O Conselheiro

This film is so rare that probably few people have heard of it. What a terrible shame! The only copy I have was taped from cable TV several years ago. I

never dreamed that I would be reading such appreciation of this little treasure by so many others! There should be a movement afoot to try to bring this

wonderful work out of obscurity, at least to get it on video!

I have read that John Barrymore considered himself miscast here. But I think he was the best possible choice for this film role (played on Broadway by Paul

Muni). At a time when Hitler was just coming to power, I wouldn't want to

imagine the response by the average U.S. moviegoer toward an actual Jewish

actor trying to elicit sympathy for the personal struggles of a Jewish man trying to get himself accepted into Gentile society in this way.

As for the office setting, well, I work for a New York law firm, and this film hits the target dead on! It evokes perfectly the scurry of New York office life, as well as the latest technologies, the fashions and the speech patterns of the period, like that adorable switchboard operator! Bravo to William Wyler!

I have seen many, many John Barrymore movies, and I agree with everyone

else writing here that this must certainly be his best surviving performance, his monument, for those of us who never saw his Richard III or Hamlet. It's even

better than "Twentieth Century" and "Grand Hotel". In an era when silent-movie histrionics was still evident in the acting style, his performance is subtle, nuanced, very modern and deeply affecting, especially in that final scene!

What a surprise this film was: the boring title hardly leads you to expect much. Barrymore really shows his chops as a pure actor, someone who can bring off a character through expression, gesture, posture, accent, tone of voice, body language, mannerisms, &c. This is an adaptation of a play about an self-made Jewish lawyer in New York. It's hard to believe that Barrymore was, in life, more like his character's wife than the lawyer he plays here. He brings off the self-made man's insecurities in every detail, from his macho way of walking to his fidgety hands and overloud way of talking and laughing. He even drops some of his g's, and I love the way he says "Yeah" (Oscar Jaffe would blanch). The script is full of telling details. Notice how the lawyer offers a guest a choice of cigar or cigarette from an expensive box, and then forgets to offer him a light. Because Wyler is at the controls, these nuances aren't hammered at the audience either.

Many film scholars have claimed that Wyler, maybe because he avoided catfights with his studio bosses, was no "auteur". Wyler never puffed himself up, either, in the way someone like Welles did. Yet the style is already visible here, long before Deep Focus, in the simultaneous double and triple reaction shots, the multiple planes of action, the underplaying and long takes, the natural dialogue, the strong performances from the bit players-- and most of all in the realistic, accurate, detailed design. This is basically a B movie. It's all shot on one basic set, in fact. But what a set! Get all that Art Deco glass and the Socialist-Realist reliefs.

Those who don't think Wyler had a style should check out "Carrie" (1952), separated from this film by almost 20 years and starring this other guy by the name of Olivier-- who always credited Wyler for teaching him how to act in films. Barrymore maybe got a few pointers for his performance here, too. All in all this is a great way to film a play, and a nice Depression period piece too.

Tragically, "Counsellor at Law" has never been released on video, so only pirate copies are available. I strongly advise you to get hold of one because the film is unquestionably a 10 on IMDB's scale--probably the best movie about a lawyer ever made. Another possibility is to see the play by Elmer Rice which the movie follows quite closely and which is presented in little theaters around the country from time to time.

Start with John Barrymore's absolutely unforgettable portrayal of attorney George Simon. Continue with the stunning art deco set and the direction which moves the action along at about 200 miles per hour. Most important, the film, which is set entirely in Simon's office, illustrates a tremendous range of business and personal problems confronting the high-powered New York lawyer in the 1930's.

On the personal side, Simon is an up from the gutter Jew who has made it big-time in the waspy world of New York law and business. He's married to an aristocratic non-Jewish woman who seems to despise him (along with her ungrateful kids). So one big theme of the film is the conflict between Simon's poverty-stricken past (his very common mother, his nogoodnick brother) and his newly acquired upper-class status in the non-Jewish community. Simon has feet in both camps and the conflict is revealing and very poignant.

On the business side, Simon has relationships with his partner, with the other lawyers in his firm, and with his staff--each one clearly and unforgettably etched (you'll never forget the telephone operator). He sees a range of clients and confronts a range of ethical problems. He's very tough when he needs to be, and has a huge soft heart as well. He cares deeply about his clients, and that has gotten him into trouble--big trouble.

Not to spoil the story, this film will knock your socks off. Although there have been hundreds of lawyer movies since 1933, none surpass this brilliant film for its insight into the life of the lawyer and into the perils of vertical class mobility.

What a wonderful film. Just saw it last night for the first time. My first impression viewing the movie was that this was the best performance I had seen from Barrymore. I was wondering if perhaps I had gotten a little carried away, but from reading some of the other comments I see that there is great concurrence on this point. In general this lost gem is fast, funny, poignant and incredibly well acted.

So few films tell the story of a Jewish character, but this one does and very well. Barrymore is a surprising casting choice for the lead, but it is hard to imagine that anyone else could have been as good, much less better. Bebe Daniels is just excellent in the role of the loyal secretary, much better than in her more famous role in 42nd Street. John Qualen and Vincent Sherman are also very good in small roles.

If you are looking for an enjoyable hour and one half that will amuse and also make you think at the same time, jump on this rarely seen jewel. It is reputedly hard to purchase, but TCM recently featured it on its station and hopefully will do so again soon.

Based upon the play "Counsellor at Law" by Elmer Rice, John Barrymore shines in this depression-era drama as George Simon, a Jewish lawyer who frantically juggles the scandals, crimes and crises that pass through his art deco office high in the Empire State Building. Simon is far from perfect and engages in insider trading and bleeds funds from wealthy clients, while tending to the needs of the less fortunate New Yorkers who come from his own working-class background. Everything seems to be going pretty well for him, but when a political enemy uncovers a past legal indiscretion and begins disbarment proceedings, Simon's socialite non-Jewish wife (Doris Kenyon) walks out on him and seeks comfort in the arms of another man (Melvyn Douglas). With the unflagging support of his faithful secretary (Bebe Dabiels in a truly magnificent performance) Simon attempts to exercise his legal skills to defend his reputation and protect those who rely upon him for justice.

Is George Simon a modern-day Robin Hood? In a sense he is, but he is far from perfect. Simon doesn't seem to grasp the many of his wrong-doings and largely blames his downfall on the outside world. John Barrymore gives a rich and very credible performance as a rags-to-riches Jewish lawyer, despite his Waspish appearance and Bebe Dabiels as his loyal secretary Miss 'Rexy' Gordon really gives a stand-out performance. A typical film of the era, fast-paced, and very stagy with the camera never moving out of the office, but thanks to Wyler's crisp direction and a superb cast this still makes very agreeable viewing, although the ending is so abrupt, I had to rewind in order to see what happened in order to see the last twenty minutes again. Everything goes so incredibly fast, attention must be paid.

Camera Obscura --- 8/10