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The Man Who Played God

  • 1932
  • TV-G
  • 1h 20min
VALUTAZIONE IMDb
6,8/10
1350
LA TUA VALUTAZIONE
The Man Who Played God (1932)
DramaRomance

Aggiungi una trama nella tua linguaAfter losing his hearing, a musician uses lip-reading to help others.After losing his hearing, a musician uses lip-reading to help others.After losing his hearing, a musician uses lip-reading to help others.

  • Regia
    • John G. Adolfi
  • Sceneggiatura
    • Jules Eckert Goodman
    • Gouverneur Morris
    • Julien Josephson
  • Star
    • George Arliss
    • Bette Davis
    • Violet Heming
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,8/10
    1350
    LA TUA VALUTAZIONE
    • Regia
      • John G. Adolfi
    • Sceneggiatura
      • Jules Eckert Goodman
      • Gouverneur Morris
      • Julien Josephson
    • Star
      • George Arliss
      • Bette Davis
      • Violet Heming
    • 21Recensioni degli utenti
    • 7Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria in totale

    Foto11

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    Interpreti principali28

    Modifica
    George Arliss
    George Arliss
    • Montgomery Royle
    • (as Mr. George Arliss)
    Bette Davis
    Bette Davis
    • Grace Blair
    Violet Heming
    Violet Heming
    • Mildred Miller
    André Luguet
    André Luguet
    • The King
    • (as Andre Luguet)
    Louise Closser Hale
    Louise Closser Hale
    • Florence Royle
    Donald Cook
    Donald Cook
    • Harold Van Adam
    Ivan F. Simpson
    Ivan F. Simpson
    • Battle
    • (as Ivan Simpson)
    Oscar Apfel
    Oscar Apfel
    • Appleby - the Lip Reader
    Charles E. Evans
    • The Doctor
    • (as Charles Evans)
    Hedda Hopper
    Hedda Hopper
    • Mrs. Alice Chittendon
    William Janney
    William Janney
    • First Boy
    Fred Howard
    • Man
    • (scene tagliate)
    Murray Kinnell
    Murray Kinnell
    • King's Aide
    Symona Boniface
    Symona Boniface
    • Woman in Audience
    • (non citato nei titoli originali)
    Wade Boteler
    Wade Boteler
    • Detective
    • (non citato nei titoli originali)
    Elspeth Dudgeon
    Elspeth Dudgeon
    • Would-Be Ticket Buyer
    • (non citato nei titoli originali)
    Grace Durkin
    Grace Durkin
    • Kit - First Girl
    • (non citato nei titoli originali)
    Helena Phillips Evans
    Helena Phillips Evans
    • Music Fan with Boy
    • (non citato nei titoli originali)
    • Director
      • John G. Adolfi
    • Sceneggiatura
      • Jules Eckert Goodman
      • Gouverneur Morris
      • Julien Josephson
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti21

    6,81.3K
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    Recensioni in evidenza

    Schlockmeister

    Great story...Pivotal Bette Davis movie

    In 1932 many actors were still rather new to sound pictures and the great majority of them were theatre trained and while some would stay on in Hollywood, many would return to the stage to stay. Bette Davis was a young actress in the midst of making that decision to aty in Hollywood or return to New York and the stage. She had made several low buget pictures, but things just were not clicking for her. The success of this movie and the attention she received convinced her to stay on and make movies and we are all thankful for that. George Arliss was a grand old man of the stage and his artistry is well portrayed here. His makeup is a little heavy, making him look a little like the Phantom of The Opera with lipstick and darkened nostrils, but soon you get beyond that. The acting is almost strictly stage-style here, this MUST have been a play before it was filmed. The blocking and angles of the actors and the way they seem to talk "at" each other rather than to each other shows the stage acting. Great story, nice escapism... who wouldnt like to help others? We can do that through George Arliss in this movie.
    8planktonrules

    A bit old fashioned, but well worth seeing.

    This story has been made and remade many times. The first was back in the 1910s as "The Silent Voice". Then, a decade later, George Arliss made "The Man Who Played God"...and then again, a decade after this, Arliss made a sound version. But that wasn't all...in the 1950s, Liberace made "Sincerely Yours"...yet another version of this story!

    The story is about a world famous concert pianist (Arliss), a man who is beloved and loves life. He also has a significantly younger woman (Bette Davis) who wants to marry him. But in spite of this, his life takes a sour turn when he is deafened...and sour is the word for it! This is because the pianist soon becomes bitter and resentful from his hearing loss and he spends much of his time brooding. So what is his salvation? See the movie.

    Arliss, as usual, is very good. And, the story is a wonderful tale about loss and coping with it. My only complaint, and it's a minor one, is that the story seems a tad old fashioned. Now this does NOT mean I suggest you see the later Liberace version...it's not particularly good. But the 1932 film is well worth seeing...with a great object lesson for us all.

    By the way, late in the film look carefully at the minor character of an embezzler...it's played by the soon to be discovered Ray Milland.
    10Ron Oliver

    Mr. George Arliss Gives Another Acting Lesson

    An aging & celebrated concert pianist completely loses his hearing, and with it his faith in The Almighty. After learning to lip read, he realizes he can once again enter into people's lives, alleviating the misfortunes of total strangers. With this much power to do good, he becomes THE MAN WHO PLAYED GOD.

    Although sadly neglected today, George Arliss was one of the very greatest of film actors of the 1930's. His art was consummate - a whole volume of emotion could be conveyed by the slightest movement of face or posture. He gives a wonderful performance here as a man torn from what he loves the most, blaming God for it and eventually finding peace.

    A splendid actress of the same period, Louise Closser Hale gives quiet dignity to the role of Arliss' sister. As his protégé, young Bette Davis does a fine job; she always considered this to be her first film role of substance. Ivan F. Simpson is excellent as a very loyal butler. Hedda Hopper has a tiny role as a woman at a picnic & look for an uncredited Ray Milland as a young man in Central Park attempting suicide.
    8blanche-2

    marvelous early Bette Davis

    I get so sick of people claiming that Bette Davis wasn't a beauty. She is so lovely in this 1932 film - those huge, gorgeous blue eyes, radiant smile, cute figure - she looks like a doll.

    This is a wonderful melodrama which was re-made with, of all people, Liberace years later as "Sincerely Yours." All I can remember about the Liberace film is that he soft-shoed off the stage at the end, and I have a vague impression of him starting to go deaf while playing the piano.

    If you can get past that the embalmed-looking George Arliss is supposed to be only 50 years old in this film (he was 64 and looks 80), it should be clear sailing from then on. Arliss was a marvelous actor, and his strong theatrical training is obvious here, as is Davis', with her clipped voice and large gestures. Film as a medium was still being learned by these actors who came from theater.

    Man Who Played God is a truly beautiful story about a world-famous pianist who goes deaf and turns against his music and his religious beliefs, only to discover that every tragedy in life has meaning. 73 years later, it's still a great life lesson.

    Look for Ray Milland in an uncredited role.
    Myrt98

    This (1932) Motion Picture is the One that Made Bette Davis

    "Of Human Bondage," (1934) by RKO, to whom Bette Davis was 'loaned' by Warner Brothers, is most often given credit for the beginning of the Queen of the Silver Screen's magnificent acting career. That's not the historical fact, however; this movie, "The Man Who Played God," (1932) must be credited for bringing Bette Davis the recognition as an actor who could hold her own in the lead next to the great screen legend, George Arliss.

    Davis was only 23 years of age when filming the show that earned her enough screen status for RKO to even desire her to play the leading, (dare I say) 'lady' next to leading man, Leslie Howard in "...Bondage." Arliss is to be credited for having, more or less, discovered Bette Davis; phoned her & the rest of her acclaimed acting career began.

    So many of the critiquers repeat the myth that "... Bondage" is the film that made the world recognize how great an actor Davis was. But, if it was, RKO would have never even wanted her so badly that they 'got her on loan' from the Warners! RKO recognized the talent of Bette Davis in this film: "The Man Who Played God." So should we.

    Never underestimate what young adult & teen women can achieve. After all, Mary Shelley wrote "Frankenstein," when she was only 19 years of age in a bet with great poets, Lord Byron & her husband Percy Bysche Shelley. Ann & Nancy Wilson of the rock band "Heart," composed many of their best songs when they were 13 years of age! Davis had already been on Broadway before taking her role in this movie. In fact, her acting career began when she was 15 (in 1923). Davis went on (& on!) to co-lead with Lillian Gish in "Whales of August," (1987), having been in over 100 movies; was the first woman to receive an Oscar at Warner Brothers (for "Dangerous"); the first person to be nominated for an Oscar 5 years in a row; the first woman to receive the AFI's Lifetime Achievement Award; the first person to be nominated for 10 Oscars; the highest paid woman during her prime. She was the epitome of a trail blazer who had to do it "the hard way."

    Today, Robert Wagner, Miss Davis's son, Michael, & Miss Davis's closest assistant are key figures who keep Bette Davis's acting excellence alive, through the foundation named after her. Meryl Streep was the first actor to benefit from Davis's foundation. Obviously, the foundation board is taking Davis's acting acumen as a serious measure by which to select recipients of foundation awards & scholarships. Davis herself was the one to recognize Streep's acting abilities.

    That's what kind of lady she was: she'd take a step back on the set to boost someone else's acting career; she'd take steps forward to seek out great scriptwriters, directors, cinematographers, etc. She strove to not only circulate her own gifts, but wanted to help others people do so with theirs--and still does so. Her reputation on the set was not as a "star," struck with ego maniacal lights in her fabulously expressive eyes. Instead, she was known to be a pleasure to work with amongst the team workers; and a real tough lady to contend with when she sensed something was amiss in a line, scene, lighting, direction, or co-worker. But, as Robert Wagner tells of Davis, she was truly a fun person to work with because she "always" came to work prepared to put on her very best performance. And when she goofed, she did so with a kind of cute humility that was full of wit enough to crack-up the co-workers she liked.

    There's a huge difference between striving for perfection and believing we're perfect. Davis did the former. By the way, she gave her "Jezebel" Oscar to her son, Michael. Steven Spielberg bought her "Dangerous" one that was auctioned (for the second highest price ever) to benefit her foundation. This says to me that Davis herself knew she'd really earned her "Jezebel" Oscar; whereas it was no secret that the masses believed she got the "Dangerous" Oscar as a "consolation prize" for not even being nominated for, "Of Human Bondage."

    By my standards, Davis was robbed of her third Oscar for playing the role of Charlotte Vale in "Now, Voyager." In Davis's mind, she was robbed of (what would have been her fourth) Oscar for playing Baby Jane Hudson in, "What Ever Happened to Baby Jane?"

    Davis herself credited George Arliss & this movie for jump starting her into untouchable acting achievements. This movie is the movie to own if we want to say we've got a copy of Bette Davis's first great one.

    Trama

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    Lo sapevi?

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    • Quiz
      This was the first movie Bette Davis made under her contract to Warner Bros., the studio under which she did most of her best-known work of the 1930s and '40s. Her earlier six films were made for various studios, (including Universal, RKO and Columbia) all of which let her go.
    • Blooper
      When Royle goes to his desk after observing the couple in the park, the shadow of the boom microphone dips onto the window curtain behind him.
    • Citazioni

      Grace Blair: You're my ideal!

      Montgomery Royle: I shall always be... your friend.

    • Connessioni
      Featured in Hollywood: The Great Stars (1963)
    • Colonne sonore
      Fantaisie-Impromptu in C sharp minor, Op. 66
      (1834) (uncredited)

      Written by Frédéric Chopin

      Played on piano by George Arliss (dubbed by Salvatore Santaella) at the concert

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    Dettagli

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    • Data di uscita
      • 20 febbraio 1932 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingue
      • Inglese
      • Francese
    • Celebre anche come
      • Covek koji se dopao Bogu
    • Luoghi delle riprese
      • Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, Stati Uniti(Studio)
    • Azienda produttrice
      • Warner Bros.
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 237.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 20 minuti
    • Colore
      • Black and White
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.37 : 1

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