Counsellor at Law

Based upon the play "Counsellor at Law" by Elmer Rice, John Barrymore shines in this depression-era drama as George Simon, a Jewish lawyer who frantically juggles the scandals, crimes and crises that pass through his art deco office high in the Empire State Building. Simon is far from perfect and engages in insider trading and bleeds funds from wealthy clients, while tending to the needs of the less fortunate New Yorkers who come from his own working-class background. Everything seems to be going pretty well for him, but when a political enemy uncovers a past legal indiscretion and begins disbarment proceedings, Simon's socialite non-Jewish wife (Doris Kenyon) walks out on him and seeks comfort in the arms of another man (Melvyn Douglas). With the unflagging support of his faithful secretary (Bebe Dabiels in a truly magnificent performance) Simon attempts to exercise his legal skills to defend his reputation and protect those who rely upon him for justice.

Is George Simon a modern-day Robin Hood? In a sense he is, but he is far from perfect. Simon doesn't seem to grasp the many of his wrong-doings and largely blames his downfall on the outside world. John Barrymore gives a rich and very credible performance as a rags-to-riches Jewish lawyer, despite his Waspish appearance and Bebe Dabiels as his loyal secretary Miss 'Rexy' Gordon really gives a stand-out performance. A typical film of the era, fast-paced, and very stagy with the camera never moving out of the office, but thanks to Wyler's crisp direction and a superb cast this still makes very agreeable viewing, although the ending is so abrupt, I had to rewind in order to see what happened in order to see the last twenty minutes again. Everything goes so incredibly fast, attention must be paid.

Camera Obscura --- 8/10

Tragically, "Counsellor at Law" has never been released on video, so only pirate copies are available. I strongly advise you to get hold of one because the film is unquestionably a 10 on IMDB's scale--probably the best movie about a lawyer ever made. Another possibility is to see the play by Elmer Rice which the movie follows quite closely and which is presented in little theaters around the country from time to time.

Start with John Barrymore's absolutely unforgettable portrayal of attorney George Simon. Continue with the stunning art deco set and the direction which moves the action along at about 200 miles per hour. Most important, the film, which is set entirely in Simon's office, illustrates a tremendous range of business and personal problems confronting the high-powered New York lawyer in the 1930's.

On the personal side, Simon is an up from the gutter Jew who has made it big-time in the waspy world of New York law and business. He's married to an aristocratic non-Jewish woman who seems to despise him (along with her ungrateful kids). So one big theme of the film is the conflict between Simon's poverty-stricken past (his very common mother, his nogoodnick brother) and his newly acquired upper-class status in the non-Jewish community. Simon has feet in both camps and the conflict is revealing and very poignant.

On the business side, Simon has relationships with his partner, with the other lawyers in his firm, and with his staff--each one clearly and unforgettably etched (you'll never forget the telephone operator). He sees a range of clients and confronts a range of ethical problems. He's very tough when he needs to be, and has a huge soft heart as well. He cares deeply about his clients, and that has gotten him into trouble--big trouble.

Not to spoil the story, this film will knock your socks off. Although there have been hundreds of lawyer movies since 1933, none surpass this brilliant film for its insight into the life of the lawyer and into the perils of vertical class mobility.

John Barrymore, while by no means a bad actor, was a shameless ham, overplaying every role whether it be straight or comic. It is therefore refreshing to see him in Counsellor at Law for once delivering a performance that is restrained and realistic, and probably the best of his career.

It's no surprise then that the director of Counsellor at Law was William Wyler, perhaps the most skilled and respected director of actors in Hollywood history. No less a personage than Laurence Olivier credited Wyler with teaching him how to act for the screen. I can imagine Wyler reining in the over-expressive Barrymore, exhausting him with repeated takes and cutting his performance down to size. But Barrymore is not the only one to be affected by the Wyler touch. Bebe Daniels, who normally played women who were if not villainous than at least a bit dodgy, is the best I have ever seen her as Barrymore's warm-hearted secretary. Even supporting players Doris Kenyon and Clara Langsner, who play Barrymore's wife and mother respectively, turn in incredibly deep performances. Then there's Vincent Sherman, who later became a director himself. His character is a stereotype, and his impassioned speech is the stuff of melodrama, but he almost manages to make the part convincing.

As well as coaxing such great performances, Wyler always put a lot of thought into how he should film the actors to benefit the story. Sometimes this meant violating cinematic conventions, and Wyler was lucky to have made his earliest features with Universal and Sam Goldwyn, two of the more leftfield studios at the time. Counsellor at Law has a lot of bit parts which we have to acknowledge, but not focus on, such as the clients who come and go in the first ten minutes. As often as possible Wyler shoots them with their backs to the camera so we don't dwell upon them. Conversely, he encourages us to take note of significant characters, for example placing Malka Kornstein conspicuously in the background in an early scene before she has properly entered the story. It's worth noting that this was the first time Wyler worked with his long time editor Daniel Mandell, who must have fully respected Wyler's unconventional shooting patterns.

Elmer Rice's play from which the film is adapted works a lot on changing pace. The opening scenes are snappy and bustling, zipping from room to room and one character to the next. Gradually the pace slows and the scenes start to crystalize which, coming after the business and light comedy of the first half, give the important moments more impact. Wyler acknowledges and compliments this pacing, keeping the camera constantly moving in the earlier scenes, and keeping it close to the action. As things slow down his camera keeps still and often hangs back. Unfortunately some of the camera moves are a little shaky, and some of them are not entirely necessary - Wyler's later pictures would be far more subtle in this respect.

Counsellor at Law is mainly worth seeing for Barrymore's understated performance, but there is plenty more going on. The story is not outstanding, but it is well told. And Wyler's direction, while it still had a long way to go to the standard he would eventually reach in Best Years of Our Lives or The Heiress is nevertheless bold and daring, and here teases the drama out of the comedy.

It's criminal that this superb melodrama, from a well-made play of the day, isn't better known. Barrymore, all cylinders firing yet giving a perfectly natural, restrained performance, is a hotshot New York lawyer facing personal and professional ruin; he may never have been better in the movies, and some of the magnetism that made him a stage legend shines through. Wyler makes no attempt to "open up" the stage material; he basically confines it to one (very beautiful) set, and his camera unobtrusively follows the legal-office denizens around, seemingly overhearing conversations, Altman-style. There's a lot of social history tucked away -- with commentary about Jews and gentiles, rich and poor, capitalist and communist -- and a whole stageful of compelling characters, who often define themselves in a walk, a smirk, a laugh. And yes, there are contrivances and coincidences, but that's the stuff the well-made melodramas of the time were made of, and they were seldom constructed as neatly as this. I saw it at a revival house, with a smart New York audience, and nobody laughed in the wrong place or grew cynical about the old social conventions that no longer apply. In fact, at the end they applauded good and hard -- after 70 years, this one's still a corker.

What a wonderful film. Just saw it last night for the first time. My first impression viewing the movie was that this was the best performance I had seen from Barrymore. I was wondering if perhaps I had gotten a little carried away, but from reading some of the other comments I see that there is great concurrence on this point. In general this lost gem is fast, funny, poignant and incredibly well acted.

So few films tell the story of a Jewish character, but this one does and very well. Barrymore is a surprising casting choice for the lead, but it is hard to imagine that anyone else could have been as good, much less better. Bebe Daniels is just excellent in the role of the loyal secretary, much better than in her more famous role in 42nd Street. John Qualen and Vincent Sherman are also very good in small roles.

If you are looking for an enjoyable hour and one half that will amuse and also make you think at the same time, jump on this rarely seen jewel. It is reputedly hard to purchase, but TCM recently featured it on its station and hopefully will do so again soon.