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This story has been made and remade many times. The first was back in the 1910s as "The Silent Voice". Then, a decade later, George Arliss made "The Man Who Played God"...and then again, a decade after this, Arliss made a sound version. But that wasn't all...in the 1950s, Liberace made "Sincerely Yours"...yet another version of this story!

The story is about a world famous concert pianist (Arliss), a man who is beloved and loves life. He also has a significantly younger woman (Bette Davis) who wants to marry him. But in spite of this, his life takes a sour turn when he is deafened...and sour is the word for it! This is because the pianist soon becomes bitter and resentful from his hearing loss and he spends much of his time brooding. So what is his salvation? See the movie.

Arliss, as usual, is very good. And, the story is a wonderful tale about loss and coping with it. My only complaint, and it's a minor one, is that the story seems a tad old fashioned. Now this does NOT mean I suggest you see the later Liberace version...it's not particularly good. But the 1932 film is well worth seeing...with a great object lesson for us all.

By the way, late in the film look carefully at the minor character of an embezzler...it's played by the soon to be discovered Ray Milland.

THE MAN WHO PLAYED GOD (Warner Brothers, 1932), directed by John G. Adolfi, from a short story by Gouverneur Morris, stars Academy Award winning actor of 1929s DISRAELI, Mr. George Arliss, in a remake to his 1922 silent screen adaptation. Essentially a showcase for the prestigious Arliss in what might have been just another movie assignment to his credit, it's best known as the motion picture responsible for the advancement of Bette Davis in her first important screen role, following her start at Universal in 1931, thus the beginning of her long association at the Warner studio where she would become its major star attraction before the end of the decade.

Of the George Arliss films in circulation and video today, THE MAN WHO PLAYED GOD holds up remarkably well mainly due to its theme and timely message that never really grows out of date, overlooking the fact that such a story echoes passages from the Holy Bible ("A man who has never suffered has never lived," "If you kill yourself, you'll suffer ten thousand times more" or the age old question, "If God is so merciful, how could he allow this to happen to me?") preached during Sunday services. The title has nothing to do with a actor starring in a religious play, but in fact, about a man whose life becomes an "empty shell" only to change from being a troubled soul after losing his hearing to forgetting his bitterness by helping others. While much of the Arliss movies produced at Warners during the early 1930s were extremely popular, most consist of too much dialog and lack of motion to stir up interest. THE MAN WHO PLAYED GOD is one of those few that doesn't fall into that category thanks to its fine direction, screenplay and supporting players.

The story opens in Paris where 50-year-old Montgomery Royal (George Arliss), a concert pianist, engaged to his protégé, Grace Blaine (Bette Davis), a girl more than half his age, agrees to give a private backstage recital for a monarch. During a performance, an anarchist, intending to assassinate the King (Andre Luguet), explodes a bomb. While everyone has escaped injury, Monty becomes stone deaf. Monte returns to his New York City apartment where he finds it difficult to adjust to his world of silence. He becomes bitter, hating God to a point of canceling his order for an organ he was going to donate to a church in memory of his deaf and religious mother, Margaret Ruth Royal. Without the ability to hear what's precious to him, his music, and becomes an embittered recluse. Coming to the point of suicide by nearly jumping from the window, his loyal butler Battle (Ivan Simpson) saves him in time from eternal suffering by offering him something to occupy his time. Having been taught lip reading, he takes binoculars to spy on people across the street in Central Park, reads their lips, learning of their troubles, and becoming a sort of guardian angel in helping those in desperate need without revealing himself. Finding he now has a purpose in life, he must face another greater challenge involving the loyalty of young Grace.

The supporting cast consists Donald Cook as Harold Van Adam; Louise Closser Hale as Monty's sister, Florence; Oscar Apfel as the Lip Reading Teacher; Paul Porcasi as the Concert Manager; with Hedda Hopper, Murray Kinnell and the unbilled Ray Milland. Of the supporting players, second billed Violet Heming appears to be the least familiar, yet in a role that nearly surpasses the one given by Bette Davis. Her sophisticated mannerisms come close to that of the better known Verree Teasdale, as a widow who secretly loves Monty, in spite of his engagement to another. The Bette Davis trademark is not too much evident at this point, in fact, having the make-up department giving Davis the Constance Bennett manner. Davis would be paired with Arliss one more time in the rarely seen comedy, THE WORKING MAN (1933).

In the midst of horror melodramas, gangsters and pre-code sex dramas playing in theaters at the height of the great depression, THE MAN WHO PLAYED GOD comes as a sort of inspirational drama that offers hope to those who have given up on life, with the moral of the story being, "The Lord works in mysterious ways." Remade by Warners as SINCERELY YOURS (1955) with TV personality Liberace in the role originated by Arliss, whose piano playing served him better than his acting, the latest screen adaptation, that should have improved over the old, didn't, making this 1932 version the one worth viewing. THE MAN WHO PLAYED GOD, which has never been distributed to video cassette or DVD, can be seen on Turner Classic Movies. (***)

I get so sick of people claiming that Bette Davis wasn't a beauty. She is so lovely in this 1932 film - those huge, gorgeous blue eyes, radiant smile, cute figure - she looks like a doll.

This is a wonderful melodrama which was re-made with, of all people, Liberace years later as "Sincerely Yours." All I can remember about the Liberace film is that he soft-shoed off the stage at the end, and I have a vague impression of him starting to go deaf while playing the piano.

If you can get past that the embalmed-looking George Arliss is supposed to be only 50 years old in this film (he was 64 and looks 80), it should be clear sailing from then on. Arliss was a marvelous actor, and his strong theatrical training is obvious here, as is Davis', with her clipped voice and large gestures. Film as a medium was still being learned by these actors who came from theater.

Man Who Played God is a truly beautiful story about a world-famous pianist who goes deaf and turns against his music and his religious beliefs, only to discover that every tragedy in life has meaning. 73 years later, it's still a great life lesson.

Look for Ray Milland in an uncredited role.

"Of Human Bondage," (1934) by RKO, to whom Bette Davis was 'loaned' by Warner Brothers, is most often given credit for the beginning of the Queen of the Silver Screen's magnificent acting career. That's not the historical fact, however; this movie, "The Man Who Played God," (1932) must be credited for bringing Bette Davis the recognition as an actor who could hold her own in the lead next to the great screen legend, George Arliss.

Davis was only 23 years of age when filming the show that earned her enough screen status for RKO to even desire her to play the leading, (dare I say) 'lady' next to leading man, Leslie Howard in "...Bondage." Arliss is to be credited for having, more or less, discovered Bette Davis; phoned her & the rest of her acclaimed acting career began.

So many of the critiquers repeat the myth that "... Bondage" is the film that made the world recognize how great an actor Davis was. But, if it was, RKO would have never even wanted her so badly that they 'got her on loan' from the Warners! RKO recognized the talent of Bette Davis in this film: "The Man Who Played God." So should we.

Never underestimate what young adult & teen women can achieve. After all, Mary Shelley wrote "Frankenstein," when she was only 19 years of age in a bet with great poets, Lord Byron & her husband Percy Bysche Shelley. Ann & Nancy Wilson of the rock band "Heart," composed many of their best songs when they were 13 years of age! Davis had already been on Broadway before taking her role in this movie. In fact, her acting career began when she was 15 (in 1923). Davis went on (& on!) to co-lead with Lillian Gish in "Whales of August," (1987), having been in over 100 movies; was the first woman to receive an Oscar at Warner Brothers (for "Dangerous"); the first person to be nominated for an Oscar 5 years in a row; the first woman to receive the AFI's Lifetime Achievement Award; the first person to be nominated for 10 Oscars; the highest paid woman during her prime. She was the epitome of a trail blazer who had to do it "the hard way."

Today, Robert Wagner, Miss Davis's son, Michael, & Miss Davis's closest assistant are key figures who keep Bette Davis's acting excellence alive, through the foundation named after her. Meryl Streep was the first actor to benefit from Davis's foundation. Obviously, the foundation board is taking Davis's acting acumen as a serious measure by which to select recipients of foundation awards & scholarships. Davis herself was the one to recognize Streep's acting abilities.

That's what kind of lady she was: she'd take a step back on the set to boost someone else's acting career; she'd take steps forward to seek out great scriptwriters, directors, cinematographers, etc. She strove to not only circulate her own gifts, but wanted to help others people do so with theirs--and still does so. Her reputation on the set was not as a "star," struck with ego maniacal lights in her fabulously expressive eyes. Instead, she was known to be a pleasure to work with amongst the team workers; and a real tough lady to contend with when she sensed something was amiss in a line, scene, lighting, direction, or co-worker. But, as Robert Wagner tells of Davis, she was truly a fun person to work with because she "always" came to work prepared to put on her very best performance. And when she goofed, she did so with a kind of cute humility that was full of wit enough to crack-up the co-workers she liked.

There's a huge difference between striving for perfection and believing we're perfect. Davis did the former. By the way, she gave her "Jezebel" Oscar to her son, Michael. Steven Spielberg bought her "Dangerous" one that was auctioned (for the second highest price ever) to benefit her foundation. This says to me that Davis herself knew she'd really earned her "Jezebel" Oscar; whereas it was no secret that the masses believed she got the "Dangerous" Oscar as a "consolation prize" for not even being nominated for, "Of Human Bondage."

By my standards, Davis was robbed of her third Oscar for playing the role of Charlotte Vale in "Now, Voyager." In Davis's mind, she was robbed of (what would have been her fourth) Oscar for playing Baby Jane Hudson in, "What Ever Happened to Baby Jane?"

Davis herself credited George Arliss & this movie for jump starting her into untouchable acting achievements. This movie is the movie to own if we want to say we've got a copy of Bette Davis's first great one.

Although George Arliss made several of the roles he did on stage into films both sound and silent The Man Who Played God was not one of them. Another stage legend Otis Skinner originated that role on Broadway although Arliss filmed it twice both as a silent and with sound.

We can only speculate about what Skinner did with the part, but Arliss because we have him on film can truly be said to make the part his own. His is a style that many find old fashioned, but I find most compelling when he's performing.

The story is that of a famous concert pianist who was born into a wealthy family so he's never in danger of missing a meal. A bomb set off at a private performance has left him stone deaf and in a great deal of despair. But he learns the art of lip reading and from his Central Park penthouse with opera glasses in hand spies on a lot of ordinary people and becomes their anonymous benefactor.

Bette Davis made her Warner Brothers debut and the first of two films with George Arliss. Davis who was not exactly shy about criticizing her colleagues had nothing but praise for this man. She credited him with being the first to realize the potential she had as an actress. She plays a student of his who mistakes romantic love for an admiration as an artist she feels. She's not given much to work with in the role, but she does far more than could be expected.

Louise Closser Hale as Arliss's sister and Ivan Simpson as his butler who has a wonderful scene preventing Arliss from suicide also stand out. Look also for Ray Milland in a small part as another man on the verge of suicide.

The Man Who Played God is old fashioned in its presentation, but still holds up well after 80 years.

An aging & celebrated concert pianist completely loses his hearing, and with it his faith in The Almighty. After learning to lip read, he realizes he can once again enter into people's lives, alleviating the misfortunes of total strangers. With this much power to do good, he becomes THE MAN WHO PLAYED GOD.

Although sadly neglected today, George Arliss was one of the very greatest of film actors of the 1930's. His art was consummate - a whole volume of emotion could be conveyed by the slightest movement of face or posture. He gives a wonderful performance here as a man torn from what he loves the most, blaming God for it and eventually finding peace.

A splendid actress of the same period, Louise Closser Hale gives quiet dignity to the role of Arliss' sister. As his protégé, young Bette Davis does a fine job; she always considered this to be her first film role of substance. Ivan F. Simpson is excellent as a very loyal butler. Hedda Hopper has a tiny role as a woman at a picnic & look for an uncredited Ray Milland as a young man in Central Park attempting suicide.

Montgomery Royle (George Arliss) is a celebrated concert pianist in Paris. Florence Royle (Louise Closser Hale) is his sister. Grace Blair (Bette Davis) is his young girlfriend. Mildred Miller (Violet Heming) is his supportive friend. While performing for visiting royalty, revolutionaries set off a bomb which leaves him deaf.

This has an old George Arliss being paired with a young twentysomething Bette Davis. The vast age difference actually helps with her wandering eyes. The first half is fine. I am a little unsure about the lip reading story. I guess the point is that he is far above the crowd like God. It is light and feel-good. I would just skip to reading Grace's lips and develop a more compelling story about jealousy and redemption. That would be a more interesting plot.

First and foremost, "The Man Who Played God" (1932) is not a Bette Davis vehicle. She was still a few years away from receiving top billing and graduating into 'A' pictures. However, the mere fact that she's in this overlooked and forgotten film will only push it into wider circulation and rapidly increase its number of viewers. So much has already been said about her, there's very little one can add to further compliment her. Personally, I think she gave some of her best performances in these early 1930s B programmers for Warner Bros. Sure, the material wasn't nearly as good, which only made her performances stand out all the more. But Bette Davis has little to do with what stands out about this movie.

After losing his hearing, a well-loved and respected piano player (George Arliss) becomes a recluse. He rejects most of his old friends and companions, and is cruel to the few he does see. He learns to read lips, but grows more and more depressed at the same time. And finally when he has hit rock bottom, he finds a purpose in his life,... philanthropy. Putting aside his own problems and selfishness, his salvation comes from helping others. This is a theme that would recur over and over again to varying degrees in the Depression era 30s (especially in Frank Capra's movies).

The other thing of interest here is the act of voyeurism. Through the aid of binoculars, he's able to read lips, and essentially, spy on everyday New Yorker's. One can't help but wonder if this little movie may have had some influence or have been the basis for the idea of Cornell Woolrich's short story "It Had to Be Murder", which would be eventually adapted into Alfred Hitchcock's "Rear Window" (1954).

This movie, is, by no means a masterpiece, but its still an important one. With so many interesting ideas going on here, its well worth the watch.

George Arliss does a decent job in a role about a man who has obtained enormous powers from the gods (whichever ones you believe in, but in this case, Greek gods). What would you do in his situation? I would turn all politicians into donkeys and elephants and set them loose in the jungle. I would turn lawyers into leeches and release them in the jungle as well. Tune in to find out what poor George does.

The play this is based on was very old at the time and unfortunately the treatment Hollywood bestowed on anything old and reverential like this was to turn it into something which would only appeal to the tastes of a Victorian archbishop.

The worst example is SIGN OF THE CROSS and whilst nobody in this absurdly sentimental yet also emotionless nonsense makes you want to feed them to the lions to shut them up, George Arliss' supercilious benevolence really grates after a while. He was a great actor (see his comedies if you haven't) and John Adolfi directed some great pictures but because this is treated with such respect, it's not so much a movie but a revered reading of a sacred text. The actors are turned into stone speaking slowly like every word is literally from the lips of God whilst gazing profoundly into the distance. This results in a stagey, glacially paced monotony which seems to last at least twice as long as it actually is.

OK, the themes it covers are interesting- it's about the true nature of love and self-sacrifice. It's about how misfortune can open new doors, it's optimistic, it's life affirming, it's even about the nature of God but it's also trite, sanctimonious, unrealistic and overly stylised. Whilst I usually am a fan of Mr Arliss, in this, Bette Davis with her energy and grounded naturalness is the real star. She's the only thing which makes this palatable to a modern audience. She's not seen the memo and is acting like it's 1932 not like the rest who are reliving the 1922 version. If this is your first George Arliss picture, don't be put off by it - they're not all like this....check out his sweet comedy, THE MILLIONAIRE.

Back to my SIGN OF THE CROSS comparison: the first couple in the park which Arliss' character spies and takes pity on do deserve to be fed to the lions simply for possibly the worst acting performance on the year. That's got to be seen to be believed!

In "The Man Who Played God" the venerable George Arliss plays a famous and sweet-natured concert pianist who must cope with catastrophic hearing loss. There are two male-female romantic love subplots, but the story is essentially about philosophical and moral issues. The movie is best remembered not for Arliss, who was the main attraction, but for a supporting role beautifully played by the future screen queen Bette Davis, who for the most part is also very well photographed by James Van Trees, enhancing her unique presence. Amusingly, Mordaunt Hall of The New York Times in his review of the film faulted her for speaking "too rapidly for the microphone." But Arliss himself, as an artist suddenly forced to reconstruct his whole approach to life, is sympathetic and compelling despite the lipstick he habitually wore, in the style of many male actors of that time. He is ably supported by a thoroughly winning cast including Violet Heming, Ivan Simpson, Louise Closser Hale in an uncharacteristically non-dour role as the pianist's loving, intelligent and supportive sister, and even a very young Ray Milland as half of a distressed young couple whose desperate utterances are deciphered from afar by Arliss with the aid of binoculars and freshly acquired lip-reading skills. The studio-created ambiance of bustling city streets, whether "Paris" or "New York," is less phony looking than the usual replications thanks to careful lighting and well-planned camera angles.

The Man Who Played God had a somewhat touching story, but either the execution was too obvious or the lead actor was unemotional and couldn't communicate with the audience. My bet lies on the latter, as I've given George Arliss several chances and have never thought he was a good actor. I can't imagine him on the stage, but somehow audiences during the 1920s and 1930s disagreed with me and loved his work.

In this drama, George plays a concert pianist who becomes deaf after a sudden explosion. He's despondent and believes his life is over (for a few minutes) until he's introduced to the world of lip-reading. Then, he functions entirely normally. He communicates as if there's no impediment, and his own speech is unaltered (which is unrealistic). If he were deaf, he wouldn't be able to hear his own speech and it wouldn't sound exactly the same as it did before; he would also need to adjust to a new center of gravity because sound affects balance. I realize in 1932, Hollywood wouldn't want George to make the audience uncomfortable, but he could have at least talked like a prizefighter and looked slightly disoriented - at least some of the time.

Anyway, Bette Davis plays George's young secretary who is in love with him. She claims that age doesn't matter, and after his injury, she also claims that being deaf doesn't matter. What's strange is that the movie seemed to take no issue with their vast age difference when he was wealthy and famous; when he's deaf and unemployed, it takes the stance that she'll be throwing her life away by marrying him. He was still old when he had his hearing, and she could have been throwing her life away if he developed an age-related problem. Check this drama out if you want, but be prepared for a strange combination of over- and under-acting from George Arliss.

In 1932 many actors were still rather new to sound pictures and the great majority of them were theatre trained and while some would stay on in Hollywood, many would return to the stage to stay. Bette Davis was a young actress in the midst of making that decision to aty in Hollywood or return to New York and the stage. She had made several low buget pictures, but things just were not clicking for her. The success of this movie and the attention she received convinced her to stay on and make movies and we are all thankful for that. George Arliss was a grand old man of the stage and his artistry is well portrayed here. His makeup is a little heavy, making him look a little like the Phantom of The Opera with lipstick and darkened nostrils, but soon you get beyond that. The acting is almost strictly stage-style here, this MUST have been a play before it was filmed. The blocking and angles of the actors and the way they seem to talk "at" each other rather than to each other shows the stage acting. Great story, nice escapism... who wouldnt like to help others? We can do that through George Arliss in this movie.

Absolutely loved the premise for 'The Man Who Played God' (aka 'The Silent Voice'), being a musician and being a fan of classical music. So already found myself relating. It was also notable for being a very young Bette Davis' Warner Bros debut when still finding her feet and style. Really though, despite that being the film's main interest point, she is not the film's star. That would be the actual lead George Arliss as the titular character.

'The Man Who Played God' for me was a great film and one of the better films out of my recent film viewings. While Arliss and the music are the two main reasons as to why 'The Man Who Played God' is the great film that it is, Davis fares incredibly well in her Warner Bros debut. Will elaborate more later on in the review. Anybody who loves music, especially classical, a cast at the top of their game and was intrigued by the premise should find plenty to love here.

Sure, the story is on the thin side and with the odd slow stretch. Not bad enough though to be considered too much of a short film stretched out to feature length, thousands of other films fared far worse in that regard.

However, 'The Man Who Played God' was clearly made with a lot of care and skill and it is very sensitively directed by John Adolfi. The script balances hopefulness, melancholy adeptly and with a lot of sincerity, things don't get too comical and nothing comes over as over-sentimental. The storytelling is most of the time absorbing and so gently charming, so easy to like. Loved the initial upbeat feel while the sadder aspects are genuinely moving, by the end one feels really inspired. The moralising doesn't preach either and so easy to identify with.

Montgomery is a very likeable character and to me he was inspirational and relatable, being somebody myself who has had to overcome a lot of obstacles and find ways of adapting. Which can be very hard but achievable with the right amount of determination. To me, the romantic chemistry between Montgomery and Grace was very affectionately done.

One cannot talk about 'The Man Who Played God' without mentioning the music, which contains some of the most beautiful music written for the piano (would have liked more of it though). Especially Beethoven's "Moonlight" sonata which is in perfect keeping with the film's tone. Not enough has been said about Salvatore Santaella's quite exquisite playing, this is how to perform difficult music (one doesn't need to be a pianist to know that Chopin is not an easy play, not as hard as Rachmaninov though) with delicacy and nuance. Arliss is mesmerising, elegant, sometimes jovial and often heartfelt and not too theatrical. Davis gives a performance full of passion and grace, this is how to do a studio debut. One shouldn't overlook the supporting cast though, with Violet Heming showing why she should have done far more films with her understated forcefulness.

In conclusion, beautifully done film and a must for Davis and especially Arliss. 9/10

This is an unusual little film starring George Arliss as master concert musician Monty Royale whose young pupil Grace (Bette Davis) confesses her love to him. He's of course flattered but unsure of what the coming years will bring considering their age difference. He agrees to marry her if she feels the same in six months. However, near the beginning of the six month period something happens that leaves Monty unable to enjoy his own music - he is left completely deaf from an explosion. He becomes a bitter man who shuts himself away from everyone. He does take some training in learning to read lips so that he can deal with the world in his new condition, and this training leads him to realize that he now has the means to bring happiness to people in a different and more individualized way than he could as a musician. With the aid of some powerful binoculars left behind by Grace, he can read the lips of the people in the park across the street, learn their troubles, and with his large family fortune and influence, save lives or maybe just bring someone some welcome happiness.

Soon the joy of living has reentered Monty's life, and he is happy that the six month waiting period is soon to end and Grace will be returning from California - they can be wed. He's people watching at his window when Grace suddenly appears in the park across the street. She sits down with someone and begins to have a conversation. Monty "listens in". What will he discover and how will he react? Watch and find out.

In addition to the fine work of George Arliss and Bette Davis, the supporting roles are well played here too. Ivan Simpson is great as Monty's gentleman's gentleman who has no trouble sternly lecturing his master when he needs it, yet is such a formal person that he cannot leave the house -even on an urgent errand - without his hat, and there is even a very small part played by a very young Ray Milland. Highly recommended for fans of early 30's films. It has some precode elements in it, particularly the part where Monty is wrestling with God and his loss of belief, but I would not call it a precode at all.

Many of the reviews have focused on Arliss and Davis, and deservedly so. Hence there's no need to rehash that material. I want to highlight the excellent supporting cast.

Violet Heming (1895-1981) plays a suitor for Arliss. She was a British stage actress who worked with Arliss. She made few films (part of Thanhouser) and is best known for her stage work, which is unfortunate for the rest of us since her acting is really exceptional.

Louise Closser Hale (1872-1933) plays Arliss' sister and confidant. She combined a grandmotherly spirit with a quick wit and a sometimes tart edge in supporting roles ("Daddy Long Legs", "Shanghai Express", "Platinum Blonde") and her skill is probably nowhere better on exhibit than in this film.

Ivan Simpson (1875-1951) plays Arliss' manservant. He was a Scottish stage and film actor who worked with Arliss during the silent era. He made more than 100 films and later transitioned to TV. He was used extensively in the British dramas ("Prince and the Pauper", "Lloyds of London", "Captain Blood", "Mutiny on the Bounty"). This is probably the best example of his considerable talents, and the chemistry between he and Arliss is a joy to watch.

Look for Ray Milland (uncredited) in a brief scene in which he plays a man threatened with prison. For Milland (1907-86) this was his 15th film and fame was still a few years ahead. Ultimately he won an Oscar for "The Lost Weekend" (1946).

Also look for Hedda Hopper (1885-1966) as a west coast society matron. She is better known for her gossip columns, but she did, in fact, appear in over 100 films between 1916 and 1946.

This isn't a perfect film. It's a bit too long, Arliss does a few too many silent era long closeups, and the age difference between Arliss and Davis (24 vs. 65) is a bit too much. Otherwise it is a definite treat and holds up well after all these years.

Tpatbour - In your comment you stated that Bette Davis appeared in "B programmers" such as this before she graduated to "A pictures". She did, indeed, appear in many B films during her early years at Warner Bros. "The Man Who Played God", however, is NOT one of them. It is a George Arliss vehicle and it must be clearly understood that George Arliss did NOT make B films! Any Arliss film is unquestionably a prestigious A production. In the 20's and early 30's George Arliss was one of the biggest stars of stage and screen, not just in America, but in the world. You would do well to understand a bit more about the history of a given subject before you attempt to write about it. As for your opinion that this film is "no masterpiece", there are many who would disagree with you.

Fact; Bette Davis was about to leave Hollywood when she got a phone call from actor George Arliss, at first believing it was a joke. The rest is history. The distinguished actor believed in her talent and she signed a contract with Warners. Interesting to note it was decided "blonde" was her color, no doubt with the likes of Jean Harlow, and yes, the makeover made her a knockout.

The story, in a way, parallels Davis' relationship with Arliss, playing the role of a young student (Grace Blair), endorsed by music maestro Montgomery Royle (Arliss). Tragedy strikes when an explosion causes Royle to lose his hearing, though with grim determination and a devout sister (Louise Closser Hale) he's able to pick up the shattered pieces, Grace an integral part of his remarkable recovery.

Beautifully done drama slash soaper, a winner for veteran stage and silent screen star George Arliss, who reminded me a bit of Lionel Atwill. Bette Davis is star material here, a marvel to watch in a very early role. British silent screen actress Violet Heming plays Mildred. Good support by future columnist Hedda Hopper (Alice) and French actor Andre Luguet.

There was a real-life tragedy connected to this production, one of the last films directed by John G. Adolfi, who passed very suddenly following a lengthy career in silents. George Arliss retired some years later when his wife, ironically, lost her sight.

Davis' next notable role was in THREE ON A MATCH.

On Warner Brothers dvd for Davis fans and the next generation. Thank you TCM for running this classic of classics.

In her early days as a film actress, young Bette Davis was ready to chuck Hollywood and return to the Broadway stage. After spending a couple of years thrashing around Universal Studios where she appeared in six unsatisfying roles, the 24-year-old actress had had enough. Davis was packing her bags when she received what she thought was a crank call. The person on the other end claimed he was veteran actor George Arliss, and he was phoning her to see if she was interested in playing his love interest in his next upcoming film, February 1932's "The Man Who Played God." Davis said she adopted an English accent talking to whom she thought was an impersonator, and exclaimed "Of course, Mr. Arliss. How jolly decent of you." After several minutes of convincing her he was the real deal, the young actress became all tingly inside. "My excitement and joy were indescribable," she remembers. "An Arliss film was a prestige film. Out of all bad comes some good. I have always believed this."

The phone call proved to be a pivotal point in the actress' career. Instead of returning to the East Coast, Davis was not only remaining in Los Angeles, but when Jack Warner saw the rough cut of "The Man Who Played God," he signed her to a five-year contract, a move that began an affiliation between the actress and the studio for the next 18 years. Arliss, viewing the actress's brief moments in her Universal movies and after interviewing many candidates for the role, was convinced Davis could realistically play Grace Blair, the character who both loved and hero-worshiped the concert pianist Montgomery Royle (Arliss). But her hair color bothered the actor. Arliss sent the actress to the studio makeup artist who recognized she needed a blondish hair color. "He was right," reminisced Davis. "For the first time I looked myself. It was for me a new lease on life."

When the censors were turning studio heads hair grey with their demands for cuts of controversial scenes, Warner Brothers bragged "The Man Who Played God" served as an example where a movie can deliver a positive message. In the film, while giving a private concert to a visiting monarch, Montgomery has his eardrums shattered from a bomb explosion meant for the ruler. Losing his hearing and unable to play the piano, the former musician learns to lip read. He discovers spying through his binoculars several conversations in a nearby park where he could help people overcome their troubles, especially financially. One talk he 'eavesdrops' on is his much younger fiancé, Grace, returning from a long stay in California to marry him. But he sees Grace talking to an admirer from out West, Harold Van Adam (Donald Cook), who's passionately in love with her. But the westerner is thwarted from deepening the relationship since she's firmly committed to marrying Montgomery.

The script, from an earlier play adapted ten years earlier in a 1922 silent in which Arliss appeared, was remade again in 1955 in Liberace's only starring role, "Sincerely Yours." Meanwhile, in real life Davis and Arliss remained lifelong friends, until the actor's death in 1946.