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.

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.

To say this movie, so to speak under-performs is an understatement. This situation comedy starts of charmingly with wit and the right amount of pathos. But the lucrid tone in the second part, especially the court room scene which is an example of unnecessary sumptuous foolishness, silliness and infantility of the highest order is a plain embarassment. Gish and Young are both fine and have a nice and cool chemistry. But the temere ending of this b-programmer leaves you feeling you just wasted 66 minutes of your time.

HIS DOUBLE LIFE (Paramount, 1933), directed by Arthur Hopkins, returns silent screen legend Lillian Gish to motion pictures for the first time since her talking debut in ONE ROMANTIC NIGHT (United Artists, 1930). Taking second billing under Roland Young, whose character is the main focus, this light comedy, taken from the novel "Buried Alive," and play "Great Adventure" by Arnold Bennett, is an interesting curio at best. Containing some witty elements in the style of director, Ernst Lubitsch, best known for sophisticated comedies with European settings, as much as it tries, really cannot compare to the Ernst "Lubitsch touch."

The plot development opens at an art gallery in England where numerous spectators gather around admiring the works of Priam Farrel, the world's most renowned English painter. Attending the gallery are Farrel's first cousin, Duncan (Montagu Love) with his little boy ("Yes, Poppa"), various critics, and spinster, Alice Chalice (Lillian Gish), whose connection with Farrel is through her corresponding letters with his personal secretary, Henry Leek (Roland Hogue), having found her through The Matrimonial Times magazine. As the story progresses, Priam Farrel (Roland Young) is described as a talented but very reclusive, shy artist seen by few. While at a social function in Spain, Priam finds himself unwittingly engaged to Lady Helen (Audrey Ridgewell). Wanting to break away from his forthcoming marriage, he and Leek seek refuge at his London residence of 91 Seawood Terrace. As Leek arranges a time and date for his initial meeting with Miss Chalice at the Grand Babylon Hotel, the unthinkable happens, Leek acquires a sudden case of pneumonia, dying in his master's bedroom where he was placed and cared for by Farrel. Mistaken for Leek by the doctors, an identity crisis ensues. Forced to leave the apartment by his cousin, Duncan, whom he hasn't seen since he was 12, Farrel, with no place to go, takes up residence at the Grand Babylon Hotel. Upon his arrival, he's approached by the awaiting Alice, believing him to be Leek, based on the photo given to her of Farrel and Leek standing together through Leek's most recent letter. Regardless of Farrel's fear of people, he becomes very relaxed with Alice. A courtship soon develops, leading to their marriage. While Priam does reveal his true identity to Alice, he is not believed but goes on loving him just the same. During his newfound life for which he describes as "having died and gone to Heaven," "Leek" resumes his pleasure of painting after his funds run out. After Alice sells some of them to art collector, Oxford (Lumsden Hare), he immediately recognizes the Farrel style to them, very much convinced that Farrel is alive. When this news reaching the world, Farrel's double life takes a dramatic turn through a series of complications as an unexpected visitation from Leek's wife (Lucy Beaumont) with twin adult nitwit sons (Oliver Smith and Philip Tonge) claiming bigamy, followed by a courtroom fiasco.

A wholesome story filmed previously in the silent era as GREAT ADVENTURE (First National, 1920) starring Lionel Barrymore and Doris Rankin, HIS DOUBLE LIFE is often bypassed by it's classified improved remake of HOLY MATRIMONY (20th Century-Fox, 1943) featuring Monty Woolley and Gracie Fields. What makes HIS DOUBLE LIFE worthy of consideration is its fine presence by Lillian Gish. Seldom working in comedy, Gish's performance is not of madcap sense but that of sophisticated manner, and she's quite good. Becoming the "perfect wife" during the film's second half comes as a reminder of Myrna Loy's character trait title she acquired after 1934 based on the "Thin Man" series. Gish performs well opposite the droll Roland Young, some years before becoming immortalized as "Topper" in three Hal Roach feature comedies later in the thirties.

Produced at Paramount's Astoria Studios in New York, circulating prints, either on late night presentations on public television or home video that began in the early 1980s, are usually taken from reissues with Atlantic Pictures as its distributor. Though the film suffers from occasional slow pacing in the tradition of a 1930 talkie, it makes one wonder if the film might have worked better under the direction of either a George Cukor or Ernst Lubitsch? While the slow pacing can be overlooked, the abrupt cuts found in numerous public domain video and TV presentations scenes cannot. Two scenes of mention worth noting: Priam Farrel's attempt to retrieve his lost hat in a crowded building, followed by immediate cut of him reading a newspaper; the second, a highlight, as Farrel attends his own funeral lead by his burial at Westminster Abby. This is introduced by the full view of the church, followed by close-up of Farrel in the middle of spectators, split second view of he going upstairs, then observing the funeral from above, to suddenly create a disturbance by crying out multiple times, "I had no idea," before being escorted out. Aside from these choppy scenes, the music soundtrack appears to be out of sync. Fortunately, a more accurate print does exist in the DVD presentation from Alpha Video. While underscoring is limited throughout, it's used extensively in comedic form during the climatic courtroom sequence. Unfortunately, this doesn't come off hilariously as anticipated.

Overall, HIS DOUBLE LIFE can be satisfactory entertainment in the old-fashioned sense of how two lonely people become united through a twist of fate. (**1/2 canvases)

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