Gentleman's Fate

This early Mervyn Le Roy work starts out as an intriguing look at class, self-identity, and a mixing of two worlds, but less than halfway through it switches to a standard bootleggers-and- their-molls flick. In both sections, there are some loose ends flapping. We first encounter Gilbert as a well-to-do, polished Manhattanite, unaware that his money comes from the illegal liquor trade, and also unaware that his dad, whom he thought dead, is alive and dying, and he has a brother, Louis Wolheim (Louis Wolheim as John Gilbert's brother? even the script tries to make a joke of it), who runs the dirty business. Where the heck did he think all his money came from, anyway, and how was he catapulted into such high living? The movie doesn't say. Anyway, upon discovering his humble origins, he's at first repelled and then sucked into the family business, resorting to murder and taking up with moll Anita Page (who's rather touching) because he can't get over being dumped by fiancée Leila Hyams. It's run-of-the-mill booze, broads, and guns from there, though the ending's unexpectedly downbeat and depressing (he has sinned, but surely he didn't deserve this). Gilbert is better than his reputation suggests--there was absolutely nothing wrong with his voice, and he emotes persuasively. But it's basically downhill from a good start.

A dying gangster reveals himself as the true father of a young society man, thus turning that GENTLEMAN'S FATE completely upside down...

According to cinematic legend, all the talkie MGM films starring John Gilbert were dreadful - the result of a bitter hatred between Gilbert (the highest paid star in Hollywood, with a $1.5 million contract) & studio boss Louis B. Mayer. A determination on Gilbert's part to fulfill the contract, and a campaign instituted by Mayer to destroy Gilbert's career - including spreading the rumor that Gilbert's voice was 'high & feminine', culminated in several unwatchable movies.

Not entirely true. The Studio had a huge financial investment in Jack Gilbert and was not going to completely cut its own throat by showcasing him in nothing but dreck. However, of the 8 MGM talkies in which he appeared as solo star (1929 - HIS GLORIOUS NIGHT; 1930 - REDEMPTION; WAY FOR A SAILOR; 1931 - GENTLEMAN'S FATE; THE PHANTOM OF Paris; WEST OF Broadway; 1932 - DOWNSTAIRS; 1933 - FAST WORKERS) most, including GENTLEMAN'S FATE, were rather ghastly.

Poor editing, a tawdry story line about unpleasant people, unattractive sets and a depressing climax all work together to sink the film. Poor Gilbert seems deflated, obviously embarrassed by appearing in such a poor film. His rather cold appearance & demeanor make it hard to sympathize with his character. What makes matters worse is that he is continually upstaged by Louis Wolheim, who actually gives a noteworthy performance as Gilbert's older, plug-ugly brother. (That these two could actually be siblings is one of the script's most unbelievable contrivances.)

Two lovely ladies, Leila Hyams & Anita Page, grace the film with their presence, but they are sadly wasted. Their romantic tribulations are meaningless to the audience because it is so difficult to warm up to Gilbert, the object of their affections. Paul Porcasi, Frank Reicher & John Miljan all strive to make their small roles meaningful, but they are largely defeated by the unforgiving script.

Marie Prevost has some good moments as a slatternly moll, but it is very sad to see her scenes with Gilbert. One is inevitably reminded that both their lives would be cut short by acute alcoholism, her final circumstances being especially atrocious.

Finally, about The Voice. There was nothing at all strange or unnaturally high about Gilbert's voice. As a matter of fact, it was of medium range & rather cultured & refined. That was the crux of the problem, of course. While it is possible that no voice could have ever matched the perfect one viewers heard in their minds while watching his strong, virile silent roles, the reality was very different from what they wanted to hear (imagine Robert Montgomery's voice coming out of Clark Gable's mouth.) Gilbert was doomed from his first scene in his debut talkie; his war with Mayer only intensified the agony. He would die in 1936, forgotten by most of his former fans, at the age of only 36.

I certainly agree with Ron Oliver that this is a lousy movie, but the great John Gilbert has a few scenes in this mish-mash that show yet again what a terrific career he could have had in talkies if Mayer hadn't been such a vindictive pig and Thalberg a spineless wimp.

The opening sequence is good and Gilbert is in terrific voice as he sets about to prepare for his day with fiancée Leila Hyams. In a later scene with Louis Wolheim, Gilbert is terrific as he defies the fate of his life and declares his hatred of the rackets and his love for.....

Nothing much in this film works very well and it's solid proof of the crap Mayer handed Gilbert to star in as he tried to force Gilbert to break his contract. Most of Gilbert's talkies are lousy films, but he always comes off rather well, and the films DOWNSTAIRS and THE PHANTOM OF Paris are actually pretty good. Gilbert never gave in to Mayer; he finished his contract with MGM even though he knew the rotten films were finishing is career as a star actor.

Mayer is famous for his petty vengeances and his hatred ruined the careers of Buster Keaton, Lillian Gish, William Haines, and eventually Ramon Novarro. Later Mayer ruined Joan Crawford, Jeanette MacDonald, Judy Garland, and many others. As soon as someone started to slip Mayer could be counted on to drive a spike through their hearts. Others he went after with a hatred unparalleled in Hollywood history.

Gilbert gives this film his best shot. Hyams and Wolheim are OK as are Anita Page and Marie Prevost.

Most stars had the final word because their films have survived. Mayer is remembered as a hateful pig. The actors he tried to ruin have lived on long after Mayer's "fame" and power have faded to nothing.

Long live John Gilbert!

What on earth is everyone's problem with this movie? It has some awkward movement but so did most movies of this era before Hollywood developed its amazing (and often irritating) slickness. The story is kind of a goofy fantasy as are most movies from since they day they were born to the present moment. This is a really fun movie with a great cast. Anita Page and Marie Provost were great bad girls, especially Provost as the gangland superflooze. George Cooper and John Miljan were very entertaining bad boys. But Louis Walheim was the real gem of the piece, sort of a cross between Shrek and Marie Dressler dressed like a guy. As for John Gilbert , I can see how how this may have been a form of career sabotage because he wasn't able to be nearly as gallant as his public wanted to see him. But he demonstrated great range and his chemistry with the whole cast and particularly with Walheim and Page was wonderful. The dialogue was good and the much of the shooting was visually interesting. Of course it doesn't hurt to be a big fan of pre code gangster movies, Hollywood history, and Depression Era cultural history.

This and many other early talking pictures (especially "Downstairs") disprove that the notion that John Gilbert's career in films was cut short because he could not translate well from silents. Too many times I have heard that his voice was poor and this led to his MGM contract being dropped. However, once again, Gilbert turns in a very good performance in "Gentleman's Fate"--and his voice, though not booming, was quite nice.

The film begins with Gilbert playing the life of a spoiled playboy. Apparently his father died when Gilbert was a child but he left his kid with an ample inheritance. However, out of the blue, Gilbert learns that his father is NOT dead but is dying. So, Gilbert rushes to see him and learns that his father is a mobster--and his fortune came from bootlegging. After his dad really dies, Gilbert's brother (who he just met--played by Louis Wolheim) tells him that he is more than welcome to continue receiving his allowance and he should return to his old playboy life. However, rather inexplicably, Gilbert insists he wants to go into the family business. Not surprisingly, this ultimately leads to disaster--just like the way all gangster films of the age ended (such as in "Little Caesar", "Scarface" and "The Public Enemy").

While not a great film, "Gentleman's Fate" is quite entertaining. And, while Gilbert is good, I think the best performance is from Louis Wolheim. Sadly, Wolheim died only a few months later--like Gilbert a star who died way too young. And, while I am talking about Wolheim, he was very good BUT casting him as Gilbert's brother was odd. Gilbert, for want of a better word, was a pretty man. Wolheim, however, was one of the ugliest men in Hollywood and his face and build were the opposite of Gilbert. Odd....but considering the fine acting, I could suspend disbelief on this one.