O Mistério de Edwin Drood

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.

Mystery of Edwin Drood (1935)

** 1/2 (out of 4)

This Universal film gets called by some one of their horror pictures but I think that's a tad bit off from the truth as it's certainly more melodrama. In the film Claude Rains plays an opium addicted choirmaster who falls in love with a woman (Heather Angel) who just happens to belong to his nephew (David Manners). The woman is loved by a third man (Douglass Montgomery) willing to kill whoever gets in his way and soon the nephew goes missing. MYSTERY OF EDWIN DROOD is based on an unfinished novel by Charles Dickens. It was unfinished because the legend actually died while writing it so the ending here is something the screenwriter came up with on his own. The film isn't a bad movie by any stretch of the imagination but in the end I think it's way too slow and boring in parts and not to mention that it takes forever to really get going. The biggest problem is the pacing from director Stuart Walker who never really seems to get control of the film. It contains way too many slow spots and I think aspects of the drug usage was trimmed to avoid any trouble with the production code. Even the ending features a shot that seems to have been cut back but I won't ruin it. What keeps the film watchable is the performance by Rains who has no troubled playing the obsessed man and I think he's quite believable in the part. Manners, Angel and Montgomery are also good in their parts and we also get to see Valerie Hobson who the same year was in BRIDE OF FRANKENSTEIN. Speaking of that James Whale classic, this film shares many of the same sets, which is fun for fans to spot.

This film is now about 80 years old and it refers to a time about 80 years before that. Much of the dialog is kind of Dickensian and all spoken with British accents. Yes its slow developing at first but at least this gives you a good introduction to the characters, much as a novel might do. But it proves again one fact that has been well known for 150 years: Charles Dickens was a heck of a storyteller.

One of the foundation stones of mystery film making, "The Mystery of Edwin Drood" still holds up in its mystery elements (murder, cemetery, crypt, fog, etc.)

Claude Rains is bravura in a complex role. Sweet-faced Heather Angel, Douglass Montgomery and David Manners provide fresh, youthful energy. All of the performers bring Dickens' vivid characters to life.

E.E.Clive gives one of his gem-like performances in a small part. Its a pleasure to let yourself go back in time as you enter the long-lost world of Dickens and this long-lost film making art.

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.

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