His Double Life

More than three quarters of a century after its release, this gem retains its delightful sparkle. The charming story of confused identity is enhanced by Roland Young's captivating portrayal of the delicately neurotic Priam Farrell. It is a treat to see the enormously talented Young in a film preceding "Topper" by several years. Not surprisingly, Lillian Gish is superb as his stabilizing love interest. The heroine of "Birth of a Nation" and "Broken Blossoms" handles her role with ease befitting a truly great actress.

It would be an unfair mistake to judge the quality of this work using more modern films as a standard. To do so would be the hallmark of a fragile ego hungry for validation, using unfounded, ignorant, and empty criticism. Enjoy this film for what it is, a well-acted story, albeit somewhat dated.

Was curious to see Gish in a talkie as well as a film in which William de Mille and his screenwriter wife Clara Beranger were involved. The NYT reviewer praised it. Expectations were raised. The result was disappointment. But even with no expectations, I would have been disappointed.

This film is on the Mill Creek Comedy Collection that I'm watching. Despite a few comedy elements, this is not a comedy. And Roland Young does not give a laugh-producing performance. The trouble he gets himself into by being a mouse is not believable. However, from the moment Gish enters the story, because of her pragmatic yet eccentric character, the film becomes interesting. Alice's view of how to live and be happy is so unusual and so mesmerizing that I want to know more about her. I'm now motivated to read Bennett's novel.

The filmmakers had wonderful story material to work with, so it's puzzling as to why the end product is not wonderful. But thanks to the tip from another IMDb reviewer, I'll watch the 1943 remake with Monty Wooley and Laird Cregar. The only disappointment I'm expecting from the remake is that Gish will not be in it.

Rented a DVD of the Young-Gish "Double Life" because the plot seemed interesting. Watched it once, then watched it again because Alice (played by Lillian Gish) was so remarkable. Then read the play "The Great Adventure" the movie was adapted from. Then read the novel "Buried Alive" the play was based on. Alice went from "a plain widow" in the book to "a nice little package" in the play to the beautiful Lillian in the movie. And the plots and endings of the three works varied extensively. But the personality of Alice (aka Janet) is consistent. She is the eminently sensible, practical woman. A rare creature. Any sensible man would be delighted to have her as his companion. Watch this movie if only to experience the character of Alice.

Celebrated artist Roland Young (as Priam Farrel) is very successful; but, he can't stand the limelight. Suddenly, his valet dies. As Mr. Young was reclusive, he is easily mistaken for the deceased servant. Then, Young meets lovely Lillian Gish (as Alice Challice), who had been corresponding with his valet; and, a romance blossoms. Unable to convince anyone of his true identity, Young happily marries Ms. Gish. Complications peak when the new "Mr. and Mrs. Henry Leek" are visited by the first Leek family.

Dull version of the Arnold Bennett play "The Great Adventure" (1913), which was most memorably filmed as "Holy Matrimony" (1943). "His Double Life" is livened, however, by a rare 1930s film appearance by Gish. Though the presentation of the story is not at all convincing, Gish's performance is sincere. Her "tea party" with the original Leek family is the film's highlight.

**** His Double Life (12/15/33) Arthur Hopkins ~ Roland Young, Lillian Gish, Montagu Love, Lumsden Hare

I'm still not sure what this 68-minutes was supposed to add up to. Perhaps some find the proceedings droll; to me, they're plain dull. And were it not for an inoffensive Roland Young and a winning Lillian Gish, I would have turned it off. The plot's about a celebrated reclusive painter who's believed dead even though much alive. So he trades his real identity for his dead valet's. At first he likes the anonymity of being thought someone else, but then meets a winsome young woman and becomes conflicted.

Now actor Young can be quite droll as his Topper series shows, but here neither the material nor the direction brings out a comedic aspect. In fact, there's no spark at all from director Hopkins, which may account for his meager two credits. Maybe that's also why we get the asinine courtroom hijinks, appearing, as it were, an act of comic desperation. Overall, the movie comes across as a joyless narrative that somehow got committed to film. One positive thing, I guess Young learned that he needed to stick to real ghosts.