User Reviews

Usually Warren William played someone who starts down the easy crooked way deliberately. Here it is more of an accident, almost the stuff of film noir if you look strictly at the plot. Warren plays a X-ray technician, Bob Brown, in love with a beautiful nurse, Caroline Grant (Jean Muir). Bob seems happy with his easy-going although somewhat chaotic existence, but Caroline wants more for him. She talks him into returning to finish his one remaining year of medical school and gives him her life savings - fifteen hundred dollars. Bob, always a victim to his impulses with liquor and gambling, gambles Caroline's money away on the train there. He manages to cover this up by writing fake letters about his progress, but then his year is up and he must return home.

Before Bob has to tell Caroline the truth he runs across a morphine addict who happens to be an ex-doctor. Bob makes a deal with the devil, almost literally, and agrees to supply the addict with morphine if the ex-doctor will let him use his licensing credentials. Bob seems to forget one key point - by definition an addict can never have enough and thus always comes back for more. By the end of this film the real Dr. Martel is popping up everywhere and under the oddest circumstances to the point where the viewer wonders if this guy's appearances are always real or perhaps sometimes an apparition as a metaphor for Bob's conscience finally getting the best of him.

Bob sets up practice in New York City, where nobody knows him, as Dr. J. Herbert Martel. He gets an actual doctor - Donald Meeks as the unsuspecting Dr. George Wiley - to be the actual physician and his partner. Wiley always sees the patients first, and then Bob as Martel just cleans up behind him dispensing charm and useless advice and prescriptions. He's aiming at the society crowd whose only illnesses are boredom and weight problems, but occasionally a real patient with real problems wanders in and catches Bob off guard. With all of Bob's slickness in this operation he has done one really un-slick thing - hired his girlfriend, who knows him so well, as his nurse who thinks Bob is on the level and is an actual licensed physician. This proves to be Bob's undoing.

If you like Warren William as the precode cad, as the guy who knows right from wrong but does the wrong thing anyways, as the hard guy who ultimately has a soft spot for the right woman, you'll love this short little feature film. The best precode touch of the movie is unexpected, and actually comes from Donald Meeks as Dr. Wiley pulling a Dr. Frankenstein and bringing the dead back to life with one of his inventions. Highly recommended

Back in the 30s whenever you needed a scoundrel portrayed Warren William got first call. Bedside is a perfect Warren William part.

In Bedside Warren William gave up the study of medicine some time for a life of conning and carousing. But in due course he hits on a brilliant idea after encountering a disgraced former doctor in David Landau. Landau sells him his degree and William moves to New York.

What William has is charm in abundance and maybe if he had decided to just have a neighborhood practice somewhere he might have gotten away with it. But with a press agent in Allen Jenkins to promote him, former girlfriend Jean Muir to be his nurse and an associate in Donald Meek who is a superb diagnostician and researcher content to stay in the background William becomes a known society doctor, but it's all one big front.

Bedside is an almost perfect Warren William vehicle, no one else on the screen at the time could have played the con artist doctor with quite the aplomb William brings to this part. I would also recommend David Landau's performance here as well. Dope addiction was a forbidden topic and this film was on the cusp of the code. But Landau's is a tragic and pitiable figure as a morphine addicted physician whose career went to ruin because of it.

Bedside is a real sleeper of a film, an undiscovered gem from Warner Brothers in the 30s. A must for fans of Warren William.

William Warren plays Louis, a mostly-sympathetic scoundrel. He is a womanizer and gambler who has some medical school but lacks the discipline necessary to finish. David Landau shines in a supporting role: a washed up, morphine-addicted doctor who sells Louis his medical license for cash and a lifetime supply of morphine fixes. (The bio on Landau says "wooden." He doesn't seem so here.) Louis' ego and greed propel him to increasing medical risks. You know that sooner or later his ineptitude will result in death. The only question is "Whose?"

This movie was made when physician advertising was considered highly unethical. But Louis cleverly bends the rules! It was also made when the dangers of radiation exposure were unknown; notice that none of the characters in the X-ray room wear any protection.

Warren William is one of TCM's great gifts, to me, anyway. I enjoy him and his movies.

This is a precode. William is Bob, an x-ray technician whose nurse girlfriend (Jean Muir) gives him the money to complete medical school - $1500 - you couldn't get in the door for that today. He manages to gamble it away before he can even get there, but he returns a year later, supposedly a doctor.

Fate steps in when he meets a morphine addict who is an ex-doctor. In exchange for morphine, the addict hands over his medical license. Bob changes his name and starts practicing in New York City, with his erstwhile girlfriend as his nurse. I forget how he explains the name change but she believes him. He brings on a real doctor (Donald Meeks) who actually diagnoses the patients. He's also somewhat of an inventor, having come up with a process that brings the dead back to life.

Bob isn't actually interested in anything like illness - he wants the society crowd where the women want to be charmed.

Trouble follows - the morphine addict keeps darkening his door, and he gets stuck with some real sickness he has to cure.

Short, enjoyable, with William playing the lovable cad to perfection.

Warren William is a real wastrel who completed 3 years of medical school before quitting. He works as an X-ray technician and dates nurse Jean Muir when he isn't hitting the town and picking up other women. What he is is really charming, so Muir, convinced that his way with patients would make him an excellent doctor, lends him the money to return to medical school.

He loses all her money playing poker on the train. Afraid to admit what happened, he works odd jobs while writing her letters telling her how well he's doing at school. He meets David Landau, a former doctor who's morphine addiction has lead him to ruin. He buys his medical degree and doctors the diploma promising to keep money flowing his way. He moves to New York City and hires real doctor Donald Meek to set up practice with him, essentially tricking him into doing all the work.

Pre-code films are really something. There's not a chance that film with a lead this despicable would be made even a year later. William pulls it off rather convincingly, working the charm while being an enormous cad. The madness by the film's end includes Meek experimenting with raising the dead and William having to admit his fraud when Muir's life is threatened.

This melodrama pulls out all the stops. It features a lovely, self-sacrificing nurse who is used by a ne'er-do-well who deep down *wants* to be a good guy, a "French" danseuse born on 10th Avenue, a Russian opera singer (Kathryn Sergava) who places her life in the hands of said ne'er-do-well, a once-prominent doctor (David Landau) who has hit the skids, a brash publicity agent (Allen Jenkins), a mousy, but competent doctor(Donald Meek) who partners with our hero to make him look good, and a passel of neurotic society lady patients.

Two people flirt with death on the operating table. One person forgets to look both ways before stepping off the curb, with disastrous results. There is on-again, off-again romance. There is even a machine that performs a seemingly medically impossible task! All in all, the plot is beyond belief.

That said, Warren William and Jean Muir make the most of their lead roles. Muir is especially charming, and really saves the film from being a complete waste. Jenkins, Landau, Meek, and Sergava are also fine in support. Too bad the script wasn't a little stronger.

Only pre-code Warner Brothers could give us such utter nonsense presented as a real drama which bizarrely we will actually enjoy. It's a delicious gilded cow pat!

'Oh Bob, you're marvellous.' says nurse Jean Muir to her fake doctor boyfriend. She swoons over how clever he is to fool everyone into believing that he's a top doctor. Yes - this picture's about a fake doctor.... a fake doctor is the hero of the film! How on earth did the WB executives think that this was a good idea?

Fortunately for "Dr" Bob, as his patients die he asks a friend to quickly invent a machine to bring people back from the dead so no harm done. Yes, that's what I said, 'a machine to bring people back from the dead' but such a minor little invention like that is not considered important enough to take up more than about two minutes of screen time. Have I used the phrase utter nonsense yet?

I don't usually get hot under the collar at seeing "racist" attitudes towards black people in some old films - that's just the way things were in America back then. In this however, Louise Beavers' ridiculously stupid characterisation of the stereotypical subservient black maid is cringy - good God woman, surely whatever you were paid can't be worth degrading yourself like this. Fortunately she only has one small scene and you quickly forget it as your mind is engulfed by the overall stupid incredulity of the story.

So this film has unsavoury racism, an utterly stupid story, unimaginative direction, poor acting from the supporting cast (come on though, how could they believe in this) and worst of all, we're supposed to root for an amoral crook who's whole raison d'etre will result in people dying. Why would anyone ever want to watch this? Because Warren William is fantastic in it!

This exemplifies just how marvellous Warren William was - that we do find ourselves hoping that he gets away with it shows what charisma that guy had and what a superb actor he was that he can make such unpalatable drivel so entertaining. I feel guilty saying this but, I liked this.

Warren William was often cast in detective series. But he is at his best in dark roles such as this one.

This movie could scarcely be improved on. It is director Robert Florey at his eerie best. William is ideally cast. Jean Muir, whose career was ruined by the Blacklist, is both touching and appropriately strong-willed.

William plays an ambitious young man a year short of his medical degree. A down-and-out doctor comes into the office where he's working. The guy is desperate for some morphine. William strikes a Faustian bargain with him.

"Bedside" is consistently chilling. William is not a bad person. He certainly is not an admirable one, though.

Kathryn Sergava is suitably exotic as the opera diva who ill-advisedly seeks his ministrations. And Donald Meek gives one of his more interesting performances as the physician William hires to work with him.

It's not a horror movie. It's an early version of what came to be called film noir. It also presages the often excellent MGM series of short, cautionary films called"Crime Does Not Pay."

Bedside (1934)

** (out of 4)

Two years after directing MURDERS IN THE RUE MORGUE, Robert Florey was back dealing with another dangerous doctor. Warren William plays a man who could have been a doctor but he was just too lazy to do the actual work and instead used his charm to get whatever he wanted. An agent (Allen Jenkins) one day talks him into becoming a fake doctor and with the help of headlines he could start a major practice but this soon backfires. BEDSIDE has some pretty interesting aspects that will make it worth checking out to film buffs but I just had way too many problems with the story to give it a full recommendation. The biggest problem I had is that there wasn't a single second where I bought the story. I mean, are we really to believe that simple headlines could turn this fake doctor into someone respected the world over? Wouldn't someone eventually catch on and wouldn't someone at some point realize that this guy wasn't doing any actual work? I simply couldn't buy into this story as it was just way too far fetched for its own good. Another problem I had was the final five-minutes, which I thought were quite horrid but I won't give away anything. William has no problem in the lead role as there was never anyone in this period that could play a charming bad guy better. Jean Muir is good as his head nurse and David Landau is memorable as a drug addict. Donald Meek has a nice bit as well. Florey does a good job directing and even gets in some pretty dark moments that will remind folks of his horror pictures. Still, BEDSIDE simply is too far fetched to be completely entertaining but fans of the director and cast will still want to see it.

Once upon a time, old films on the Late, Late Show were the object of derision, antiquities from another era, now merely of interest as something to chuckle at in the wee small hours of the morning. Happily, those days are gone forever, and vintage films now get the respect they so rightly deserve, no matter what their age, and no one more than I supports this more intelligent, enlightened attitude. But there are still quite a few turkeys lurking in the vaults which deserve the raspberry, but still manage to provide an hour's perverse diversion simply because they are so bad. One such is Bedside. In March 1934, Variety noted that "after being exploited for a solid hour as a gambler, drunkard, cheat and fraud, Warren William is unable in the last three minutes to rehabilitate himself in the grace of the spectator...the chief emotion aroused is regret that he gets the girl instead of taking the jail sentence he very richly deserves...the story is beyond saving, nor is it worth salvage...no picture is better than its plot, and this scenario is hopeless." A classic this is not, but therein lies the secret of its charm. Today's viewers can sit back and watch an abundance of such pre-code plot devices as pre-marital sex and drug addiction, with critical brain operations and bringing the dead back to life merely thrown in as side issues, set against a background of slick 1930's sets, one mind-boggling situation following another, the sum total of which would keep one of today's soaps going for at least six months if not a year. You won't believe a word of it, your jaw will frequently drop at the sheer, shocking absurdity of it all, to say nothing of the fact that the players manage to say their lines with total sincerity, without ever once cracking up. So relax and enjoy it. That's what movies like this are for. Watch for it on Turner Classic Movies; it's in their library.