The Earl of Chicago

Robert Montgomery plays a gangster named Silky who framed his lawyer Doc Ramsey (Edward Arnold) seven years earlier. When Doc is released from prison he finds he is disbarred and can't work as an attorney, so he has to go back to work for Silky as his general manager. But Doc is bitter and waiting for a chance to get his revenge. A chance that comes when Silky is discovered to be the heir to an English title.

Uneven blend of comedy and drama. The comedy works well. The drama not so much. Montgomery's hammy gangster persona just doesn't jive with Arnold's angry man hell-bent on revenge. Edmund Gwenn is good as Silky's butler. The ending is pretty bad and makes you wonder what the point of the whole movie was. Still, top stars make it worth watching.

I really enjoy Robert Montgomery and his suave, sophisticated onscreen persona. I've tried to watch all of his films over the years and have enjoyed most - until I saw "The Earl Of Chicago". He was miscast here as a gangster who inherits an Earldom in England. The plot line was lame and not believable, but he tried too hard to be crude and unpolished and was clearly out of his element. In his pictures he is the personification of sophistication and the reversal just doesn't work here.

Too bad, because he was surrounded by A list character actors, such as Edward Arnold, Edmund Gween, Reginald Owen and several others. It must have sounded better in the planning stage as there were some plot holes apart from the absurd plot, which does not work for Montgomery. Perhaps they needed a different actor because this was not his cup of tea. Can't recommend it.

**** 4 stars. Website no longer prints my star rating.

Despite all the miscasting and other plot gaucheries complained of by everyone, and with which I agree, there remains something very quirkily unique about this movie. Certainly my wife and I couldn't take our eyes off it till it was over. Besides the wildly satirical send up of those British ceremonial upper-crust ways which so amuse us whenever the present queen and her various entourages make those occasional appearances on public television, the very undeniable miscasting of Montgomery which rubbed so many the wrong way left us with a high admiration of those acting skills of his which enabled him to portray so well a character very much against his normal type. And his last lengthy monologue from the accused's dock was positively Lear-like in its crazed insanity. Despite all its flaws the chance to see Montgomery, Arnold, and Gwenn all acting their heads off in the same movie make this a rare and worthwhile 86 minutes.

As much as I like Robert Montgomery as an actor, he doesn't cut it as a Chicago ex-bootlegger and gangster. His idea of acting tough is to jut out his lower lip and say "yeah" a hundred or so times. And when the plot also calls for him to inherit an earldom, a British title and become a member of the House of Lords, it results in utter failure for the film. A fish-out-of-water scenario doesn't work as well for drama as it does for comedy; the lengthy sequence for Montgomery's investiture into the House of Lords was painful to watch. I think I was more uncomfortable than Montgomery was, as he fumbles throughout the centuries-old pompous ceremony which includes a pledge of allegiance to the king. There were some nice moments in the film: butler Edmund Gwenn teaching Montgomery about "noblesse oblige" so that he visits an old sick man and his wife (Ben Webster and Tempe Piggot) to comfort him; how she refuses money, despite her poverty, for the cookie he takes because she says "it would deprive me of my pleasure"; when Montgomery also visits another old tenant (Zeffie Tilbury) and learns she nursed his father as an infant. But these moments were far too few, as the plot concerns itself mostly with Montgomery's greedy desire to cash in on his newfound wealth and with Edward Arnold's revenge for his serving seven years in prison because of a frame-up by Montgomery. There were too many holes in the plot: I would have thought everyone would be happy to get rid of Montgomery instead of pleading with him to stay. And surely the writers could have written a better ending.

I couldn't get over the feeling that Edward G. Robinson would have been so much better in the role that Montgomery played. Curiously, David O. Selznick bought the rights to the novel with Robinson in mind, but then sold those rights to MGM. What a shame!

One of Robert Montgomery's most amusing films which takes a very serious turn is The Earl Of Chicago. Just imagine someone like a Lucky Luciano inheriting some title in Italy and you've got the basic idea.

For those who think Montgomery was miscast I disagree completely. He certainly had an upper class background and most of his film roles were of that kind, but he did just fine as blue collar types in Yellow Jack and Here Comes Mr. Jordan and he does equally well here.

What Robert Kilmont, Chicago gangster who hasn't let up a bit even though Prohibtion is a thing of the past, has is one great deal of hubris and he's an awful bad judge of character. He's right at the prison door to meet Edward Arnold, a lawyer he framed when he couldn't buy him. He reasons like Diogenes he's found an honest man and he wants honest men working for him. What's so ironic is that the whole audience knows from the git-go that Arnold is going to pull a double-cross even though Montgomery is oblivious to it all.

The opportunity comes sooner than he thinks when some English barrister comes across with documentation that shows this man who was raised in a Detroit orphanage is indeed the new Earl of Gorley. Montgomery is used to dealing with all kinds of situations, but this one throws him. He takes his new found friend Arnold to the United Kingdom to claim his inheritance. As for Arnold, he may be a disbarred attorney, but he knows what to do with a power of attorney which he tricks Montgomery into giving him so he can watch his business interests in Chicago from Great Britain of course.

It's a dirty double-dealing trick Arnold plays, but Montgomery was such a fathead to think this guy was going to just let bygones be bygones. That's the hubris.

Montgomery is in for quite a bit of culture shock about Great Britain and its class system and the fact as a member of the landed aristocracy he has traditions and obligations to follow and meet. The only real friends he makes among the folks there are young Ronald Sinclair who would be his successor and his butler Edmund Gwenn who tries in his usual gentle manner to smooth some of the rough edges that Chicago left on Montgomery.

In fact Gwenn's is the best performance in the film. It's certainly one my favorites from this player. I like it even better than his scientist in Them or as Kris Kringle in Miracle On 34th Street for which Gwenn won an Oscar.

Arnold's double-dealing ends badly for both him and Montgomery, but I will say in the end The Earl Of Chicago went out with the class he sought all of his life. And The Earl Of Chicago courtesy of Robert Montgomery and Edward Arnold and a number of players from the British colony in Hollywood make it a film of class.