mjr1114 · 10/10 · 7 March 2009]

This is true pre-code. Great acting by John Gilbert, he plays the character believably, not over the top, either. I saw this film only once about 8 years ago, and I never forgot its name or the desire to have it either on tape or on DVD. This was before actors played against type and got away with it. Mr. Gilbert did this in this movie and did it greatly, it's a shame the movie did not fare well with the audience of its time. They missed out on a gem. Thank the Lord there's TCM to bring such types of movies to the viewing area, at least, until they do become available for purchase. If you get the chance to see this, it won't be a waste of your time.

A Fine John Gilbert Talkie

[Ron Oliver · 10/10 · 17 July 2000]

Karl, the new chauffeur, is dissatisfied with his situation as a DOWNSTAIRS servant in the Baron's Austrian castle. Completely immoral, he uses sexual blackmail to get what he wants - which is mostly money & power. But when he forces his attentions on Anna the maid, the butler's bride, he sets the stage for a confrontation even he can't handle.

According to cinematic legend, all the talkie MGM films starring John Gilbert were dreadful - the result of a bitter hatred between Gilbert (the highest paid star in Hollywood, with a $1.5 million contract) & studio boss Louis B. Mayer. A determination on Gilbert's part to fulfill the contract, and a campaign instituted by Mayer to destroy Gilbert's career - including spreading the rumor that Gilbert's voice was `high & feminine', culminated in several unwatchable movies.

Not entirely true. The Studio had a huge financial investment in Jack Gilbert and was not going to completely cut its own throat by showcasing him in nothing but dreck. Of the 8 talkies in which he appeared as solo star (1929 - HIS GLORIOUS NIGHT; 1930 - REDEMPTION; WAY FOR A SAILOR; 1931 - GENTLEMAN'S FATE; THE PHANTOM OF PARIS; WEST OF BROADWAY; 1932 - DOWNSTAIRS; 1933 - FAST WORKERS) most were certainly rather ghastly. DOWNSTAIRS, however, was quite decent, and, indeed, fully representative of the material the studio was producing in 1932. It is even based on Gilbert's own original story, and features good atmosphere & fine camerawork.

Gilbert is perfectly cast as the anti-hero of this pre-Production Code film. His smarmy charm is just right in a role which gives him very little sympathy from the audience. Paul Lukas, the fine Hungarian actor, is the real hero as Albert the butler. He effectively underplays his scenes & garners much of the attention from Gilbert.

The rest of the cast offers excellent support: Virginia Bruce as Lukas' innocent wife; Reginald Owen as the oafish Baron; Olga Baclanova as the stunning Baroness, one of Gilbert's victims; Bodil Rosing, most effective as the plump, aging cook infatuated with Gilbert. Hedda Hopper has a tiny role as a Countess who has run into Gilbert before, to her cost.

Movie mavens will recognize Karen Morley, uncredited at the very end, as Gilbert's new employer.

Finally, about The Voice. There was nothing at all strange or unnaturally high about Gilbert's speaking voice. As a matter of fact, it was of medium range and rather cultured & refined. Which was the crux of the problem, of course. While it is possible that no voice could have ever matched the perfect one viewers heard in their minds while watching his strong, virile silent roles, the reality was very different from what they wanted to hear (imagine Robert Montgomery's voice coming out of Clark Gable's mouth.) Gilbert was doomed from his first scene in his debut talkie; his war with Mayer only intensified the agony. He would die in 1936, forgotten by most of his former fans, at the age of only 36.

Upstart Downstairs

[st-shot · 5/10 · 25 August 2010]

John Gilbert was on the skids both professionally and personally when he made Downstairs. Gilbert in fact came up with the idea and sold to MGM for a dollar and while he's quite good the rest of the production never gets above mediocre.

Gilbert plays Karl a devious but charming chauffeur who inveigles his way into the good graces of both the upstairs crowd as well as the downstairs servants. Completely self absorbed and callous he exploits all and any for personal gain and good times. He seduces Sophie the cook to give him her life savings and then moves on to the head butler Karl's new bride in hopes of getting her to run off with him to Vienna. He's fired but soon rehired by blackmailing the matron of the household.

Gilbert's sound era implosion is well documented and while he was still with MGM when he made Downstairs he had gone from sharing billing with Greta Garbo to being directed by Monta Bell in less than two years. As Karl though he gives a fine unsympathetic performance playing the outlandish cad to the hilt in one particular instance picking his nose and earwax and wiping it on his shirt as he tramples over the pathetic Sophie. The rest of the cast with the exception of Bodil Rosing's Sophie is uninspired and in the case of Paul Lukas' Karl the butler a stilted Bela Lugosi at his day job.

Monta Bell's direction has none and the film's haphazard finale married to the rest of the flaccid proceedings confirm this but a brief epilogue does evoke a chuckle or two.

Downstairs may belong in the basement as a film but it does offer concrete evidence that Gilbert was a more than capable sound actor. It was other demons that would bring it all to an end some three years later.

nasty fun

[mukava991 · 3 September 2016]

Based on a story by none other than its lead actor, John Gilbert himself, and coupled with his distinctive performance, "Downstairs" shows what a fertile creative mind Gilbert had and what a loss it was that he self-destructed before he got a chance to get a second wind going after a career slump. Coulda happened to anyone. In any event, this wickedly decadent tale set in an Austrian country estate examines the interactions between upstairs (Reginald Owen as a baron and Olga Baclanova as his philandering wife), and downstairs, kicking off with the wedding of the head butler (Paul Lukas) to innocent young maid (Virginia Bruce) with Gilbert as the newly hired chauffeur who shows up at the reception. Right off the bat he is revealed as a slick weasel. When a countess at the reception (Hedda Hopper) recognizes him she loses her cool in such a way that we know there was some hanky-panky in their history; when guests line up to kiss the bride Gilbert delivers a seriously inappropriate lip lock and later arrives uninvited to the newlyweds' bedroom to continue the dalliance while the husband is momentarily absent. And that's just for starters. In fact, the unmitigated rottenness of Gilbert's character borders on camp but is somewhat justified artistically the way the whole thing wraps up (something I won't reveal here).

For Gilbert to have written this character and then played him must have taken guts. Long after his loathsomeness has been established, we are treated to an extended scene in which he clips his nose hairs and picks at his ears and fingernails. He has the chiseled sexy good looks, cultivated speech and dapper sartorial sense of a worldly gentleman but the physical manners of a vulgar lout: he has a habit of lolling on table tops and indiscriminately gulping liquids and wolfing down food wherever he finds them. These two sides of his nature fuel the volatility of his relationship with Bruce who resents his aggression but succumbs to his skillful lovemaking. She has a very effective angry monologue about this matter during a climactic confrontation with Lukas whose devoted, martinet-ish butler is the straight-arrow opposite of Gilbert. Lukas is at his best when he too is consumed with rage.

The downstairs Gilbert turns the tables on the upstairs crowd, playing by their own rules in his own way.

Pre-Code at its finest

[planktonrules · 9/10 · 17 January 2009]

The early 1930s were far different on film than most people today would believe. In this era before a new toughened Production Code, there was an "anything goes" attitude in Hollywood. Nudity, adultery, drug abuse, cursing, violence and even abortion as well as prostitution were topics in many mainstream films--and these behaviors were often NOT punished in the films. All these would become taboo topics once the Code was adopted in 1934 in an effort to make films more family-friendly. There is no way that a film like DOWNSTAIRS would have been made post-1934--or at least not without many, many changes to make it acceptable for public viewing. Personally, I love most of these Pre-Code films as they are delightfully shocking, though I can also see why the Code was needed--as audiences of all ages were attending the shows and even one of the Tarzan films featured a lengthy and very gratuitous nude scene!

The story for this film was created by the actor, John Gilbert, and he stars as an amoral gigolo who works as a chauffeur. Starting at the bottom in a household, through blackmail and his snake-like charm, he's able to create chaos all about him and worm his way into a trusted position among the staff. In many, many ways, this film is like a male version of RED-HEADED WOMAN (Jean Harlow) and BABY FACE (Barbara Stanwyck), as all three have similar plots involving conniving main characters who use sex to get ahead in life--and have absolutely no pangs of conscience about it! And, like these other films, although the plan backfires a bit by the time the film is nearing the end, when the final moments rolls by on screen you see that evil really isn't punished and that bad people always manage to land on their slimy feet!!

John Gilbert who has been incorrectly maligned for "not being able to make the transition to talking films" clearly proves that this is NOT true. His voice is not high-pitched and his acting style transitioned very well--making this perhaps his best film. Alcoholism and his creating enemies in high places (in particular Louis B. Mayer) have much more to do with his career nosedive than his acting and speaking abilities.

In addition to Gilbert's excellent performance, a lot of credit goes to Paul Lukas. His character is very interesting because although he seems stuffy and one-dimensional, as the film reaches its climax, you'll most likely be amazed by his transition to "macho hero"--something you'd never associate with Lukas but that he managed to pull off quite well.

Gilbert's real-life wife, Virginia Bruce, is lovely and did a credible job, though she is easily overshadowed by the male leads. But, because they just married and they were both big stars, the studio made the most out of hyping this film as "starring Mr. and Mrs. John Gilbert".

Overall, the film is well written, directed and all the supporting acting is excellent as well. This is one of the best films of the year and has been unjustly forgotten.

Gilbert strong, and love that scene with Bruce telling off her husband

[gbill-74877 · 8/10 · 27 June 2019]

The reputation for this part of his career notwithstanding, this is another good John Gilbert talkie, and it's appropriately situated between the decent 'West of Broadway' from 1931, and the great 'Queen Christina' from 1933. Here he plays a manipulative and morally bereft chauffeur who has just been hired on the day when the head butler (Paul Lukas), a loyal and proper servant, is marrying a maid (Virginia Bruce). He wastes no time in brazenly kissing her on the lips in congratulations, but soon we'll see that he can also be much slyer than that. He uses information to his advantage, plays on emotions, and treats people badly when he can get away with it, always speaking in a refined way.

Whatever we think of Gilbert's character, and he certainly is a dastardly rogue, we have to admit that he must be devilishly good in bed. We can imagine him kissing the back of Virginia Bruce's neck when he talks about a mole there where she must like it, and also what he's referring to when he suggests her husband's sideburns must tickle her (gee, where that might happen?). After he successfully seduces her into sleeping with him when her husband's away, it's clear she's seen a whole new world. "There's a kind of way of making love that drives you mad and crazy, so that you don't know what you're doing," she says passionately to her husband in Bruce's best scene, later adding "You think you can make love in the same frozen way you do everything else," and "I thank heaven I found that there is something else. Something that makes you so dizzy you don't know what's happened and you don't care!" Wow! And it's fascinating to consider that Gilbert himself wrote the script, given the torrid affairs in his own love life.

The film being pre-Code allows for this and the other references to sex, including the lady of the house (Olga Baclanova) being taken to a secret tryst in the city, and Gilbert's character using and abusing the middle-aged cook (Bodil Rosing). Part of the seduction of the latter is having her wipe flour off his backside while he lays across a table and smiles at her, which was pretty funny. Just as importantly, being pre-Code allows for us to not have a clue how the film is going to end, and without spoiling it, I'll just say that it's uncompromised and a good one.

There are two dimensions of hierarchy in the film, one being masters and servants, and the other men and women. As to the first, it's a little nauseating when Lukas says as part of a speech revering those upstairs "You know, as servants we don't produce a living. It's done for us," and "Life downstairs is very simple, but up there, the rules are different." However, the film is effective in satirizing how uncaring, vapid, and hypocritical those "upstairs" really are, and we see that they are certainly not on some higher plane of existence.

Unfortunately, it's less successful relative to the women. It's not so much that they all fall under Gilbert's control one way or another, because it's believable that a master manipulator do that, even if some of Bruce's actions are a tinge surprising. Overall the film seems to have a paternalistic attitude, such as when she sighs and says "If I were a man, I'd just want to keep on traveling and traveling," or when Baclanova says "Women sometimes do foolish things, just for lack of understanding." Hats off to Bruce being sexually awakened and henceforth looking for more satisfaction in the sack, but these other bits aren't very liberated.

Overall though, a fine pre-Code vehicle for Gilbert and Bruce, who would marry in real life just four days after the film was released. It's such a shame that his health and personal life were spiraling towards doom, and that his reputation was so unfairly tarnished along the way.

John Gilbert Talks Down at MGM

[wes-connors · 8/10 · 16 October 2010]

Sexy chauffeur John Gilbert (as Karl Schneider) arrives to work at an Austrian estate, during a wedding party for house butler Paul Lukas (as Albert) and pretty maid Virginia Bruce (as Anna). When it's time to kiss the bride, Mr. Gilbert plants a full one on Mr. Bruce's comely lips. Gilbert also reveals he's a lover of lady employers, as wedding guest and past employer Hedda Hopper lets new boss Olga Baclanova (as Eloise von Burgen) know Gilbert is a satisfyingly discreet sex partner. An equal opportunity stud, Gilbert also services cook Bodil Rosing (as Sophie)...

Gilbert really wants to bed Mr. Lukas' beautiful bride. Watch and see if he succeeds… In real life, Gilbert did, and married co-star Virginia Bruce. They look like an attractive couple. Gilbert appeared to be on an upswing, with an assured performance as the film's promiscuous, blackmailing playboy. But, neither the film career nor the marriage proved to be long-lasting. Gilbert, who came up with the original story idea, must have found the enforcement of the "Hays Production Code" unfortunate; it would soon see that films like his "Downstairs" were censored.

******** Downstairs (8/6/32) Monta Bell ~ John Gilbert, Paul Lukas, Virginia Bruce, Olga Baclanova

melodrama without a moralistic message

[Dunham16 · 8/10 · 26 August 2015]

John Gilber plays a servant holding one job after another near old Vienna staying in each for as long as he can blackmail the mistress of the estate. In the 1940's this would be played for a moralistic message at the final credits. In the 1930's as true again later this would be not be the case. His wife in real life, the charming Virginia Bruce shines as the ladies' maid in his new household as does Paul Lukas, the butler she marries as does Hedda Hopper. the mistress of the new employment site. Often brilliantly conceived and acted its 77 minute running time is filmed with interest and fascination though technically on a lower level than other hit films of its genre.

Don't hire this cad as your chauffeur!

[mark.waltz · 5/10 · 13 October 2010]

He'll seduce your wife, your daughter, your maid, her daughter, well you get the picture. That man is none other than silent lothario John Gilbert, playing a role more suited in 1932 for that era's "It" man, Clark Gable.

When wealthy, married Olga Baclanova (the villainess in that year's cult classic "Freaks") hires him, it's apparent she has bedroom eyes for him since her husband is much older. Gilbert's former employer (none other than Hedda Hopper) warns Baclanova about him, making it obvious she once had him for herself. But while Gilbert is obviously not oblivious to Baclanova's intent on seduction, it's the bride of butler Paul Lukas he really is out to get, and it's not just for a fling.

Sweet Virginia Bruce is the heroine, gaga over Gilbert's charms even though she's just said "I Do". But she's determined to remain true to her husband whom at first wants to befriend Gilbert, but before the evening is out, you'll know he'll want to toss him into the Medeterranian. It's murder in the making once Lukas becomes aware of Gilbert's intentions, and it seems like that is what is going to happen.

This is a pre-code drama of innuendo and sexual tension. Gilbert is a little too old to be really believable as the ladies man he is, getting the hefty cook to pine for him outside of her first floor window after he uses her. He's still attractive and obviously had some clout left at MGM to get the lead in this, but it's obvious that time has taken its toll on him. Married to Virginia Bruce the same year this was released, Gilbert had one more major release ("Queen Christina") left, then a disaster ("The Captain Hates the Sea") before dying in 1936. His marriage to Bruce lasted less than two years. Together, the couple do have some sex appeal, but Gilbert's slimy character is too sleazy to really be likable even with his charm. It's apparent that Lukas, who is more settled and equally as handsome, is the more loyal partner. Looking very much like a younger Bela Lugosi, Lukas even sounds like him without the overwhelming accent. He gives the best performance in the movie.

There is a great fight scene in the wine cellar between Lukas and Gilbert (during one of Baclanova's party) that is the best scene in the film. While there are better pre-code films about life upstairs and downstairs (and certainly not as far fetched), "Downstairs" does have some interesting moments and has top drawer set decoration, wardrobe, and especially excellent photography. The final scene is a hoot of irony.

Monta Bell and John Gilbert - An Intriguing Combination!!!!

[kidboots · 8/10 · 12 April 2011]

Monta Bell was an interesting director, who got his start with Charlie Chaplin and was an editor on "A Woman of Paris". He found his silent muse in Norma Shearer and was responsible for some of her best silents, though when talkies reared their ugly head he took on a producing role. He still kept his directing hand in and developed what James Card called the "Bell Antihero". He also found in John Gilbert, surprisingly, an actor who was able to turn his back on his "Great Lover" persona and delve into man's lower depths. The Monta Bell "misfit" was often an unadmirable, immature character who readily bought grief and suffering to any woman who crossed his path. Gilbert had already played against type in "The Snob" (with Norma Shearer of course) and in "Downstairs" he presented Bell with a story he had written himself.

He plays Karl, an immoral chauffeur, who breezes into his new employer's home in the middle of a wedding between head butler Albert (suave Paul Lucas) and maid, Anna (Virgina Bruce) - he finds time to eat, flirt and try a little spot of blackmail before the wedding is through. When the butler serving drinks is found to be drunk the self centered Baron (Reginald Owen) thinks nothing of asking Albert (on his wedding night) to fill in and opportunistic Karl tries to weave his "magic" on Anna. Albert is the only one who can see through his ruse and when Karl brings the Baroness home late after a rendezvous with "persons unknown", his loose talk causes Albert to berate him for being disrespectful.

Is Karl any worst than the people "upstairs". At the end, the Baroness (Olga Baclanova) confesses to Albert just exactly what Karl is like, but really no one seems to worry about the servants or their feelings, unless it is infringing on the "upstairs" entertainment ie when Albert forgets the fishing gear, the Baron's boat trip is going to be ruined and when a fight starts in the wine cellar, the Baron's party is upset. (The Baroness only starts rumours about Karl and Anna when she is slighted). The only people you care about are the people "downstairs" - Sophie (Bodil Rosing) the cook, who puts up with Karl's insults and even gives him money, because for a short time he made her feel loved. Gilbert, ever the consummate actor, even gives Karl sympathy - the lies he tells - looking into Gilbert's expressive eyes, you feel he doesn't know the difference between truth and deceit. I don't for a moment believe that Anna has thoughts about running away with him - her love for Albert is too deep, although just for a moment she sees another kind of love making.

It is also interesting to find that Gilbert cared enough about his career to try different characterisations. Who knows, if he had been able to get to Warners, he may have had a brand new career as a tough guy character actor. Making an unbilled cameo appearance as Karl's next employer was Karen Morley, who in 1932 probably thought she had the cinema world at her feet.

Highly Recommended.

Terrific Pre-Code

[Michael_Elliott · 31 August 2010]

Downstairs (1932)

*** 1/2 (out of 4)

Brutally honest and at times shocking Pre-Code about a chauffeur (John Gilbert) who gets one job after another only to blackmail both the rich as well as the poor servants. His latest job has him falling for a married woman (Virginia Bruce) who just happens to be married to the main servant (Paul Lukas). The con man begins to dig up dirt on the rich folks in the house so that he can swindle them and take off with the beautiful wife. Soon everyone in the house is being held hostage by the gossip and rumors started by the man. It's well known that Gilbert wrote the story to this thing and sold it to MGM for a single dollar so that they'd agree to make it. I've seen hundreds, if not thousands, of movies from this era and I must say that this here is without question one of the most unique, strange and downright bizarre of them all. While watching the movie it keeps you off guard as you never really know where it's going to go next but there's no question that it has one surprise after another and the story itself is brave enough to go in many directions no matter what the outcome. One example of this is an elderly cook who has pretty much given her life as a servant and managed to save up a lot of money, which of course Gilbert goes after. The Pre-Code material goes as far as having Gilbert seduce her and then verbally abuse her in such a way that you can't help but feel incredibly bad but at the same time shocked. What's even more shocking is that Gilbert allows his character to be even darker and meaner. There's no question that Gilbert's "power" was on its way down but it still took quite a bit of guts for someone of his stature to play a role like this. His performance here is incredibly good because he's so cold during the bad parts yet he's also so charming and warm during the scenes where he's taking advantage of people. One can't help but think this is exactly how this type of person would be and Gilbert nails it without any troubles. The performance is certainly the best I've seen from him and I'd say it's one of the most memorable villains from this era of Hollywood. Gilbert's then wife Bruce is terrific here as well as her abused character is so full and rich in detail that you can't help but feel as if you know her and feel the pain she's going through as she has to fight off the abuse from Gilbert but also the abuse she feels from her husband. Lukas is magnificent as the husband who has a strange loyalty to his employers who he feels more for than his actual wife. Bodil Rosing is terrific as the elderly woman who gets taken advantage of. I think a lot of people, even those familiar with Pre-Codes, will be shocked at how raw this movie is. The final fifteen-minutes contain some intense drama and an outrageous scenario but it works so incredibly well that you can't help but really respect the film. The movie is very adult in nature and the marvelous performances makes this a must-see for any film fan.

Another Pre Code masterpiece

[happytrigger-64-390517 · 10/10 · 20 April 2021]

I won't spoil any brilliant and puzzling scenes from that great pre code movie. John Gilbert wrote this nasty story of a deranged chauffeur who harrasses sexualy his butler's wife, and of course he plays the disgusting and crazy chauffeur. I really love pre code movies for their tense and shocking stories, Downstairs is one of the best. A must see in a special pre code séance.

Downstairs - Upper-Class Material

[krocheav · 8/10 · 4 July 2020]

Highly talented veteran Director of Photography Harold Rosson (Wizard Of Oz/ Singin' In The Rain) and Director Montana Bell give this early 30s drama a high degree of polish. With a story written by its silent screen mega-star, John Gilbert, Downstairs tells the tale of an opportunistic gigolo who connives his way into the lives of his employers as a chauffeur, with dishonourable intentions. This is a surprising change of persona from the heroic, debonair lover Gilbert was famous for and he plays his rather vile character with conviction.

Not only does it all look good it's well played by an impressive international cast - giving it an above average believability. This title was bought as part of a 'Forbidden Hollywood' pre-code DVD 4 pack and turned out to be better than the title purchased for. MGMs boss (Louis B) did not care for it or its star, so it looks like it was glossed over - pity, as it was better than many others of its day. Many up and coming stars can also be seen in this rarity, and the archive DVD is quite pleasing.

A Triumph for John Gilbert

[tr-83495 · 8/10 · 30 August 2019]

This is a triumph for John Gilbert, one of the leading men heart throbs of the 1920s silent movie era. Contrary to innuendo and gossip, there was nothing wrong with Gilbert's voice, as he so deftly proves here.

Because he wrote the screenplay, he saved the juicier role for himself, but the public may not want to have associated their "golden boy" of the silent era with this John Gilbert. Who Knows? Suffice it to say, at the time, "Downstairs" did not equal Gilbert's successes in the decade previous, although as time progresses people can see his raw talent and the ability he had to connect with audiences. He was to go on to star in "Queen Christina" before his early death.

Oh no!

[stan_c · 5/10 · 30 December 2021]

I am a fan if John Gilbert and I'm sorry his career faltered. But seeing him (or probably any other actor) try to seduce and corrupt every woman in the house between his chauffeuring duties was not fun. I'm no prude but it was very disturbing. Once he went after sweet newlywed Ana I had to just turn it off. Gilbert and the rest of the cast were fine actors, but the story just sucked. And John wrote it.

Now, if what I wrote doesn't bother you, see it. Lovely actors. With Paul Lukas and John Gilbert in the lead it's only the story sinks it for me.

Amorality below stairs

[TheLittleSongbird · 8/10 · 28 April 2020]

John Gilbert's talkies do not have the best of reputations and a lot has been said about Gilbert not transitioning well into talkies. As well as his voice, with people being shocked at how that was how Gilbert really sounded like. It has often been said that they hurt his reputation, which was actually a pretty solid one in his silent films. Especially when partnered with peerless Greta Garbo, which was a match made in heaven.

While admittedly some of Gilbert's talkies were not too good and didn't serve him well, there were those that did show that the overall reputation his talkies got and have gotten was not a completely fair one and that not all of them are bad. Do agree actually that it was his personal problems that hurt his reputation more, anybody that had animosity with Louis B. Mayer as bad as that with Gilbert is enough to be a career-killer. A strong contender for the best of them is this, 'Downstairs'. Also to me one of his best films and that it contains one of his best performances too in one of his more demanding roles (he rarely had characters this amoral).

'Downstairs' does get too heavily melodramatic in places.

Also Paul Lukas doesn't always look completely comfortable in his part.

Gilbert however is absolutely terrific, deceptively charming but also sinister as one of his most demanding and interesting characters ever. Showing that he could indeed carry a film very well and that there was more to him than a co-lead. The supporting cast also do well, especially lovely Virginia Bruce and amusing Reginald Owen. Was more mixed on Lukas, but he did have his fun moments. The direction is always more than competent and the dialogue has hardly any awkwardness and has fun and tension. A lot of it is remarkably raw in an ahead of the time way even.

Likewise with the story on the most part, which was never dull and had energy and sense of danger in all the right places. Also didn't have to suspend disbelief anywhere near as much as with other pre-code films. The fight scene has intensity and one does remember the ending for a long time afterwards, not making the mistake of too many pre-code films of ending on a too pat note.. The camerawork didn't come over as static and the decor and costumes have a not overblown opulence.

Concluding, very well done and one of Gilbert's better talkies. 8/10