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Touches You

Such a frustrating disappointment

Lack of good storyline.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

1931: Greatest year for horror ever? It certainly produced some of the most iconic films of the genre, such as "Dracula," "Frankenstein," "Dr. Jekyll and Mr. Hyde," "M," and, much further down the list, "Svengali." Despite its reputation, "Svengali" isn't really a horror movie. The story resides squarely in the world of Gothic melodrama. George du Maurier's novel "Trilby" was as much about the bohemian scene of 1850s France as it was about the wicked hypnotist and his attempt to manipulate the beautiful but tone-deaf Trilby into being his personal diva. There's some of that in the movie, with awkward comic relief coming from the other tenets of the apartment. As you'd expect, Svengali is only one corner of a love triangle. Before coming under the hypnotist's influence, Trilby is in love with some guy named Billie. Billie is an ineffective hero and does little beside react to those around him. The romance still works, thanks to Marian Marsh's charming performance. A scene between the two involving a pie is especially memorable.The horrific content is negligible but "Svengali" does pile on some impressive black-and-white atmosphere. A sequence about forty minutes in seriously impresses. The camera spins around Svengali's room. His eyes have gone completely white, deep in hypnotic trance. We pan out of the apartment, across the city, to Trilby's home. This visually illustrates the man's influence over her. It's also extremely creepy, the wind blowing and a church bell ominously chiming being the only sounds during the scene. It's hard to tell how much of an influence "Dracula" had on this film but the close-ups on John Barrymore's eyes glowing as he works his powers seem to purposely recall similar shots of Lugosi in the same year's film.Which brings us to the second thing the movie has going for: John Barrymore's performance. Barrymore establishes the character's sinister intent early. After seducing another music student, and discovering she's not as rich as she let on, Svengali hypnotizes her into suicide. However, we only see Barrymore looming over the girl, his back to the camera. He cuts an intimidating figure. His manipulation of Trilby plays out in an especially cruel manner, like in a scene where he reminds her of her promiscuous past. However, he's not a heartless monster. Svengali legitimately loves her. After hypnotizing her into being his wife, he finds the charade unfulfilling. Mesmerizing the girl takes a great physical toll on the man and eventually cost him his life, his subconscious guilt manifesting itself.The ending is surprisingly downbeat. The hero proves how useless he is by failing to rescue his lady. Even as he lay dying, Svengali reaches out to his true love. While a little thin, "Svengali" is a moody character study, well shot and with an impressive lead performance. It might not be as strong as some of 1931's other classics but I liked it all the same.

There never was an historical figure named Svengali, nor a hypnotized Trilby on whom he worked his will. The novel was written in the late 1800s. The book was a big smash in those days, when people still read, so the name and the relationship became icons of vernacular culture.Barrymore is Svengali, a pianist and teacher of music, who lives in a decrepit boarding house in Paris with a couple of other half-starved artists. (The novel devoted a lot of time to a description of la vie Boheme on the Left Bank.) A young artist's model, Marian Marsh, falls in love with Billie (Fletcher) but falls under the hypnotic spell of the older Svengali. Well, it's more than hypnosis really. He can enter her head from across the city.Under his spell, Trilby becomes a famous soprano. Svengali fakes her death and whisks her off elsewhere. Svengali marries her. She becomes the toast of Europe with her soprano. The only thing that Svengali can't get past is her love for Billie. He has to hypnotize her to get her to cooperate in the boudoir and by the end, he's disgusted with himself for making love to a marionette. He longs for her love and gets it in the end, though it costs him dearly.There are a couple of good reasons for watching this old flick if the opportunity arises. For one thing, the direction, performances, and sets are pretty good for their time. In particular, a traveling shot across a miniature Paris is right out of German expressionism. And rooms are filled with dark, angular shadows.Then there's the way the story is shot. This was before the imposition of the infamous code, so there are scenes that wouldn't have made it past the censors a few years later. There's a semi-nude scene, for instance, which suggests that Trilby looks good all over.And then there's the dialog. Svengali has been described by his neighbors as "a Polish scavenger." Indeed, he's unkempt and clomps slowly about. I think he once played Rasputin, the Mad Monk. If he didn't, he should have. But, what with his hypnotic eyeballs, he has this power over women. When a rich woman enters his studio for her music lesson at the beginning, he asks, "What did we do last?" The woman replies, "Don't you remember?" And he says, "Ahh, yes, but I meant the music." The wealthy woman then tells him, "I worship you, Svengali. I have left my husband for good." And Svengali squints thoughtfully and says, "Yes, but how much did he leave YOU?" When he discovers that she came to him without a penny, he throws her out and she commits suicide. "Her body was found in the river!" Svengali: "Ah, that is impossible -- in this weather." Later, fighting Trilby's love for Billie, he dismisses Billie as "that stiff-necked Englander, the head of the Purity Brigade." Barrymore plays all this with a comic relish, like Richard III. He revels in his exercise of evil.Marian Marsh, on the other hand, is one of the most beautiful young woman to appear in the screen in the early 30s. She doesn't have Garbo's knowing languour, although she's equally attractive, but rather the winsome eagerness of a child. She's like a porcelain doll with perfect features and a smile that has the same effect on a viewer as Svengali's glowing eyeballs.I wonder how many of today's kids would recognize the name of Svengali. (Never mind Trilby.) He may be disappearing along with much of the rest of our shared data base in vernacular culture. I once asked my college class if they had heard of Sinbad the Sailor. Forget it.

Svengali is an impoverished singing professor, of Polish extraction, down on his luck. Living is Paris in precarious conditions, he forces his way into the flat of Taffy, and the Laird, two Englishmen painters. He seizes the opportunity for a bath and borrows clothes that turn him into a more distinguished person.The unexpected appearance of Trilby, a model that has been sent to the English painters, produces a change of heart in Svengali. He cannot have the beautiful girl on his looks alone, so he decides to use his mental powers to cast a spell on the unsuspecting young woman. This will change them forever; Svengali will use Trilby as his trophy because he finds she has the right bone structure in her mouth to be a great singer.Trilby, who was attracted to a young friend of the Englishmen, Billee, until to his shock, he finds her posing nude for a group of painters. Overnight, Trilby becomes a singing sensation with Svengali taking her throughout Europe. The spell works out for a while, but Trilby begins to have problems and Svengali cancels her appearances. It is in Cairo, where Billee had followed Trilby and Svengali that she is able to break the spell she has fallen under.Archie Mayo directed this classic 1931 production. The great John Barrymore, almost unrecognized in his appearance, makes a wonderful take on the legendary man with magical powers. Marian Marsh, one of the screen early beauties is seen as Trilby O'Farrell. The restored DVD had an excellent picture and sound qualities. The supporting cast included Donald Crisp, Bramwell Fletcher, Luis Alberni and Lumsden Hare.What was remarkable in this feature was the art direction of Anton Grof. For the time it was made, and with the resources of the time in which it was filmed, one cannot help being impressed by the sets that were used in the film. Barney McGill was the cinematographer and the musical score is credited to David Mendoza. Archie Mayo directed with an eye for detail the classic novel by George DuMaurier.

Having read the original book, I watched this one and adored it. One of the things that first struck me was the incredible detail put into it. The set and costume design are matched perfectly with the original illustrations. Svengali, at the start, even plays Chopin's impromptu. Even though the story itself is a trifle different from the book, it is still mesmerizing to watch. In contrast to the book, Svengali is deprived of his malice, and left only with a frightful hypnotizing power. Other than Svengali himself, the other characters are exactly as in the book, and was wonderful. It was very moving, to have the first half hour or so be comical, and light-hearted, then the last half be absolute tragedy. It was such a great film.