Der schöne Karl

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

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

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

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

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

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

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

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

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

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

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

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