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...about a drug addicted British MP, who is falling apart, who encounters a lookalike cousin in a London fog, later seeks him out to replace him in the House of Commons the following day when a great speech is expected of him. Not surprisingly for a melodrama of this kind the cousin accepts the offer and carries off the speech with flying colors to the praise of all England. It then becomes difficult for the cousin to extricate himself from his fake ID, however, things becoming even more complicated when the MP's wife returns home from France.

These two cousins are so alike, not only in appearance but voice that nobody, of course, can tell them apart, including the wife as well as the MP's mistress. Despite the silliness and familiarity of the story, once you get past the implausibilities of the plot, The Masquerader is a fun film (impossible to take seriously, of course) thanks to the charm and skill of Ronald Colman in the dual roles of druggie MP and smooth talking imposter cousin. It reminds one of Colman's similar dual turn four years later in The Prisoner of Zenda.

Elissa Landi plays the MP's wife who, after a strained marriage with the MP, falls in love all over again with her imposter husband. Halliwell Hobbes, forever cast as a butler, is in that familiar role once again, only this time he's the only one in the film who actually knows there are two Colmans. The split screen effects, by the way, in which we see Colman sharing the screen with Colman, are expertly achieved, on a par with the similar effects in Zenda a few years later.

The Masquerader (1933) is a Pre-Code beguiling mix of suspense, romance and humor. Ronald Colman is at his best in a dual role as member of Parliament (with a drug addiction) who asks his look-alike cousin (a political journalist) to fill in for him both professionally and domestically. Elissa Landi, as the wife, offers her unique persona and natural nuance in a captivating portrayal. The multi-gifted actress composed and played the lilting Sonata in F Minor for the film. The performances are complimented by the exquisite deep-focus camerawork of Gregg Toland, and director Richard Wallace's ability to make the fantastic seem probable.

It is a shame this film is so hard to find. Ronald Coleman does an excellent job in his dual role of Chilcote/Loder. The two characters are quite opposite and I might venture to call his delivery remarkable. It is similar in some ways to the Prisoner of Zenda, which indeed is a good film, but I prefer the ending of this one. Elissa Landi, her usual sweet and serenely beautiful self, is the model of a faithful wife. She did an excellent job as the wronged, but still loving wife who returns to help her husband in a time of need. It is a great shame that she did not make more films and is not better remembered to-day. She almost always played gentle, ladylike, loving, and thoughtful roles and did so very convincingly. Combine that with being very pretty and you have a good actress in my opinion. Try to find this one on ebay!!

There's no question but that "The Masquerader" is dated. This 1933 movie is set in a London contemporaneous with the era in which it was filmed and portrays a highly stratified social milieu that has all but disappeared in the intervening eight decades; one is almost surprised that the constable at the doors of the House of Commons doesn't pull his forelock as he addresses the parliamentarians who emerge. But the movie is nimbly and deftly made and features both good acting in its principal and secondary roles and sure direction by Richard Wallace. Portraying both the dissolute Sir John Chilcote and his identical cousin John Loder, Ronald Colman is afforded the opportunity to display both his louche and noble sides (qualities he was to exploit to greater advantage in "A Tale of Two Cities" made two years later) and Colman makes the most of it. He's ably assisted here by Elissa Landi, Juliette Compton and the ubiquitous Halliwell Hobbes (playing his faithful, if long-suffering manservant, Brock). And, really, it's the acting that makes this movie come to life; in the hands of lesser thespians the much-used plot and only serviceable dialogue would begin to display the threadbare attributes of the cinematically shop-worn. But good acting always has the ability to move us... or it should. The joy that Colman's and Landi's characters feel when the expected but nonetheless surprising ending to "The Masquerader" rolls 'round is palpable and -- in a cool, present-day cinematic era when highly charged emotion is regarded as somewhat suspect -- refreshing.

'The Masquerader', an obscure drama starring Ronald Colman, is very similar in its premise and subplots to Colman's great vehicle 'The Prisoner of Zenda' ... but he did 'The Masquerader' first. As in 'Zenda', Colman plays lookalike cousins who meet after many years of living in two different countries ... one of whom has an opportunity to take over the other's life, while falling in love with the other man's disenchanted lady.

Colman's main role is John Loder (no relation to the bland actor of that name), a disaffected journalist who returns to his native England after many years abroad. Loder's more successful cousin is Sir John Chilcote, a prominent member of Parliament. But Chilcote is secretly a morphine addict, and his addiction is becoming harder to conceal. Also concealed (not very well) is Chilcote's philandering relationship with Lady Joyce, while his estranged wife Eve (Lady Chilcote) is humiliated on the sidelines.

When Sir John's addiction causes him to collapse just before he introduces a crucial piece of legislation, Chilcote's loyal manservant Brock persuades Loder to impersonate his cousin. Loder, pretending to be Chilcote, gives an impassioned speech on the floor of Commons. Lady Chilcote has been estranged from her husband for years; now, attending this speech, she wonders why she is suddenly attracted to her husband again ... not realising that this is actually Loder impersonating Lady Chilcote's husband. (Shades of Princess Flavia in 'Zenda'.) Meanwhile, Loder (still pretending to be Chilcote) is utterly cold to Chilcote's mistress Lady Joyce, much to her bafflement.

SPOILERS COMING. Sir John dies of his addiction, without this becoming public knowledge. Brock persuades Loder to abandon his own life and become Sir John Chilcote permanently, appropriating Chilcote's wealth and reputation. Of course, this means that Loder will now be married to Lady Chilcote. Hmmm...

'The Masquerader' is not very plausible, yet it's quite enjoyable. Ronald Colman gives two distinctly different performances in the lookalike roles... although his turn as the drug-addicted Chilcote is a bit too overwrought. Moss Hart's smooth dialogue papers over some of the cracks in the plot line. Gregg Toland's photography is up to his usual high standard, and I was especially impressed by the scenes in which both Ronald Colmans are on screen at the same go. (Most dual-role movies made during this period featured flat sideline lighting during the double-exposure sequences; Toland avoids this.) Also well-photographed is a night sequence in Hyde Park (filmed on the Goldwyn Studio's backlot); Toland keeps the lighting bright enough for us to see the action, but dark enough to minimise the obvious fakery of the scenery. Creighton Hale is good in a small role. In the role of Lady Eve Chilcote, Elissa Landi is appropriately patrician (and slightly less blonde than usual), but her performance is weak. In the role of Lady Joyce, Juliette Compton is so dull and unattractive that I had difficulty believing Sir John would ever prefer her to his wife. The studio reconstruction of the House of Commons is a lot more convincing than I expected it to be, especially for a Yank film. I'll rate this movie 8 out of 10.