Mystery of Edwin Drood

1935's "Mystery of Edwin Drood" was Universal's followup to their equally lavish Dickens adaptation "Great Expectations," on par with later efforts such as "Tower of London" and "The House of the Seven Gables." The unfinished 1870 story certainly begged for a proper solution, baffling bibliophiles over the decades, but this film's weakest flaw is that its depiction is fatally predictable. We are shown right away the drug-addled choirmaster John Jasper (Claude Rains), whose frequent illnesses are a mask for his addiction to opium (a welcome touch seemingly missed by the Hays code). Jasper's secret desire for his lovely young ward Rosa Bud (Heather Angel) is clearly no surprise to her, his piercing gaze sending her into paroxysms of fear, and since she has been betrothed since childhood to Jasper's beloved nephew Edwin Drood (David Manners), evil thoughts begin to grow in the older man's mind. Enter Neville Landless (Douglass Montgomery) and his beautiful sister Helena (Valerie Hobson), recent arrivals from Ceylon, allowing Jasper to foment an acrimonious rivalry over Rosa between the hot tempered Neville (who has quickly fallen for her) and her intended groom. There are precious few surprises in the script as written, so it's up to the excellent cast to carry the day. With so many Dickensian characters surrounding him, Claude Rains actually winds up in a subordinate role, while Douglass Montgomery, typecast in romantic parts, relishes the opportunity for some real scenery chewing in disguise (he enjoyed another in 1939's "The Cat and the Canary."). Heather Angel had two future genre titles ahead, 1942's "The Undying Monster" and 1962's "Premature Burial," while 17 year old Valerie Hobson was apparently Universal's busiest starlet of 1935, immediately rejoining director Stuart Walker on "WereWolf of London" (along with Zeffie Tilbury, Ethel Griffies, Vera Buckland, and J. M. Kerrigan). David Manners bid farewell to Universal here, completing just five more low budget features before quitting Hollywood by 1937. Look fast for unbilled bits from Will Geer, lighting lamps 44 minutes in, and Walter Brennan, gossiping about Neville Landless at the 30 minute mark. Despite its inclusion in Universal's popular SHOCK! television package of the late 50s, "Mystery of Edwin Drood" never once made the rounds on Pittsburgh's Chiller Theater, a fate that also befell 1935's "The Great Impersonation," 1938's "The Last Warning," 1939's "The Witness Vanishes," and 1942's "Mystery of Marie Roget."

This adaptation of Charles Dickens' famous unfinished novel is made in the style of Universal's horror films: in fact, it not only features many of their participants (from both sides of the camera) but actually shares several sets with BRIDE OF FRANKENSTEIN (1935) –making the film all that more enjoyable and fascinating a viewing! The stunning opening sequence, depicting an opium-induced hallucination, is followed by the shocking discovery of the addict involved (Claude Rains) to be the choirmaster of the local church! Jealously in love with a girl (Heather Angel) about to marry his nephew (David Manners in the title role), he schemes to get the boy out of the way – unaware that the couple had mutually given each other up when she falls for hot-tempered newcomer Douglass Montgomery; the latter's own shaky relationship with Drood leads to his being suspected of foul play when Manners goes missing – a situation Rains encourages for obvious reasons. Montgomery, however, does not rest on his laurels – indeed, he makes himself up as an old man in order to conduct his own private investigation! The exciting climax – set inside the crypt so memorably utilized in the James Whale masterpiece I mentioned earlier – sees the villain engaged in a scuffle with the hero, eventually getting his just desserts in melodramatic fashion. The film, then, serves as an interesting companion piece to contemporaneous Dickensian adaptations (a star-studded David COPPERFIELD emerged from MGM that same year) and should also pique the interest of horror buffs for the reasons I delineated at the start

John Jasper is a respectable choir master on the upper level, but beneath lurks a madman, an opium-addicted man of intrigue and deception with a deadly fascination for a young girl, Rosa Bud, who is engaged to his nephew, Edwin Drood. The marriage has been arranged from the crib, and neither Rosa nor Edwin (who is fondly called "Ned") are particularly fond of the idea, having resolved themselves to wed someday, simply because they must. Rosa is a young learner of music, and is fearful of her instructor -- John Jasper -- while her fiancé mere laughs off her uncertainty.

However, a wrench is thrown into the works when charming foreigner Neville and his lovely sister come to town, and the former immediately falls passionately in love with Rosa. Ned is flippant of his opinion of his would-be-wife, and Jasper just barely saves his nephew from Neville's violent temper, which manifests in the foreigner nearly taking a knife to them both. Having been sent away from his hometown for just such an act (and in fact, murdering his stepfather), Neville must watch his steps, and avoid Ned and Rosa at all costs, lest his anger again surface.

About this time, it is discovered that their betrothal hinges only on their personal desire to love one another, resulting in the breaking of the engagement. But Rosa and Ned decide to keep it to themselves for the present... a mistake that cannot be altered when Ned disappears, and his murder is blamed on young Neville, who was the last to see him. Jasper begins an all-out manhunt for the killer when Neville flees for his own safety, and will stop at nothing to have what he wants. In the meantime, Rosa is terrified of her music teacher, and what dangers he may impress upon her, even resorting to blackmail to gain her hand in marriage. But a mysterious stranger has come to town and is slowly unraveling the truth to "The Mystery of Edwin Drood."

This screen adaptation makes up an ending to the famous Dickens novel which was never finished... leaving scholars and fans alike pondering the mystery that would never be solved... until now, The sad thing about this old "horror" picture is the fact that you can guess "whodunit" within the first twenty minutes. But gauging it against the other productions of the era, it's really quite good. The acting is first-rate, and the costuming is beautiful -- if only it were in color! The characters are all engaging, and the film has enough suspense to engage even the most action-loving viewer.

Dickens unfinished novel is given a plausible outcome in this Universal version of The Mystery of Edwin Drood. Made in the same year as two MGM classics by Dickens, David Copperfield and Tale of Two Cities, it may lack their production values but it does have a hauntingly dark performance from Claude Rains as well as a cart full of Dickens characters splendidly played by some London stage vets.

Edwin Drood and Rosa Bud were engaged before they could talk but are more brother and sister than intendeds. His uncle John Jaspers, the Church choirmaster and pillar of the community is obsessed with Rosa, conversely he makes her skin crawl. When Neville Landless, a hot tempered Ceylonese arrives on the scene he falls for Rosa and argues with Edwin over her. The opium addicted Jaspers growing more paranoid by the minute decides to take drastic measures in order to secure Rosa for himself by eliminating his rivals.

In the early years of censorship Drood takes on a lot of controversial issues most pointedly opium addiction. Director Stuart Walker manages to ably convey its dilatory presence without mention or the appearance of the pipe by way of the dissipated personage of the raven eyed, mellifluously cold voice of Rains and the delicious harridan performance of opium den mother played by Zeffie Tillbury. Putting ample flesh on the rest of the cast EE Clive, Forester Harvey, Walter Kingsford and Ethel Griffes as Miss Twinkleton ("Crisis is a test of breeding ladies. Remember your Britains".) offer rich Dickens interpretations of comic manners providing Drood a lightness that balances Rains brooding madness. Lacking the pedigree and lushness of an MGM production The Mystery of Edwin Drood does just fine with less.

Universal in 1935 took on 'The Mystery Of Edwin Drood' a uncompleted Dickens novel. This is the first sound version, after two (2) silent adaptations and made in their 'Classic Horror' style. The film featured their current stock company, including David Manners and Valerie Hobson and the powerful presence of free lancer Claude Rains. These are all professionals and deliver what is expected of them.

As in the other 'Classic Horror' adaptations of the time this film has a certain look. Every studio had a 'look' for their efforts. Grimy streets for Warner Brothers gangster films, pristine palaces and with C. B. DeMille, washrooms at Paramount. M.G.M. all gloss and polish in almost every production and R.K.O. art-deco grace. With Universal, decrepit buildings, cobwebs, drawing rooms with lots of stuff to knock over with crisp cinematography.

For details of the plot either watch the film or read one of the other reviewers, they give a blow by blow description and plenty of detail, more is not needed here. What can be said it is too bad that for some reason Universal keeps these films buried in their vaults along with some 600 films from Paramounts classic period. Shown today on TCM (12/05/2011) this is the first time I can recall seeing it since the early 1960s! It does not disappoint, the print being in excellent condition. Hopefully more of these efforts will be released for viewing on TCM and possibly DVD.