His Double Life

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.

Roland Young gives a good performance in "His Double Life" that helps out an otherwise rather silly story of confusion and dual identity. It is a quite watchable if not especially memorable movie.

Priam Farrel (Young) is a brilliant artist, but is totally incapable of dealing with the most basic social situations. When his devoted valet becomes ill and dies suddenly, and everyone mistakenly assumes that the dead man is the artist, Farrel finds himself at the mercy of events. He starts to assume his valet's identity, but longs for his own. The resulting situations are sometimes funny and sometimes thoughtful. They work alright mainly because Young is good at portraying the painfully shy and rather befuddled personality of his character, and is also good at communicating the dilemmas he faces.

There's not much more to it than that, but it moves quickly and is pretty good light entertainment for anyone who likes comedies of the era.

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

She had been quite captivating in her silents, and now I got the chance to watch her talkie, and she didn't disappoint, may be performed better than the silents. In that era, quite a few silent stars had tended to over-act, but not Lilian. Ronald, as Priam Farrel, the seclusive artist, as mentioned elsewhere, has been a bit too meek, but that could always be attributed to his Enochlophobia, probably assisted by his domineering cousin at childhood. Most of the areas I could bear with it, except some of the segments were a bit excessive even for that (e.g. the scene at Abbey). But not Lilian, as Alice, the girl, crossing the nubile age, despite having a bit of dowry to offer. A plain, matter of fact, and altogether inartistic-minded girl - "That is a bit much for a painting of a cop isn't it?" but practical, beyond doubt. One of the most brilliant scenes were with the Leek family at the tea, and several times trying to protect Priam, by folding him in her wings, either with Oxford, or in court. It is Lilian's movie all the way, and she had more than made up for the many weakness in plot.

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.