It's criminal that this superb melodrama, from a well-made play of the day, isn't better known. Barrymore, all cylinders firing yet giving a perfectly natural, restrained performance, is a hotshot New York lawyer facing personal and professional ruin; he may never have been better in the movies, and some of the magnetism that made him a stage legend shines through. Wyler makes no attempt to "open up" the stage material; he basically confines it to one (very beautiful) set, and his camera unobtrusively follows the legal-office denizens around, seemingly overhearing conversations, Altman-style. There's a lot of social history tucked away -- with commentary about Jews and gentiles, rich and poor, capitalist and communist -- and a whole stageful of compelling characters, who often define themselves in a walk, a smirk, a laugh. And yes, there are contrivances and coincidences, but that's the stuff the well-made melodramas of the time were made of, and they were seldom constructed as neatly as this. I saw it at a revival house, with a smart New York audience, and nobody laughed in the wrong place or grew cynical about the old social conventions that no longer apply. In fact, at the end they applauded good and hard -- after 70 years, this one's still a corker.
39 Reviews
Mind-blowing
mik-196 January 2005
'Counsellor at Law' is guaranteed to take your breath away, even if you're a child of the so-called MTV revolution of ultra-fast editing and relentless energy. It is more than 70 years old now, and it feels so new and invigorating.
John Barrymore, in the role of a lifetime, plays the brisk and matter-of-fact lawyer who came to his prestige, fortune and society-wife the hard way, cutting corners along the way, meddling in gray areas and doing a bit of shady business on the side. "I'm no golf player", he says, and right he is. In the course of a work-day, the same day that his wife and his two overbearing step-children are on their way to Europe, he is accused of corruption and his whole world collapses around him, as he tries to evade his destiny.
No synopsis of 'Counsellor at Law' can do the film justice. It is a manic, mind-blowing depiction of a breakdown, stressful and paranoiac. Barrymore's character is completely alienated from his own family, because he originates from the working-class, the son a Jewish-German baker. During this one morning at work, before things start crashing down, Barrymore has a visit from a woman who wants him to defend her son who was arrested in Union Square in the middle of an inflammatory Communist speech. And it is not even lunch-time yet.
Rent this movie, even better: Buy it. You will want to watch it more than once. It is a bona fide masterpiece, filmed in William Wyler's usual brilliantly organic style.
John Barrymore, in the role of a lifetime, plays the brisk and matter-of-fact lawyer who came to his prestige, fortune and society-wife the hard way, cutting corners along the way, meddling in gray areas and doing a bit of shady business on the side. "I'm no golf player", he says, and right he is. In the course of a work-day, the same day that his wife and his two overbearing step-children are on their way to Europe, he is accused of corruption and his whole world collapses around him, as he tries to evade his destiny.
No synopsis of 'Counsellor at Law' can do the film justice. It is a manic, mind-blowing depiction of a breakdown, stressful and paranoiac. Barrymore's character is completely alienated from his own family, because he originates from the working-class, the son a Jewish-German baker. During this one morning at work, before things start crashing down, Barrymore has a visit from a woman who wants him to defend her son who was arrested in Union Square in the middle of an inflammatory Communist speech. And it is not even lunch-time yet.
Rent this movie, even better: Buy it. You will want to watch it more than once. It is a bona fide masterpiece, filmed in William Wyler's usual brilliantly organic style.
a wonderful "lost" film
planktonrules28 December 2005
While not technically lost, I call it this because very very few people have heard of it and it is not usually mentioned in discussions of John Barrymore's work. I only sought out the video after I saw it listed in the front of my Leonard Maltin guide in his list of 50 seldom-seen but great films. While his list is too heavily influenced by modern movies (more than half the list are movies just made within the last few years), this one one of the few older films listed. And, since I have adore older Hollywood films, I ran out to find a copy ASAP.
What did I like about the film? Well, first I have always loved John Barrymore films (apart from a few turkeys he made just before he died) and he is as good as you'll ever see him. Second, I really liked the film's moral compass. While Barrymore is the hero of the story, he is far from perfect and offers a more 3-dimensional sort of leading man. While he does so much of his work to help the poor and down-trodden, he is not averse to lying, insider stock trading or making a fast buck. Third, the supporting cast was very strong and full of unusual characters (aside from what I felt was an annoyingly written character, the receptionist). My favorite old films always feature a good ensemble cast for support. Fourth, it dares to be different. This lawyer is NOT Perry Mason (Warren Williams' series was very popular at the time this film was made) or like any one I have seen on film. Fifth, while the film COULD have been stagy given that all the action takes place in the building where the law firm is, its brisk pace keeps it from falling flat.
While I loved the pacing, this also brings me to about the only negative in the film. While the action is brisk, sometimes the dialog is a little TOO BRISK. Occasionally I found myself struggling to keep up with the rapid-fire dialog at the beginning of the film! Be sure to turn on your television's Closed Captioning!
What did I like about the film? Well, first I have always loved John Barrymore films (apart from a few turkeys he made just before he died) and he is as good as you'll ever see him. Second, I really liked the film's moral compass. While Barrymore is the hero of the story, he is far from perfect and offers a more 3-dimensional sort of leading man. While he does so much of his work to help the poor and down-trodden, he is not averse to lying, insider stock trading or making a fast buck. Third, the supporting cast was very strong and full of unusual characters (aside from what I felt was an annoyingly written character, the receptionist). My favorite old films always feature a good ensemble cast for support. Fourth, it dares to be different. This lawyer is NOT Perry Mason (Warren Williams' series was very popular at the time this film was made) or like any one I have seen on film. Fifth, while the film COULD have been stagy given that all the action takes place in the building where the law firm is, its brisk pace keeps it from falling flat.
While I loved the pacing, this also brings me to about the only negative in the film. While the action is brisk, sometimes the dialog is a little TOO BRISK. Occasionally I found myself struggling to keep up with the rapid-fire dialog at the beginning of the film! Be sure to turn on your television's Closed Captioning!
Hard-boiled and fast-paced social commentary with John Barrymore in great form
Camera-Obscura13 November 2006
Based upon the play "Counsellor at Law" by Elmer Rice, John Barrymore shines in this depression-era drama as George Simon, a Jewish lawyer who frantically juggles the scandals, crimes and crises that pass through his art deco office high in the Empire State Building. Simon is far from perfect and engages in insider trading and bleeds funds from wealthy clients, while tending to the needs of the less fortunate New Yorkers who come from his own working-class background. Everything seems to be going pretty well for him, but when a political enemy uncovers a past legal indiscretion and begins disbarment proceedings, Simon's socialite non-Jewish wife (Doris Kenyon) walks out on him and seeks comfort in the arms of another man (Melvyn Douglas). With the unflagging support of his faithful secretary (Bebe Dabiels in a truly magnificent performance) Simon attempts to exercise his legal skills to defend his reputation and protect those who rely upon him for justice.
Is George Simon a modern-day Robin Hood? In a sense he is, but he is far from perfect. Simon doesn't seem to grasp the many of his wrong-doings and largely blames his downfall on the outside world. John Barrymore gives a rich and very credible performance as a rags-to-riches Jewish lawyer, despite his Waspish appearance and Bebe Dabiels as his loyal secretary Miss 'Rexy' Gordon really gives a stand-out performance. A typical film of the era, fast-paced, and very stagy with the camera never moving out of the office, but thanks to Wyler's crisp direction and a superb cast this still makes very agreeable viewing, although the ending is so abrupt, I had to rewind in order to see what happened in order to see the last twenty minutes again. Everything goes so incredibly fast, attention must be paid.
Camera Obscura --- 8/10
Is George Simon a modern-day Robin Hood? In a sense he is, but he is far from perfect. Simon doesn't seem to grasp the many of his wrong-doings and largely blames his downfall on the outside world. John Barrymore gives a rich and very credible performance as a rags-to-riches Jewish lawyer, despite his Waspish appearance and Bebe Dabiels as his loyal secretary Miss 'Rexy' Gordon really gives a stand-out performance. A typical film of the era, fast-paced, and very stagy with the camera never moving out of the office, but thanks to Wyler's crisp direction and a superb cast this still makes very agreeable viewing, although the ending is so abrupt, I had to rewind in order to see what happened in order to see the last twenty minutes again. Everything goes so incredibly fast, attention must be paid.
Camera Obscura --- 8/10
Quite simply, the finest movie about lawyers ever made
Michael-11011 January 2000
Tragically, "Counsellor at Law" has never been released on video, so only pirate copies are available. I strongly advise you to get hold of one because the film is unquestionably a 10 on IMDB's scale--probably the best movie about a lawyer ever made. Another possibility is to see the play by Elmer Rice which the movie follows quite closely and which is presented in little theaters around the country from time to time.
Start with John Barrymore's absolutely unforgettable portrayal of attorney George Simon. Continue with the stunning art deco set and the direction which moves the action along at about 200 miles per hour. Most important, the film, which is set entirely in Simon's office, illustrates a tremendous range of business and personal problems confronting the high-powered New York lawyer in the 1930's.
On the personal side, Simon is an up from the gutter Jew who has made it big-time in the waspy world of New York law and business. He's married to an aristocratic non-Jewish woman who seems to despise him (along with her ungrateful kids). So one big theme of the film is the conflict between Simon's poverty-stricken past (his very common mother, his nogoodnick brother) and his newly acquired upper-class status in the non-Jewish community. Simon has feet in both camps and the conflict is revealing and very poignant.
On the business side, Simon has relationships with his partner, with the other lawyers in his firm, and with his staff--each one clearly and unforgettably etched (you'll never forget the telephone operator). He sees a range of clients and confronts a range of ethical problems. He's very tough when he needs to be, and has a huge soft heart as well. He cares deeply about his clients, and that has gotten him into trouble--big trouble.
Not to spoil the story, this film will knock your socks off. Although there have been hundreds of lawyer movies since 1933, none surpass this brilliant film for its insight into the life of the lawyer and into the perils of vertical class mobility.
Start with John Barrymore's absolutely unforgettable portrayal of attorney George Simon. Continue with the stunning art deco set and the direction which moves the action along at about 200 miles per hour. Most important, the film, which is set entirely in Simon's office, illustrates a tremendous range of business and personal problems confronting the high-powered New York lawyer in the 1930's.
On the personal side, Simon is an up from the gutter Jew who has made it big-time in the waspy world of New York law and business. He's married to an aristocratic non-Jewish woman who seems to despise him (along with her ungrateful kids). So one big theme of the film is the conflict between Simon's poverty-stricken past (his very common mother, his nogoodnick brother) and his newly acquired upper-class status in the non-Jewish community. Simon has feet in both camps and the conflict is revealing and very poignant.
On the business side, Simon has relationships with his partner, with the other lawyers in his firm, and with his staff--each one clearly and unforgettably etched (you'll never forget the telephone operator). He sees a range of clients and confronts a range of ethical problems. He's very tough when he needs to be, and has a huge soft heart as well. He cares deeply about his clients, and that has gotten him into trouble--big trouble.
Not to spoil the story, this film will knock your socks off. Although there have been hundreds of lawyer movies since 1933, none surpass this brilliant film for its insight into the life of the lawyer and into the perils of vertical class mobility.
One of my secret favorites!
mardri17 December 2004
This film is so rare that probably few people have heard of it. What a terrible shame! The only copy I have was taped from cable TV several years ago. I
never dreamed that I would be reading such appreciation of this little treasure by so many others! There should be a movement afoot to try to bring this
wonderful work out of obscurity, at least to get it on video!
I have read that John Barrymore considered himself miscast here. But I think he was the best possible choice for this film role (played on Broadway by Paul
Muni). At a time when Hitler was just coming to power, I wouldn't want to
imagine the response by the average U.S. moviegoer toward an actual Jewish
actor trying to elicit sympathy for the personal struggles of a Jewish man trying to get himself accepted into Gentile society in this way.
As for the office setting, well, I work for a New York law firm, and this film hits the target dead on! It evokes perfectly the scurry of New York office life, as well as the latest technologies, the fashions and the speech patterns of the period, like that adorable switchboard operator! Bravo to William Wyler!
I have seen many, many John Barrymore movies, and I agree with everyone
else writing here that this must certainly be his best surviving performance, his monument, for those of us who never saw his Richard III or Hamlet. It's even
better than "Twentieth Century" and "Grand Hotel". In an era when silent-movie histrionics was still evident in the acting style, his performance is subtle, nuanced, very modern and deeply affecting, especially in that final scene!
never dreamed that I would be reading such appreciation of this little treasure by so many others! There should be a movement afoot to try to bring this
wonderful work out of obscurity, at least to get it on video!
I have read that John Barrymore considered himself miscast here. But I think he was the best possible choice for this film role (played on Broadway by Paul
Muni). At a time when Hitler was just coming to power, I wouldn't want to
imagine the response by the average U.S. moviegoer toward an actual Jewish
actor trying to elicit sympathy for the personal struggles of a Jewish man trying to get himself accepted into Gentile society in this way.
As for the office setting, well, I work for a New York law firm, and this film hits the target dead on! It evokes perfectly the scurry of New York office life, as well as the latest technologies, the fashions and the speech patterns of the period, like that adorable switchboard operator! Bravo to William Wyler!
I have seen many, many John Barrymore movies, and I agree with everyone
else writing here that this must certainly be his best surviving performance, his monument, for those of us who never saw his Richard III or Hamlet. It's even
better than "Twentieth Century" and "Grand Hotel". In an era when silent-movie histrionics was still evident in the acting style, his performance is subtle, nuanced, very modern and deeply affecting, especially in that final scene!
Natural-looking filmed play
n_r_koch10 November 2007
What a surprise this film was: the boring title hardly leads you to expect much. Barrymore really shows his chops as a pure actor, someone who can bring off a character through expression, gesture, posture, accent, tone of voice, body language, mannerisms, &c. This is an adaptation of a play about an self-made Jewish lawyer in New York. It's hard to believe that Barrymore was, in life, more like his character's wife than the lawyer he plays here. He brings off the self-made man's insecurities in every detail, from his macho way of walking to his fidgety hands and overloud way of talking and laughing. He even drops some of his g's, and I love the way he says "Yeah" (Oscar Jaffe would blanch). The script is full of telling details. Notice how the lawyer offers a guest a choice of cigar or cigarette from an expensive box, and then forgets to offer him a light. Because Wyler is at the controls, these nuances aren't hammered at the audience either.
Many film scholars have claimed that Wyler, maybe because he avoided catfights with his studio bosses, was no "auteur". Wyler never puffed himself up, either, in the way someone like Welles did. Yet the style is already visible here, long before Deep Focus, in the simultaneous double and triple reaction shots, the multiple planes of action, the underplaying and long takes, the natural dialogue, the strong performances from the bit players-- and most of all in the realistic, accurate, detailed design. This is basically a B movie. It's all shot on one basic set, in fact. But what a set! Get all that Art Deco glass and the Socialist-Realist reliefs.
Those who don't think Wyler had a style should check out "Carrie" (1952), separated from this film by almost 20 years and starring this other guy by the name of Olivier-- who always credited Wyler for teaching him how to act in films. Barrymore maybe got a few pointers for his performance here, too. All in all this is a great way to film a play, and a nice Depression period piece too.
Many film scholars have claimed that Wyler, maybe because he avoided catfights with his studio bosses, was no "auteur". Wyler never puffed himself up, either, in the way someone like Welles did. Yet the style is already visible here, long before Deep Focus, in the simultaneous double and triple reaction shots, the multiple planes of action, the underplaying and long takes, the natural dialogue, the strong performances from the bit players-- and most of all in the realistic, accurate, detailed design. This is basically a B movie. It's all shot on one basic set, in fact. But what a set! Get all that Art Deco glass and the Socialist-Realist reliefs.
Those who don't think Wyler had a style should check out "Carrie" (1952), separated from this film by almost 20 years and starring this other guy by the name of Olivier-- who always credited Wyler for teaching him how to act in films. Barrymore maybe got a few pointers for his performance here, too. All in all this is a great way to film a play, and a nice Depression period piece too.
Barrymore Beats The WASPS
bkoganbing6 February 2008
Elmer Rice's long running Broadway play about a Jewish lawyer who never forgets his class roots became a hit for star Paul Muni. If the screen rights had been bought by Warner Brothers instead of Universal, I'm sure Muni might have repeated his part. It's a pity we have no record of his performance because I'm sure he was a natural for the role.
Although the casting might seem bizarre John Barrymore does a superb job in the role Muni created om Counsellor at Law. This is a man who did live out the American dream, rising to the very top of his profession by hard work and a natural aptitude for the profession of law. He lives a good life style with a trophy WASP wife and a couple of step children who really don't like him. He never forgets where he came from and is available to many from the Lower East Side Neighborhood from where he sprung, pro bono.
Counsellor At Law with its lead character of George Simon is no doubt based on real life attorney Samuel Leibowitz who at that time was engaged in the biggest case of his career, defending the Scottsboro Boys in Alabama. There are also echoes of another famous Jewish attorney, Louis D. Brandeis who sat on the United States Supreme Court. Like Barrymore's character Simon, Brandeis and Leibowitz both aroused the jealousy and resentment of some of the old time lawyers of the WASP white shoe persuasion. It was some of those who led the opposition to Brandeis when Woodrow Wilson appointed him to the Supreme Court.
Here the opposition is in the person of Elmer Brown, your basic bigoted White AngloSaxon Protestant whose ancestors came over on the Mayflower or shortly after and think of America as their private preserve. He's gotten some information that on a previous case that involved Barrymore getting John Qualen off, an alibi witness is saying the alibi he provided was false. Problem is the alibi was false and the witness is saying Barrymore suborned perjury.
Universal was fortunate enough to get Elmer Rice to adapt his own play for the screen and William Wyler does a fine job in directing so much so that you're not conscious of the fact that it all takes place within Barrymore's rather large office. Though it's not shot in those long takes like Alfred Hitchcock's classic Rope, Counsellor at Law has that same feel about it.
It also has several plot lines running at once, very similar to William Wyler's later work, The Detective Story. Barrymore's marriage is on the rocks, wife Doris Kenyon is seeing Melvyn Douglas on the side. Barrymore has also been asked to defend the son of his mother's friend played by future director Vincent Sherman who is a Communist radical making inflammatory speeches in Union Square back in the day when that was the thing to do.
One very ironic scene involves young Sherman with his head bandaged waiting with his mother in the anteroom, where Barrymore's snobbish bratty stepkids are waiting. The young boy stepson is played by Richard Quine who also became a pretty noted film director himself.
There are also some very good performances by Bebe Daniels as Barrymore's loyal secretary and an ironically funny one by Isabelle Jewell as the switchboard operator.
John Barrymore had a very good grasp at screen characters who were reaching the end of their rope. Counsellor at Law very much follows in the same vein as his characters in Grand Hotel and Dinner at Eight.
With Louis D. Brandeis and Samuel Leibowitz very much in the public eye, Counsellor at Law had a built in audience when it was released. Nevertheless 75 years later it holds up very well for today's audience.
I don't think even Paul Muni could have played it better.
Although the casting might seem bizarre John Barrymore does a superb job in the role Muni created om Counsellor at Law. This is a man who did live out the American dream, rising to the very top of his profession by hard work and a natural aptitude for the profession of law. He lives a good life style with a trophy WASP wife and a couple of step children who really don't like him. He never forgets where he came from and is available to many from the Lower East Side Neighborhood from where he sprung, pro bono.
Counsellor At Law with its lead character of George Simon is no doubt based on real life attorney Samuel Leibowitz who at that time was engaged in the biggest case of his career, defending the Scottsboro Boys in Alabama. There are also echoes of another famous Jewish attorney, Louis D. Brandeis who sat on the United States Supreme Court. Like Barrymore's character Simon, Brandeis and Leibowitz both aroused the jealousy and resentment of some of the old time lawyers of the WASP white shoe persuasion. It was some of those who led the opposition to Brandeis when Woodrow Wilson appointed him to the Supreme Court.
Here the opposition is in the person of Elmer Brown, your basic bigoted White AngloSaxon Protestant whose ancestors came over on the Mayflower or shortly after and think of America as their private preserve. He's gotten some information that on a previous case that involved Barrymore getting John Qualen off, an alibi witness is saying the alibi he provided was false. Problem is the alibi was false and the witness is saying Barrymore suborned perjury.
Universal was fortunate enough to get Elmer Rice to adapt his own play for the screen and William Wyler does a fine job in directing so much so that you're not conscious of the fact that it all takes place within Barrymore's rather large office. Though it's not shot in those long takes like Alfred Hitchcock's classic Rope, Counsellor at Law has that same feel about it.
It also has several plot lines running at once, very similar to William Wyler's later work, The Detective Story. Barrymore's marriage is on the rocks, wife Doris Kenyon is seeing Melvyn Douglas on the side. Barrymore has also been asked to defend the son of his mother's friend played by future director Vincent Sherman who is a Communist radical making inflammatory speeches in Union Square back in the day when that was the thing to do.
One very ironic scene involves young Sherman with his head bandaged waiting with his mother in the anteroom, where Barrymore's snobbish bratty stepkids are waiting. The young boy stepson is played by Richard Quine who also became a pretty noted film director himself.
There are also some very good performances by Bebe Daniels as Barrymore's loyal secretary and an ironically funny one by Isabelle Jewell as the switchboard operator.
John Barrymore had a very good grasp at screen characters who were reaching the end of their rope. Counsellor at Law very much follows in the same vein as his characters in Grand Hotel and Dinner at Eight.
With Louis D. Brandeis and Samuel Leibowitz very much in the public eye, Counsellor at Law had a built in audience when it was released. Nevertheless 75 years later it holds up very well for today's audience.
I don't think even Paul Muni could have played it better.
Vincent Sherman steals the spotlight in his scene with Barrymore...
Doylenf28 September 2005
Not long ago I bought a copy of STUDIO AFFAIRS by Vincent Sherman (director of many Warner melodramas starring either Bette Davis or Joan Crawford), and among his film credits was one he made when he was a very young stage actor repeating his role for the film version of COUNSELLOR AT LAW. Here he plays the young activist Communist who gets beaten up in Union Square for preaching anti-government rhetoric.
He all but steals the thunder from JOHN BARRYMORE, who is of course the star of this seldom seen film from the early '30s that gave William Wyler his first opportunity to click as director of an A film.
Barrymore is a Jewish lawyer from a humble background who finds himself facing serious charges that could lead to his being disbarred from practice. At the same time, he discovers that his wife would rather go on with her European trip than stand by him--and furthermore, suspects that she is having an affair with another lawyer (Melvyn Douglas).
As if one director in an acting role isn't enough, you also get a chance to see Richard Quine as one of Barrymore's bratty kids--Quine went on to be featured in a number of MGM films before turning his talents to directing.
Only drawback: the whole film is directed at a breathless pace, words coming forth fast and furious in a manner not even Roz Russell could top in her best Girl Friday mode. The art deco office sets are fascinating (the story supposedly takes place in the Empire State Building), but the dialog is handled by Barrymore and others in such speedy bursts of speech that you better listen carefully to catch whatever nuances there are. This was a style common in the early '30s but it can get a little too breathless at times.
Surprisingly, Barrymore handles all the fast dialog with skill (if a bit overly melodramatic at times). And yet, all in all, interest is maintained throughout. Isabel Jewell as a busy receptionist gives a comical but stereotyped turn as a switchboard operator.
He all but steals the thunder from JOHN BARRYMORE, who is of course the star of this seldom seen film from the early '30s that gave William Wyler his first opportunity to click as director of an A film.
Barrymore is a Jewish lawyer from a humble background who finds himself facing serious charges that could lead to his being disbarred from practice. At the same time, he discovers that his wife would rather go on with her European trip than stand by him--and furthermore, suspects that she is having an affair with another lawyer (Melvyn Douglas).
As if one director in an acting role isn't enough, you also get a chance to see Richard Quine as one of Barrymore's bratty kids--Quine went on to be featured in a number of MGM films before turning his talents to directing.
Only drawback: the whole film is directed at a breathless pace, words coming forth fast and furious in a manner not even Roz Russell could top in her best Girl Friday mode. The art deco office sets are fascinating (the story supposedly takes place in the Empire State Building), but the dialog is handled by Barrymore and others in such speedy bursts of speech that you better listen carefully to catch whatever nuances there are. This was a style common in the early '30s but it can get a little too breathless at times.
Surprisingly, Barrymore handles all the fast dialog with skill (if a bit overly melodramatic at times). And yet, all in all, interest is maintained throughout. Isabel Jewell as a busy receptionist gives a comical but stereotyped turn as a switchboard operator.
A masterpiece of the highest law and order.
mark.waltz27 June 2016
Warning: Spoilers
The often hammy film appearances of the great profile, John Barrymore, often overshadowed his greatness. He was at his best on screen in 1933 with at least three classics: "Dinner at Eight", "Topaze", and this version of the Elmer Rice play where he plays a high powered New York attorney who came up the hard way and is beyond determined to remain where he is. He helps the sweet old Jewish ladies who lived where he grew up, often charging them little (if anything) yet raising the rates of the man crazy socialites and gold digging dancing girls. When he discovers scandal concerning wife Doris Kenyon, his own legal expertise might not be enough to prevent his downfall.
Barrymore is surrounded by the most outstanding cast, standouts including Isabel Jewell as his obnoxiously chatty receptionist, future "His Girl Friday" killer John Qualen as one of his former clients turned informer and Bebe Daniels (just coming off of "42nd Street") as a lovelorn assistant.
So much happens in a very short period of time that you might find yourself watching it over and over to pick up the tough, feisty dialog. It is perfectly directed by William Wyler who wasn't as of yet in the top line of movie directors. The screenplay, mixing high comedy, drama, political satire and legal mumbo jumbo, is brilliant.
This is representative to the tea of America in the depression era 1930's with all sorts of references to what was going on at the time deep inside the world of the working class, fighting high society in its efforts to find justice. The fact that Barrymore didn't get an Oscar nomination for this is a great mystery, and had there been supporting nominations at the time, I'd vote for Isabel Jewell to get one as well.
Barrymore is surrounded by the most outstanding cast, standouts including Isabel Jewell as his obnoxiously chatty receptionist, future "His Girl Friday" killer John Qualen as one of his former clients turned informer and Bebe Daniels (just coming off of "42nd Street") as a lovelorn assistant.
So much happens in a very short period of time that you might find yourself watching it over and over to pick up the tough, feisty dialog. It is perfectly directed by William Wyler who wasn't as of yet in the top line of movie directors. The screenplay, mixing high comedy, drama, political satire and legal mumbo jumbo, is brilliant.
This is representative to the tea of America in the depression era 1930's with all sorts of references to what was going on at the time deep inside the world of the working class, fighting high society in its efforts to find justice. The fact that Barrymore didn't get an Oscar nomination for this is a great mystery, and had there been supporting nominations at the time, I'd vote for Isabel Jewell to get one as well.
a lot of good work from Barrymore
SnoopyStyle15 September 2022
George Simon (John Barrymore) is a tireless successful lawyer from a poor Jewish background. He wins a murder case for a lascivious female client. He gets a stock tip and makes a big bet. A beloved elderly lady from the old neighbor comes in needing help. His brother is in trouble again. He takes on a case which infuriates his socialite wife Cora since it would damage her friend. He decides to drop the case. A past issue threatens to blow up his career and there is trouble in the marriage.
This is a pre-Code drama adapted from a Broadway play. There is a lot going on. In that way, it feels very modern like a present-day TV law office show with multiple story lines. John Barrymore is doing good work in the manic role. He doesn't ever stop. It's a lot of acting from the master.
This is a pre-Code drama adapted from a Broadway play. There is a lot going on. In that way, it feels very modern like a present-day TV law office show with multiple story lines. John Barrymore is doing good work in the manic role. He doesn't ever stop. It's a lot of acting from the master.
John Barrymore is Heartbreakingly Brilliant!!!
kidboots21 February 2010
Warning: Spoilers
Elmer Rice's play about the stresses in the life of a successful lawyer was a huge Broadway hit of the 1932 season. Paul Muni had been the star but for the film John Barrymore was chosen. This film restored his prestige for at this point his career and health had been in decline. Even though the story is confined to the Empire State Building, the plot is very intense and involving. William Wyler directs at a frantic pace the magnificent cast, including John Qualen, who was recruited from the original Broadway play.
The film is an ensemble piece with the main focus being on George Simon (Barrymore) a top attorney, who has pulled himself up from his poor Jewish background to the prominent position he now holds. After fighting off the grateful attentions of a client, Mrs. Chapman (Mayo Methot) he has acquitted of murdering her husband, his next client is an elderly woman, whose son has been arrested for making communist speeches. He has a lot of time for her as she was a neighbour in the tenement where he grew up. George's mother drops in to see if he will help his "black sheep" brother out of a gambling debt - he does so, grudgingly.
George is married to a divorcée, Cora (Doris Kenyon), who, by looks and actions, shows, that in her eyes, George's background places him far below her in society. His secretary, Regina Gordon (Bebe Daniels) observes all, the cold and superior attitude his wife adopts towards his mother (in a scene that is quite chilling), the fact that Cora is not only having an affair with a mutual friend Roy (Melvyn Douglas) but is also planning to run away with him. On top of that are George's two spoiled step children (Barbara Perry and Richard Quine) who enjoy a different type of social life than George (they still have their father's name). Regina, through all this, has to remain the perfect secretary - loyal and silent. When a case that George defended 10 years ago, threatens to ruin his career, that, along with the fact that he realises his wife has been unfaithful, pushes him to the brink of suicide. It is only the cries of Regina and a frantic phone call for help on a domestic murder case that gives him back his fighting spirit.
This is a superb film with a cast list that reads like a who's who of pre-code movies. Apart from Bebe Daniels, who give a mighty performance and Doris Kenyon, a respected stage and screen actress, there was Mayo Methot as the "husband killer", Isabel Jewell, giving another quirky performance, as a sassy switchboard operator, Thelma Todd as Lillian LaRue and Melvyn Douglas in an unsympathetic role.
Highly, Highly Recommended.
The film is an ensemble piece with the main focus being on George Simon (Barrymore) a top attorney, who has pulled himself up from his poor Jewish background to the prominent position he now holds. After fighting off the grateful attentions of a client, Mrs. Chapman (Mayo Methot) he has acquitted of murdering her husband, his next client is an elderly woman, whose son has been arrested for making communist speeches. He has a lot of time for her as she was a neighbour in the tenement where he grew up. George's mother drops in to see if he will help his "black sheep" brother out of a gambling debt - he does so, grudgingly.
George is married to a divorcée, Cora (Doris Kenyon), who, by looks and actions, shows, that in her eyes, George's background places him far below her in society. His secretary, Regina Gordon (Bebe Daniels) observes all, the cold and superior attitude his wife adopts towards his mother (in a scene that is quite chilling), the fact that Cora is not only having an affair with a mutual friend Roy (Melvyn Douglas) but is also planning to run away with him. On top of that are George's two spoiled step children (Barbara Perry and Richard Quine) who enjoy a different type of social life than George (they still have their father's name). Regina, through all this, has to remain the perfect secretary - loyal and silent. When a case that George defended 10 years ago, threatens to ruin his career, that, along with the fact that he realises his wife has been unfaithful, pushes him to the brink of suicide. It is only the cries of Regina and a frantic phone call for help on a domestic murder case that gives him back his fighting spirit.
This is a superb film with a cast list that reads like a who's who of pre-code movies. Apart from Bebe Daniels, who give a mighty performance and Doris Kenyon, a respected stage and screen actress, there was Mayo Methot as the "husband killer", Isabel Jewell, giving another quirky performance, as a sassy switchboard operator, Thelma Todd as Lillian LaRue and Melvyn Douglas in an unsympathetic role.
Highly, Highly Recommended.
A well made, well acted riveting drama
1930s_Time_Machine29 November 2022
If you want proof that films from 1933 can be just as good as what is made today, you should watch this.
It is a snapshot of the life of a brilliant and successful lawyer who hasn't forgotten his humble roots, he is someone who genuinely cares about the downtrodden and the community he came from. He is someone who has to fight against racism and overwhelming class prejudice, even from his monstrous wife, an awful snob from an 'old family.'
The action takes all place in just a couple of days, two days where events almost destroy his life. So much happens that there's never a dull moment. So much happens that you don't notice that you're just watching a small handful of people in just one studio set.
Soon-to-be superstar director, William Wyler does the cinematic equivalent to creating a book you can't put down. Although at this stage in his career he was at cost-conscious Universal where his famous 'we will keep shooting this scene until we get it perfect' idiom couldn't be realised, he creates a real world with real people you can really care about.
Who shines brighter than the sun in this is of course John Barrymore. Everyone knew that he was past his prime and was struggling terribly with his debilitating alcoholism but this shows that once he got 'into the zone' he was remarkable. You can why he was so highly regarded.
The story is remarkably similar to 1932's Lawyer Man. That had William Powell being Barrymore's immigrant lawyer who had lifted himself out of the gutter and Joan Blondell being Bebe Daniels' unappreciated and unloved assistant. Both films are straight dramas but whereas that film has quite a nice, cosy feel to it, Councillor at Law is a little colder. It's just personal taste but because William Powell seems to be the epitome of niceness and Joan Blondell is Joan Blondell, Lawyer Man is a more pleasant film to watch. This one however will probably stay in the memory longer, it has a lot to say.
It is a snapshot of the life of a brilliant and successful lawyer who hasn't forgotten his humble roots, he is someone who genuinely cares about the downtrodden and the community he came from. He is someone who has to fight against racism and overwhelming class prejudice, even from his monstrous wife, an awful snob from an 'old family.'
The action takes all place in just a couple of days, two days where events almost destroy his life. So much happens that there's never a dull moment. So much happens that you don't notice that you're just watching a small handful of people in just one studio set.
Soon-to-be superstar director, William Wyler does the cinematic equivalent to creating a book you can't put down. Although at this stage in his career he was at cost-conscious Universal where his famous 'we will keep shooting this scene until we get it perfect' idiom couldn't be realised, he creates a real world with real people you can really care about.
Who shines brighter than the sun in this is of course John Barrymore. Everyone knew that he was past his prime and was struggling terribly with his debilitating alcoholism but this shows that once he got 'into the zone' he was remarkable. You can why he was so highly regarded.
The story is remarkably similar to 1932's Lawyer Man. That had William Powell being Barrymore's immigrant lawyer who had lifted himself out of the gutter and Joan Blondell being Bebe Daniels' unappreciated and unloved assistant. Both films are straight dramas but whereas that film has quite a nice, cosy feel to it, Councillor at Law is a little colder. It's just personal taste but because William Powell seems to be the epitome of niceness and Joan Blondell is Joan Blondell, Lawyer Man is a more pleasant film to watch. This one however will probably stay in the memory longer, it has a lot to say.
I don't get the positive reviews at all
greggman22 June 2023
I watch pretty much any old movie with a rating of 7+ that I find. I might not like all of them but I usually see why others would like them. Two examples, unrelated to this one. I watch "Camille" (1936) and "Remember the Night" (1940). I personally wouldn't recommend either of them but I did get why others liked them.
Why others like this movie though I have no clue.
Absolutely nothing of interest happens for the first 50 minutes of movie.
At 50 minutes we get our first conflict. It's resolved by the last 10 but the entire thing is fairly boring and the resolution is out of the blue.
There's a tiny conflict after that and it's resolved very randomly. The End.
None of the characters in the movie are interesting. Even the main character is almost nothing.
Seriously, I found nothing interesting in this movie. I don't know what others found 7.5 worthy.
Why others like this movie though I have no clue.
Absolutely nothing of interest happens for the first 50 minutes of movie.
At 50 minutes we get our first conflict. It's resolved by the last 10 but the entire thing is fairly boring and the resolution is out of the blue.
There's a tiny conflict after that and it's resolved very randomly. The End.
None of the characters in the movie are interesting. Even the main character is almost nothing.
Seriously, I found nothing interesting in this movie. I don't know what others found 7.5 worthy.
"That's not the way I practise law"
Steffi_P8 March 2009
John Barrymore, while by no means a bad actor, was a shameless ham, overplaying every role whether it be straight or comic. It is therefore refreshing to see him in Counsellor at Law for once delivering a performance that is restrained and realistic, and probably the best of his career.
It's no surprise then that the director of Counsellor at Law was William Wyler, perhaps the most skilled and respected director of actors in Hollywood history. No less a personage than Laurence Olivier credited Wyler with teaching him how to act for the screen. I can imagine Wyler reining in the over-expressive Barrymore, exhausting him with repeated takes and cutting his performance down to size. But Barrymore is not the only one to be affected by the Wyler touch. Bebe Daniels, who normally played women who were if not villainous than at least a bit dodgy, is the best I have ever seen her as Barrymore's warm-hearted secretary. Even supporting players Doris Kenyon and Clara Langsner, who play Barrymore's wife and mother respectively, turn in incredibly deep performances. Then there's Vincent Sherman, who later became a director himself. His character is a stereotype, and his impassioned speech is the stuff of melodrama, but he almost manages to make the part convincing.
As well as coaxing such great performances, Wyler always put a lot of thought into how he should film the actors to benefit the story. Sometimes this meant violating cinematic conventions, and Wyler was lucky to have made his earliest features with Universal and Sam Goldwyn, two of the more leftfield studios at the time. Counsellor at Law has a lot of bit parts which we have to acknowledge, but not focus on, such as the clients who come and go in the first ten minutes. As often as possible Wyler shoots them with their backs to the camera so we don't dwell upon them. Conversely, he encourages us to take note of significant characters, for example placing Malka Kornstein conspicuously in the background in an early scene before she has properly entered the story. It's worth noting that this was the first time Wyler worked with his long time editor Daniel Mandell, who must have fully respected Wyler's unconventional shooting patterns.
Elmer Rice's play from which the film is adapted works a lot on changing pace. The opening scenes are snappy and bustling, zipping from room to room and one character to the next. Gradually the pace slows and the scenes start to crystalize which, coming after the business and light comedy of the first half, give the important moments more impact. Wyler acknowledges and compliments this pacing, keeping the camera constantly moving in the earlier scenes, and keeping it close to the action. As things slow down his camera keeps still and often hangs back. Unfortunately some of the camera moves are a little shaky, and some of them are not entirely necessary - Wyler's later pictures would be far more subtle in this respect.
Counsellor at Law is mainly worth seeing for Barrymore's understated performance, but there is plenty more going on. The story is not outstanding, but it is well told. And Wyler's direction, while it still had a long way to go to the standard he would eventually reach in Best Years of Our Lives or The Heiress is nevertheless bold and daring, and here teases the drama out of the comedy.
It's no surprise then that the director of Counsellor at Law was William Wyler, perhaps the most skilled and respected director of actors in Hollywood history. No less a personage than Laurence Olivier credited Wyler with teaching him how to act for the screen. I can imagine Wyler reining in the over-expressive Barrymore, exhausting him with repeated takes and cutting his performance down to size. But Barrymore is not the only one to be affected by the Wyler touch. Bebe Daniels, who normally played women who were if not villainous than at least a bit dodgy, is the best I have ever seen her as Barrymore's warm-hearted secretary. Even supporting players Doris Kenyon and Clara Langsner, who play Barrymore's wife and mother respectively, turn in incredibly deep performances. Then there's Vincent Sherman, who later became a director himself. His character is a stereotype, and his impassioned speech is the stuff of melodrama, but he almost manages to make the part convincing.
As well as coaxing such great performances, Wyler always put a lot of thought into how he should film the actors to benefit the story. Sometimes this meant violating cinematic conventions, and Wyler was lucky to have made his earliest features with Universal and Sam Goldwyn, two of the more leftfield studios at the time. Counsellor at Law has a lot of bit parts which we have to acknowledge, but not focus on, such as the clients who come and go in the first ten minutes. As often as possible Wyler shoots them with their backs to the camera so we don't dwell upon them. Conversely, he encourages us to take note of significant characters, for example placing Malka Kornstein conspicuously in the background in an early scene before she has properly entered the story. It's worth noting that this was the first time Wyler worked with his long time editor Daniel Mandell, who must have fully respected Wyler's unconventional shooting patterns.
Elmer Rice's play from which the film is adapted works a lot on changing pace. The opening scenes are snappy and bustling, zipping from room to room and one character to the next. Gradually the pace slows and the scenes start to crystalize which, coming after the business and light comedy of the first half, give the important moments more impact. Wyler acknowledges and compliments this pacing, keeping the camera constantly moving in the earlier scenes, and keeping it close to the action. As things slow down his camera keeps still and often hangs back. Unfortunately some of the camera moves are a little shaky, and some of them are not entirely necessary - Wyler's later pictures would be far more subtle in this respect.
Counsellor at Law is mainly worth seeing for Barrymore's understated performance, but there is plenty more going on. The story is not outstanding, but it is well told. And Wyler's direction, while it still had a long way to go to the standard he would eventually reach in Best Years of Our Lives or The Heiress is nevertheless bold and daring, and here teases the drama out of the comedy.
Terrific early William Wyler directed drama starring John Barrymore
jacobs-greenwood12 December 2016
Warning: Spoilers
The film opens in the hustle and bustle of a law firm in the Empire State Building, New York City. It gives a terrific sense of the hurried and harried lives of several individuals in the Simon & Tedesco office, as well as the physical layout of the suites themselves. We are introduced to the receptionist/phone operator (Isabell Jewel), the office errand boy (Robert Gordon), the junior associates, the head secretaries and several of the clients as well. Plus, we get a sense of what it would be like to work in such an environment through the interaction between each of these characters.
The receptionist has a "sing song" voice for the callers, another for the errand boy who tries to flirt with her and fills in for her on her lunch breaks, and another still for the professionals in the office. A junior associate Weinberg (Marvin Kline), who we later find out is from Harvard and thought of highly by the partners, wants desperately to date Simon's secretary "Rexy" (Bebe Daniels). However, she spurns his attempts, even though he appears to be a perfect, if persistent gentleman.
Tedesco's secretary Goldie (Angela Jacobs) is a rather quiet woman, very aware of her position in the firm, who seems to spend most of her time walking through the lobby to the commode and back. Of the clients, we meet a woman (Mayo Methot), for which Simon just obtained an acquittal for murdering her husband, and another woman (Thelma Todd, just a cameo really, unless you count the time she's primping;-) who also wants to see him this day.
FINALLY, we are introduced to "the man" himself, and the actor whose name is singularly above the film's title in the opening credits, the title character George Simon, played by John Barrymore. Simon is a man who began his life humbly, in a poor Jewish ghetto, but who has worked his way up tirelessly such that he now receives "hot tips" from Senators in Washington and has "landed" a trophy blonde wife named Cora (Doris Kenyon). During this ascension, however, he hasn't forgotten from whence he came nor the people from his squalid beginnings. Plus, we get a sense that his secretary was with him through most of the struggle, for she admires him greatly and, though she steadfastly keeps it to herself, would love to be so much more to him if he would merely "open a door" for her. It is clear that he cannot function without her solid, professional service. He depends upon her greatly, and she continues to deliver even though some of the things he asks her to do are against his own interests. Most of these stem from interactions between Simon and his wife Cora, who uses her personal influence with him to interfere in his professional life, and to his detriment. Cora is a "society woman" he successfully wooed, but who doesn't like the "scandalous" nature of some of her husband's legal successes and dealings. In fact, we soon find out how selfish she is, that Simon is her second husband, and that her two nearly teenage, snobbish children regard him with disdain, retaining their biological father's last name.
Barrymore plays Simon forcefully, and very believably, as a man who wouldn't know what to do if he wasn't working "a mile a minute" at all times. Though sensitive to the intricacies and nuances of every legal matter, he is oblivious to adoration of his secretary or the true character of his wife and her friends, until the very end. It is through her that he must have met Roy Darwin (a very youthful looking Melvyn Douglas), a close friend of Cora's who seems to have found a discrete and open wallet (for his gambling vice?) in Simon. We get "connected" to Simon's past through several characters who call on him at his office including an old woman (Malka Kornstein) from his neighborhood whose Marxist son (Vincent Sherman) got in trouble with the law. We also meet Simon's mother (Clara Langsner), who keeps tabs on him, and visits to ask her son to continue to provide financial support for his "good for nothing" brother. It is ironic that he willingly gives "loans" to the society leach Darwin, but (at least initially) refuses to help his own brother.
Simon is by no means a Saint. He trades on inside information he receives and a good part of the last 45 minutes of the film is about how he deals with a skeleton in his closet. Another friend from the old neighbor, Peter Malone (T. H. Manning), arrives to give Simon a "heads up" that a lawyer on the parole board, Francis Clark Baird (Elmer Brown, in his only credited role), is preparing to brings charges that would disbar Simon for his conduct in a case he won 12 years ago. During this part of the film, we finally meet his partner John Tedesco (Onslow Stevens), get more familiar with a former criminal who now works as Simon's house detective, Charlie McFadden (John Hammond Dailey), and meet his client Johan Breitstein (John Qualen) from the aforementioned case.
I won't give away the ending, but I will say that as frenetically as this film's "chock full of dialogue" story flies by, Barrymore's character's mood swings are even faster, especially in the last scenes. And, even though the film is a scant 80 minutes, the characterizations are rich and credible.
The receptionist has a "sing song" voice for the callers, another for the errand boy who tries to flirt with her and fills in for her on her lunch breaks, and another still for the professionals in the office. A junior associate Weinberg (Marvin Kline), who we later find out is from Harvard and thought of highly by the partners, wants desperately to date Simon's secretary "Rexy" (Bebe Daniels). However, she spurns his attempts, even though he appears to be a perfect, if persistent gentleman.
Tedesco's secretary Goldie (Angela Jacobs) is a rather quiet woman, very aware of her position in the firm, who seems to spend most of her time walking through the lobby to the commode and back. Of the clients, we meet a woman (Mayo Methot), for which Simon just obtained an acquittal for murdering her husband, and another woman (Thelma Todd, just a cameo really, unless you count the time she's primping;-) who also wants to see him this day.
FINALLY, we are introduced to "the man" himself, and the actor whose name is singularly above the film's title in the opening credits, the title character George Simon, played by John Barrymore. Simon is a man who began his life humbly, in a poor Jewish ghetto, but who has worked his way up tirelessly such that he now receives "hot tips" from Senators in Washington and has "landed" a trophy blonde wife named Cora (Doris Kenyon). During this ascension, however, he hasn't forgotten from whence he came nor the people from his squalid beginnings. Plus, we get a sense that his secretary was with him through most of the struggle, for she admires him greatly and, though she steadfastly keeps it to herself, would love to be so much more to him if he would merely "open a door" for her. It is clear that he cannot function without her solid, professional service. He depends upon her greatly, and she continues to deliver even though some of the things he asks her to do are against his own interests. Most of these stem from interactions between Simon and his wife Cora, who uses her personal influence with him to interfere in his professional life, and to his detriment. Cora is a "society woman" he successfully wooed, but who doesn't like the "scandalous" nature of some of her husband's legal successes and dealings. In fact, we soon find out how selfish she is, that Simon is her second husband, and that her two nearly teenage, snobbish children regard him with disdain, retaining their biological father's last name.
Barrymore plays Simon forcefully, and very believably, as a man who wouldn't know what to do if he wasn't working "a mile a minute" at all times. Though sensitive to the intricacies and nuances of every legal matter, he is oblivious to adoration of his secretary or the true character of his wife and her friends, until the very end. It is through her that he must have met Roy Darwin (a very youthful looking Melvyn Douglas), a close friend of Cora's who seems to have found a discrete and open wallet (for his gambling vice?) in Simon. We get "connected" to Simon's past through several characters who call on him at his office including an old woman (Malka Kornstein) from his neighborhood whose Marxist son (Vincent Sherman) got in trouble with the law. We also meet Simon's mother (Clara Langsner), who keeps tabs on him, and visits to ask her son to continue to provide financial support for his "good for nothing" brother. It is ironic that he willingly gives "loans" to the society leach Darwin, but (at least initially) refuses to help his own brother.
Simon is by no means a Saint. He trades on inside information he receives and a good part of the last 45 minutes of the film is about how he deals with a skeleton in his closet. Another friend from the old neighbor, Peter Malone (T. H. Manning), arrives to give Simon a "heads up" that a lawyer on the parole board, Francis Clark Baird (Elmer Brown, in his only credited role), is preparing to brings charges that would disbar Simon for his conduct in a case he won 12 years ago. During this part of the film, we finally meet his partner John Tedesco (Onslow Stevens), get more familiar with a former criminal who now works as Simon's house detective, Charlie McFadden (John Hammond Dailey), and meet his client Johan Breitstein (John Qualen) from the aforementioned case.
I won't give away the ending, but I will say that as frenetically as this film's "chock full of dialogue" story flies by, Barrymore's character's mood swings are even faster, especially in the last scenes. And, even though the film is a scant 80 minutes, the characterizations are rich and credible.
Entertaining, intelligent and fun
mdudnikov29 September 2005
What a wonderful film. Just saw it last night for the first time. My first impression viewing the movie was that this was the best performance I had seen from Barrymore. I was wondering if perhaps I had gotten a little carried away, but from reading some of the other comments I see that there is great concurrence on this point. In general this lost gem is fast, funny, poignant and incredibly well acted.
So few films tell the story of a Jewish character, but this one does and very well. Barrymore is a surprising casting choice for the lead, but it is hard to imagine that anyone else could have been as good, much less better. Bebe Daniels is just excellent in the role of the loyal secretary, much better than in her more famous role in 42nd Street. John Qualen and Vincent Sherman are also very good in small roles.
If you are looking for an enjoyable hour and one half that will amuse and also make you think at the same time, jump on this rarely seen jewel. It is reputedly hard to purchase, but TCM recently featured it on its station and hopefully will do so again soon.
So few films tell the story of a Jewish character, but this one does and very well. Barrymore is a surprising casting choice for the lead, but it is hard to imagine that anyone else could have been as good, much less better. Bebe Daniels is just excellent in the role of the loyal secretary, much better than in her more famous role in 42nd Street. John Qualen and Vincent Sherman are also very good in small roles.
If you are looking for an enjoyable hour and one half that will amuse and also make you think at the same time, jump on this rarely seen jewel. It is reputedly hard to purchase, but TCM recently featured it on its station and hopefully will do so again soon.
Never saw any lawyer-driven film so depressing and refreshing at the same time. One of Wyler and Barrymore's best works from the 1930s.
SAMTHEBESTEST19 June 2022
Counsellor At Law (1933) :
Brief Review -
Never saw any lawyer-driven film so depressing and refreshing at the same time. One of Wyler and Barrymore's best works from the 1930s. John Barrymore's last best days were in his early 30s, and his last known works came in these 5 years of the early talkie era. My top favourite is the Oscar-winning "Grand Hotel" (1932), and I am glad to tell you that Counsellor At Law was very close to its greatness. Despite striking a tragic note and disassembling near the end, both films end with a positive message. Grand Hotel was about the life-circle and too subtle for its time. Counsellor At Law may not be that subtle and meaningful, but it's a wonderful film to watch. Perhaps because it is not about multiple people and instead focuses on one man, the protagonist, whereas Grand Hotel was about a group of people with multiple stories colliding in one place. But I must say that Counsellor At Law has to be one of the most beautiful law-driven films ever made in Hollywood, and it doesn't include any court trials or scenes. The story focuses on several days at a critical juncture in the life of a shrewd and successful attorney, George Simon. His workaholic nature keeps him going, but then the possibility of dethroning his career shatters him for a while. That quick depression scene gets you for a while with proper hints way before you anticipated. Suddenly, you are in for a surprise, a refreshing start that completes the circle of life, but I shouldn't reveal anything here. Loved John Barrymore's performance as he was just flawless and vivid. Isabel Jewell's chattering is lovable, and so is Bebe Daniels's cuteness and unspoken love. Believe me, some of the early 30s films by William Wyler are much better than the late 30s overrated mediocrities. This one deserves more attention than many of his late 30s soaps that have gotten undeserving love and hype. Overall, a very good film with a strong and relatable context.
RATING - 7.5/10*
By - #samthebestest.
Never saw any lawyer-driven film so depressing and refreshing at the same time. One of Wyler and Barrymore's best works from the 1930s. John Barrymore's last best days were in his early 30s, and his last known works came in these 5 years of the early talkie era. My top favourite is the Oscar-winning "Grand Hotel" (1932), and I am glad to tell you that Counsellor At Law was very close to its greatness. Despite striking a tragic note and disassembling near the end, both films end with a positive message. Grand Hotel was about the life-circle and too subtle for its time. Counsellor At Law may not be that subtle and meaningful, but it's a wonderful film to watch. Perhaps because it is not about multiple people and instead focuses on one man, the protagonist, whereas Grand Hotel was about a group of people with multiple stories colliding in one place. But I must say that Counsellor At Law has to be one of the most beautiful law-driven films ever made in Hollywood, and it doesn't include any court trials or scenes. The story focuses on several days at a critical juncture in the life of a shrewd and successful attorney, George Simon. His workaholic nature keeps him going, but then the possibility of dethroning his career shatters him for a while. That quick depression scene gets you for a while with proper hints way before you anticipated. Suddenly, you are in for a surprise, a refreshing start that completes the circle of life, but I shouldn't reveal anything here. Loved John Barrymore's performance as he was just flawless and vivid. Isabel Jewell's chattering is lovable, and so is Bebe Daniels's cuteness and unspoken love. Believe me, some of the early 30s films by William Wyler are much better than the late 30s overrated mediocrities. This one deserves more attention than many of his late 30s soaps that have gotten undeserving love and hype. Overall, a very good film with a strong and relatable context.
RATING - 7.5/10*
By - #samthebestest.
High Speed Fascinating Fun!
trw333200021 November 2002
Here is an example why many of the pictures of the early 30s stand out as great entertainment even in the 21st century.
In the newly opened Deco masterpiece, the Empire State Building, unfolds a story loaded with charm, attitude, and wise-cracking dialogue. John Barrymore was never better in a role! Director William Wyler draws the best from the supporting cast, too. Rare example of great comedy and drama that still works almost 70 years later.
Don't miss it--let's hope Universal and Kino Video release more of their library of 30s films--they stand the test of time with classic film fans!
In the newly opened Deco masterpiece, the Empire State Building, unfolds a story loaded with charm, attitude, and wise-cracking dialogue. John Barrymore was never better in a role! Director William Wyler draws the best from the supporting cast, too. Rare example of great comedy and drama that still works almost 70 years later.
Don't miss it--let's hope Universal and Kino Video release more of their library of 30s films--they stand the test of time with classic film fans!
The Busy Office of George Simon
view_and_review29 January 2024
"Counsellor At Law" centered around George Simon (John Barrymore), a successful attorney who got that way through hard work and ingenuity. Throughout the course of the movie you understood that he had a big heart and wanted to help people. He was in high demand and had a lot of demands on him. He hardly had time to rest, he was juggling so many issues--personal and business. One matter became the most central issue on his plate.
He was at risk of being disbarred when he found out that one of his clients had perjured himself. The client would be alright because there's no double jeopardy, but George would be disbarred if a fellow named Mr. Baird (Elmer Brown) had his way.
"Counsellor At Law" took place entirely in George Simon's offices with an occasional cut to the elevator lobby. All of the intrigue was drummed up by George, those who worked in his office, and those who came to his office. It was a humming place, sort of like "Manhattan Tower" or "The Grand Hotel" just not quite as good.
Free on Odnoklassniki.
He was at risk of being disbarred when he found out that one of his clients had perjured himself. The client would be alright because there's no double jeopardy, but George would be disbarred if a fellow named Mr. Baird (Elmer Brown) had his way.
"Counsellor At Law" took place entirely in George Simon's offices with an occasional cut to the elevator lobby. All of the intrigue was drummed up by George, those who worked in his office, and those who came to his office. It was a humming place, sort of like "Manhattan Tower" or "The Grand Hotel" just not quite as good.
Free on Odnoklassniki.
Simply the Best
kw99184 February 2000
DO NOT MISS THIS ONE (if you can find it)! Distributors, for shame for not releasing it!
This is a fast-paced, tautly directed masterpiece, combining the fabulous director William Wyler ("Dodsworth," "The Best Years of Our Lives") with the great John Barrymore, who, despite his late middle years, remains at the height of his powers.
The various story lines are woven together with unbelievable dexterity--Wyler already displays the masterful yet natural style for which he became famous. Barrymore's range and intensity are simply unbelievable. He is charisma personified.
And the story is based on the eternal theme of social values vs. human values. Not to mention it's borne out of that yummy early-30's "art-deco" period, an era where films got surprisingly frank.
One of the best and least-known films of the century. How come so much junk and so few films like this are out on video!
This is a fast-paced, tautly directed masterpiece, combining the fabulous director William Wyler ("Dodsworth," "The Best Years of Our Lives") with the great John Barrymore, who, despite his late middle years, remains at the height of his powers.
The various story lines are woven together with unbelievable dexterity--Wyler already displays the masterful yet natural style for which he became famous. Barrymore's range and intensity are simply unbelievable. He is charisma personified.
And the story is based on the eternal theme of social values vs. human values. Not to mention it's borne out of that yummy early-30's "art-deco" period, an era where films got surprisingly frank.
One of the best and least-known films of the century. How come so much junk and so few films like this are out on video!
Early Rice
leslieadams2 January 2005
Elmer Rice wrote the intriguing play "Counsellor-at-law," then fashioned it into a fine film scenario.
My personal recollection is Rice's 1954 play, "The Winner" (which the Theatre Guild toured with Tom Helmore, Joan Tetzel and Frederick O'Neal). That wonderful play also had the legal office setting, which Rice knew and wrote about so well.
In this 1933 film, Director William Wyler coaxes John Barrymore to render one of his finest film performances. It is deeply felt, subtly executed and hypnotic to watch.
The staging is choreographed in a manner in which camera and actors move smoothly, with every shot a solid statement.
One of the great motion pictures of the thirties, and a triumph for the entire cast and crew.
My personal recollection is Rice's 1954 play, "The Winner" (which the Theatre Guild toured with Tom Helmore, Joan Tetzel and Frederick O'Neal). That wonderful play also had the legal office setting, which Rice knew and wrote about so well.
In this 1933 film, Director William Wyler coaxes John Barrymore to render one of his finest film performances. It is deeply felt, subtly executed and hypnotic to watch.
The staging is choreographed in a manner in which camera and actors move smoothly, with every shot a solid statement.
One of the great motion pictures of the thirties, and a triumph for the entire cast and crew.
John Barrymore plays a social-climbing lawyer in this fast-paced melodrama
pontifikator13 August 2010
Warning: Spoilers
This is an excellent film about a social-climbing lawyer with a heart of gold. Directed by William Wyler, it stars John Barrymore as the titular lawyer George Simon and Bebe Daniels as his long-suffering secretary. A very young Melvyn Douglas plays the man who steals Simon's wife away to Europe, the cad.
"Counsellor at Law" was based on a popular play, the dialogue is fast-paced and witty, and the whole movie is set in Simon's offices. There are no wasted characters, and I enjoyed watching everyone of them. This is a movie you shouldn't take your eyes off because you'll miss some engaging business going on.
Bebe Daniels is overwhelmingly good at Rexy, Simon's secretary who's in love with him. Isabel Jewell is fantastic as the telephone operator, and she's got some of the best lines in the movie. I don't know who played the secretary in the flowered dress, but she walks up and down the hall in the best martyr-queen poses I've ever seen; she knocked me out every time, and there was no reason for her role to be there other than as comic relief. And John Barrymore - at his best. His busy fingers on the desktop betray his eagerness to win every telephone call. His posture when he thinks all is lost shows absolute destitution. His elation is all over his face when victory is his.
Elmer Rice wrote the screenplay and the play it's based on. According to IMDb, one line had to be deleted to satisfy the censors, but the producers deleted only the sound, so the words are spoken on screen, but not heard. As a woman leaves Simon's office, she says, "Well, for God's sake, what do they expect for fifteen thousand dollars?" Then her lips say, "A virgin?" The writing is top-notch, and the characters that come in and out of Simon's offices are a hodgepodge of New York stereotypes from Simon's past and his present.
The plot revolves around Simon's success as a trial lawyer contrasted with his humble beginnings as a Jewish emigrant (he was born in steerage on the way to the US). He's very driven, but he retains all his love of his lower class pals, and he employs several as helpers in his office. He represents his former neighbors for nothing, while raising his fees for his rich clients to pay for his charity. Simon has married a divorced woman with two children from a previous marriage, and she's more concerned with her appearance and her society than with Simon. He loves her completely, the fool, and she has no use for him but for his money. Rexy watches all this from the background, letting Simon run her ragged with work he needs done immediately. She knows what Simon's wife is doing, but says nothing. Wyler shows her status metaphorically as she sits at a single desk in the background with a special telephone with a cover over the mouthpiece so that she can speak silently while Simon has center stage with his clients and his wife, barking out orders and cajoling his wife to spend more time with him.
It's a great, fast-paced movie, and I recommend keeping the volume up just a little so you don't miss the patter that goes on relentlessly, exposing character at every turn. Not a wasted part, not a wasted actor, not a wasted word.
"Counsellor at Law" was based on a popular play, the dialogue is fast-paced and witty, and the whole movie is set in Simon's offices. There are no wasted characters, and I enjoyed watching everyone of them. This is a movie you shouldn't take your eyes off because you'll miss some engaging business going on.
Bebe Daniels is overwhelmingly good at Rexy, Simon's secretary who's in love with him. Isabel Jewell is fantastic as the telephone operator, and she's got some of the best lines in the movie. I don't know who played the secretary in the flowered dress, but she walks up and down the hall in the best martyr-queen poses I've ever seen; she knocked me out every time, and there was no reason for her role to be there other than as comic relief. And John Barrymore - at his best. His busy fingers on the desktop betray his eagerness to win every telephone call. His posture when he thinks all is lost shows absolute destitution. His elation is all over his face when victory is his.
Elmer Rice wrote the screenplay and the play it's based on. According to IMDb, one line had to be deleted to satisfy the censors, but the producers deleted only the sound, so the words are spoken on screen, but not heard. As a woman leaves Simon's office, she says, "Well, for God's sake, what do they expect for fifteen thousand dollars?" Then her lips say, "A virgin?" The writing is top-notch, and the characters that come in and out of Simon's offices are a hodgepodge of New York stereotypes from Simon's past and his present.
The plot revolves around Simon's success as a trial lawyer contrasted with his humble beginnings as a Jewish emigrant (he was born in steerage on the way to the US). He's very driven, but he retains all his love of his lower class pals, and he employs several as helpers in his office. He represents his former neighbors for nothing, while raising his fees for his rich clients to pay for his charity. Simon has married a divorced woman with two children from a previous marriage, and she's more concerned with her appearance and her society than with Simon. He loves her completely, the fool, and she has no use for him but for his money. Rexy watches all this from the background, letting Simon run her ragged with work he needs done immediately. She knows what Simon's wife is doing, but says nothing. Wyler shows her status metaphorically as she sits at a single desk in the background with a special telephone with a cover over the mouthpiece so that she can speak silently while Simon has center stage with his clients and his wife, barking out orders and cajoling his wife to spend more time with him.
It's a great, fast-paced movie, and I recommend keeping the volume up just a little so you don't miss the patter that goes on relentlessly, exposing character at every turn. Not a wasted part, not a wasted actor, not a wasted word.
A yiddisher boychik comes home where he belongs
doogie-155 May 1999
One of my all-time favorite movies. John Barrymore the ultimate WASP gives a stunning performance as the assimilated wealthy Jewish successful lawyer. He finds himself on a higher level than that of the scum he believed it was worth aspiring to. An unfaithful arrogant wife, spoiled rotten step-children are forgettable personages here. Look for the genuine types: Gold-Hearted Momma Simon who "has plenty time!", the Irish ward heeler who has a lovable spot for Momma Simon, the former crook who saves the day for Mr. Simon, Momma Becker whose son "got such a "klopp"; on the head!" and the son who is the street corner revolutionary (in other words the Mr. Simon who did not succeed). The unforgettable scenes: The discovery of his wife's worthlessness and the "encounter" with Peter J. Malone whose illegitmate son makes Mr. Simon legitimate. Am I telling too much? You'll never get enough of this movie - Foist Kless - voit' a milyun dollehs!
Great Acting by John Barrymore
whpratt13 January 2005
Always admired John Barrymore and his great acting skills and in this picture he plays a Jewish Lawyer, (George Simon),"Midnight",'39, who is very successful and climbs to the top of his profession, not only helping the very rich but also his old time neighbors and especially is mother. William Wyler directed this great film classic and was able to help John Barrymore give an outstanding performance despite his drinking problem. It was in this picture that John Barrymore started to forget his lines and need cue cards, however, he gave an outstanding performance. The entire film was at a very fast pace with all the actors running through their dialog which was the practice during the early 1930's. Melvyn Douglas,(Roy Darwin),"The Old Dark House",'32, played a very brief role and managed to steal George Simon's wife away from him on a cruise. This is a great film classic and worth the time to view.
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