The Great Impersonation

Other reviewers have pointed out the use of but redressed standing sets for the tower steps of Frankenstein and the stairway from Old Dark House. Take another look and you'll recognize the Frankenstein cellar, use as the attic here. It was continually redressed for White Zombie, Mystery of the Blue Room, here, and I suspect many other films. I think I recall the title music is from Werewolf on London. Nice to see Brandon Hurst, Dwight Frye, and Frank Reicher in another weird film..

The film itself is instantly recognizable as a Universal of the period. Good production values and acting, without producing a superior product. Still, it's fun, and worth seeing a second time.

This version of "The Great Impersonation" sticks to the book rather well. By contrast, the 1942 version is an extremely loose interpretation and obviously World War II propaganda. The acting is fine and the dialog interesting. The casting is excellent. This movie is based on what is supposed to be Oppenheim's greatest novel. I read the novel and thought it was mediocre. For its time, the movie, in my opinion, actually outshone the novel. Both the 1935 and 1942 versions of the novel are unapologetic melodramas, but the 1935 version has the more interesting and complex plot. However, ideally one should watch each and decide for oneself.

1935's "The Great Impersonation" served as Valerie Hobson's farewell to Universal, with 11 features over a 12 month period, doing one more movie for Chesterfield ("August Week End") before abandoning Hollywood for England, retiring for good by 1954 (she died in 1998, age 81). Despite its inclusion in Universal's popular SHOCK! television package of the late 50s (not once appearing on Pittsburgh's Chiller Theater), "The Great Impersonation" has understandably remained under the radar, being basically an espionage story with a dash of horror provided by the unbilled presence of Dwight Frye, definitely in Renfield mode, never clearly seen. Edmund Lowe, a frequent star at Universal ("Bombay Mail," "Gift of Gab," "The Witness Vanishes"), toplines in two roles- Baron Leopold von Ragastein and Sir Everard Dominey, incredibly finding each other in darkest Africa, after first meeting up at Oxford. Both men have escaped tragedy, and the Baron decides to impersonate his twin and take up residence at Dominey Hall, where plans are already underway for foreign powers to flood pre-WW1 England with munitions. The reason for Sir Everard's flight is that five years before he is supposed to have murdered Roger Unthank (Frye), perpetuated by Roger's mother (Esther Dale), casting aspersions against him in the company of his beautiful wife, Lady Eleanor (Hobson). Soon after the impersonator arrives, Mrs. Unthank informs him that the ghost of her dead son cannot rest, his cries echoing through the house during the night (he really does sound like Renfield!). This horrific touch is a direct lift from "The Hound of the Baskervilles," but was present in the original 1920 book, yet dropped from both the 1921 and 1942 screen versions. Still only 18, Valerie Hobson was hardly taxed by this rather small role, with competition from Wera Engels, whose brief career in Hollywood lasted three more films, retiring by 1937 (she died in 1988). Nearing the end of the Laemmle regime, we get another look at sets from "The Old Dark House" and "Frankenstein," and a brief but unmistakable appearance from Nan Grey (as a maid), soon to be immortalized as the tragic Lili in "Dracula's Daughter."

East Africa, 1914: English nobleman Sir Everard Dominey (Edmund Lowe) is found collapsed in the jungle after going on a lion hunt. While recuperating, he meets an old college friend, Baron Leopold von Ragastein (also Lowe), with whom he shares a remarkable resemblance. Ragastein works for an international munitions company that is hoping to exploit the impending war in Europe; he sees an opportunity to prolong the conflict by posing as Dominey and crippling England's war machine.

After disposing of his English doppelganger, Ragastein travels to Dominey Hall to carry out his plans. However, Everard's chequered past causes the imposter unforeseen problems.

This is the second of three movies to be based on the mystery novel by E. Phillips Oppenheim (the other two were filmed in 1921 and 1942). The plot combines intrigue, suspense and romance, with a sub-plot about the ghost of a murdered man (Dwight Frye) haunting the bog that borders Dominey Hall. The film starts off strong, but once Ragastein arrives in England, it treads water for a long while, eventually livening up in the final act with a neat twist and some exciting action.

Edmund Lowe acquits himself well in his dual role, effectively switching accents depending upon who he is talking to. Valerie Hobson is adequate in her role as Dominey's estranged wife, but gorgeous German actress Wera Engels, as Princess Stephanie Elderstrom, Ragastein's troublesome ex-lover, is far more captivating in my opinion. Visually, the film is impressive, benefitting from great art direction by Charles D. Hall and sets used previously for The Old Dark House and Frankenstein.

5.5/10, rounded up to 6 for IMDb.

One of those Universal films that was included in the "Shock Theater" TV package long ago. Old movie film buffs will enjoy this. It certainly is an interesting story. Sidenote: the musical score was reused over the next few years in Universal "B" movies and serials. "Tim Tyler's Luck" and "Buck Rogers" utilize the main title. Have not seen this one on TCM or anywhere else in decades. Hopefully Universal will give this a release for today's TV and streaming services.