Le Grand Avocat

It's criminal that this superb melodrama, from a well-made play of the day, isn't better known. Barrymore, all cylinders firing yet giving a perfectly natural, restrained performance, is a hotshot New York lawyer facing personal and professional ruin; he may never have been better in the movies, and some of the magnetism that made him a stage legend shines through. Wyler makes no attempt to "open up" the stage material; he basically confines it to one (very beautiful) set, and his camera unobtrusively follows the legal-office denizens around, seemingly overhearing conversations, Altman-style. There's a lot of social history tucked away -- with commentary about Jews and gentiles, rich and poor, capitalist and communist -- and a whole stageful of compelling characters, who often define themselves in a walk, a smirk, a laugh. And yes, there are contrivances and coincidences, but that's the stuff the well-made melodramas of the time were made of, and they were seldom constructed as neatly as this. I saw it at a revival house, with a smart New York audience, and nobody laughed in the wrong place or grew cynical about the old social conventions that no longer apply. In fact, at the end they applauded good and hard -- after 70 years, this one's still a corker.

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!

'Counsellor at Law' is guaranteed to take your breath away, even if you're a child of the so-called MTV revolution of ultra-fast editing and relentless energy. It is more than 70 years old now, and it feels so new and invigorating.

John Barrymore, in the role of a lifetime, plays the brisk and matter-of-fact lawyer who came to his prestige, fortune and society-wife the hard way, cutting corners along the way, meddling in gray areas and doing a bit of shady business on the side. "I'm no golf player", he says, and right he is. In the course of a work-day, the same day that his wife and his two overbearing step-children are on their way to Europe, he is accused of corruption and his whole world collapses around him, as he tries to evade his destiny.

No synopsis of 'Counsellor at Law' can do the film justice. It is a manic, mind-blowing depiction of a breakdown, stressful and paranoiac. Barrymore's character is completely alienated from his own family, because he originates from the working-class, the son a Jewish-German baker. During this one morning at work, before things start crashing down, Barrymore has a visit from a woman who wants him to defend her son who was arrested in Union Square in the middle of an inflammatory Communist speech. And it is not even lunch-time yet.

Rent this movie, even better: Buy it. You will want to watch it more than once. It is a bona fide masterpiece, filmed in William Wyler's usual brilliantly organic style.

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.

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.