Doctor Syn

This version of the old legend of "Dr. Syn" is good entertainment, with some effective old-fashioned atmosphere and a story that includes plenty of action. Most of the acting is pretty good, with George Arliss giving a good performance in the lead, a young-looking Margaret Lockwood providing the charm, and Roy Emerton in an energetic if somewhat exaggerated role. Not all of the characters come across as well as theirs do, but more than enough of it is good to make the movie worth watching.

The story starts with a government ship coming to a seacoast town where there have been rumors of smuggling, and where secrets abound. It soon leads to an entertaining cat-and-mouse game that takes some interesting, if sometimes implausible, turns. It's a little uneven at times, but it holds your attention, and the way it all comes out still works. Overall, it's a good adventure story that deserves a look.

This is is a rather creaky, flawed effort, that reminds me a little of Jamaica Inn. And yes, this is George Arliss's last film, and he is indeed getting on. But he hadn't lost that unique Arliss delivery -- exuberant I'd call it -- that's so delicious to watch. And he had that angular look that lent itself to so many vivid characters, from Disraeli to Rothschild to Richelieu. He had a gaze that added the dimension of guile, even to his heroic characters, and also made him a great villain, as he was in The Green Goddess and finally (or as another reviewer says, eventually) in Dr. Syn.

Every glimpse of the great Arliss is a treat, and you should grab anything you see him in, because his vehicles are very hard to find. And that includes this one. If for no other reason, see it to see the man who discovered Bette Davis.

I regard this black & white movie highly, for it has many applications into the modern struggles of those seeking justice - in any era! It has stood the test of time. That's something the lack of vision of fundamentalists & puritans, across time & place, fail to appreciate. Freedom of speech is not an issue to such conservative powers who had a powerful voice in 1937 when this movie was made, as to today. Rationalism & fundamentalism are entirely broad enough for themselves. No room for fantasy, adventure or contrary thought some would respectfully observe. No complexities of life or possibility.

The character of "Dr Syn" is displayed as the quietly pious but genuine pastor looking after his flock, is a credible cover for his secretive nocturnal activities of much merit & substance in their justice. Such justice is something that hardliners would portray as an extravagance they can do without. Indeed, people without a breath of vision won't find much here. They can just listen to too many politicians or shock-jock media personalities who could have an immediate fix to any confrontation without justice but suitable to themselves.

Dr Syn might have appeared to be a bible basher. But that is where his common bond with bigots & hypocrites ceases. He was of principle & integrity in his justice, remaining committed to the marginalised outcasts he is sympathetic to the cause of. As such, his expression of two seemingly conflicting characters neatly blends into his one person of integrity. No hypocrisy. No injustice.

In a dictatorship of such historical authority of that time, he is forced to present a message faithful to his faith, but remain loyal to his kin of broader vision & concern for true justice & friendship beyond lip service. He is a bridge between kingdoms of much merit. Such as were his friends were people not intending to crucify a king of heaven or be unjust traffic cops, across time & place. In a modern world, harsh & unmoved in raking up revenues for corrupt governments, it has much relevance to its message.

Of course, such things as rum-runs were anti-authority & subjective in judgement - something black & white thinkers who don't like others having free will, prefer to oppose. But the drama presented in "Dr Syn" is anything but black & white. The dilemmas of the broad-thinking parson not engulfed by religiousness as he might have been, are passionately voiced by the protagonist in actor George Arliss. If this final movie of his life was his only offering, it would have been a substantial contribution in an otherwise productive life & varied acting career.

I think the plot is a realistic one & believable in the era of small churches were scattered along the English coast, & has been verified as historical fact. In such places, activities such as illegal liquor trade & potential invasion were commonly witnessed or experienced threats, that caused the citizens to be wary & vengeful in forming any trust bar their most trusted relationships.

In reality, this movie is much more than an historical piece. Certainly, it is much more than a black & white movie as some may dismiss it!

There are some black and white films which as they grow older become more and more evergreen. (The obvious example is Casablanca). This is one such, although it may not appeal to the young and non-british. Some of its fascination lies in the attitudes, acting styles and techniques which are so neatly frozen in time. If the plot seems a little contrived here and there, or the dialogue rather stilted especially in the romantic scenes, it all adds to the feel of the period in which the film was made (rather than that in which it was set).

The plot centres on the coastal hamlet of Dymchurch, where a detachment of the Royal Navy is about to make a search for smuggled goods. The inhabitants of the village are outwardly honest and simple folk, but many of them have nefarious secrets to conceal.

The original novel "Dr. Syn", derived from Kentish local legend, was very much darker and bloodier than this film. Likewise, George Arliss's performance as the mild and unctuous parson bears little outward resemblance to the eponymous reprobate of the novel. However, Arliss's character becomes much more believable and deserving of the viewer's wholehearted sympathy towards the end of the film.

There are some other acting highlights, notably Wilson Coleman's tipsy country doctor and Graham Moffat's Dickensian fat boy. This was one of Margaret Lockwood's early starring appearances and she smiles, bursts into tears and pouts beautifully throughout.

The action sequences all start suddenly without any preceding build-up of tension, and end even more quickly. The comic aspects of the film are given greater emphasis than the action and this adds to the general lightness of atmosphere. The only menacing undertones are provided by the constant references to dark goings-on on the surrounding marshes, and Meinhard Maur's performance as the mutilated mulatto seaman, intent on revenge.

All in all, the film is delightful nonsense which deserves more attention than it has received.

It's an ok film a little dull perhaps and not much more to be said I'm afraid. The hammer version called Captain Clegg is a far superior film and we'll worth a look.