Inclubabu Plot so thin, it passes unnoticed.

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Kodie Bird True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Sanjeev Waters A movie that not only functions as a solid scarefest but a razor-sharp satire.

ksf-2 Stars John Barrymore and Charles Butterworth as a team of performing puppeteers. They see a man whipping a child, and come to his rescue. and yes, that's the monster-master Boris Karloff, as the boy's terrible father we see right at the opening. Some elaborately staged scenes, with large casts of uncredited roles, as they choreograph dance numbers on stage. Butterworth had a dry, sarcastic, under-stated humor, and had a career in Broadway before entering film. Has an interesting bio here on imdb... died quite young in a car crash. While wikipedia.org states it was an accident, imdb claims it may be been intentional. The story shows a russian cast putting together a show in berlin. Trials, tribulations, ups, downs, love triangles. Lots of talk... proving that this started out as a play. It's okay. Directed by Michael Curtiz, who had started out in the silent films, as had Barrymore and Karloff. Curtiz' best known work was probably the oscar winning Casablanca in 1944 !

Scarecrow-88 Although not quite as good as Svengali, this follow-up with John Barrymore and Marian Marsh from that film isn't too shabby. Barrymore stars as puppeteer with a bum leg who fancies himself a ballet impresario, discovering a kid with athletic spirit he feels is perfect for what he envisions as the vessel for all his creative energies. Donald Cook is the grown-up Fedor, now an undeniable ballet talent thanks to Barrymore's Vladimir Tsarakov, on marquees heading extravagant stage presentations. Along with loyal and put-upon assistant, Karimsky (Charles Butterworth), Vladimir has shaped and molded the ballet superstar he always wanted to be but his crippled leg wouldn't let him in Fedor. All that could be jeopardized by a female dancer, Nana (Marsh, just a doll), who Vladimir considers a bad influence, with him purposely on the manipulative attack, using whatever psychological tactics his devious, jealous mind could muster. Honestly I could barely recognize Karloff as the abusive peasant father chasing after Fedor when he was a kid, with Vladimir hiding him from harm. The sets, especially the stage houses and operas, are impressive, but Barrymore bugging his eyes, liquoring up and womanizing when able, is once again incredible...a charismatic powerhouse who plays this monster seeing himself a god having created a perfect specimen he feels will be corrupted by Nana to the hilt. Barrymore's alcoholism might have robbed him ultimately from a lucrative career, but this and Svengali offer us rich examples of colorful human beasts, doing whatever it takes to control or destroy those that possibly disrupt his plans. Michael Curtiz's direction may not necessarily command the same attention as future Warner Bros horror pictures like Doctor X or Mysteries of the Wax Museum, but he still knows how to frame faces and delve his cast into the macabre. This film includes a drug addict who trains the performers and is shaken when Vladimir demands he remove Nana from a starring role...precode Hollywood was once quite daring with these kinds of characters. The way Vladimir torments Nana and Fedor's suffering after Vladimir blacklists make up some real dramatic weight in this film. A gem worth seeking out.

MARIO GAUCI Warner Brothers were clearly eager to give the 1931 public what it wanted and also consolidate the success of SVENGALI made earlier that year by instantly reuniting the leads from that film – John Barrymore and Marian Marsh – in a quickly rehashed potboiler on similar lines. Barrymore is an embittered puppeteer whose lameness had dashed his dreams of a dancing career but, as fate would have it, is provided with the opportunity of living that glory vicariously through the agile street urchin he saves one day from the clutches of his cruel father (a small role for a pre-fame Boris Karloff). Growing up to be a peerless dancer (played by an uncharismatic Donald Cook) through the ruthless patronage of his foster father, he is ready to give it all up for the love of an innocent girl in the show (Marsh) but, needless to say, Barrymore will not let anything stand in the way of art and his ambitious plans for the prized pupil. Amusing sidekick Charles Butterworth helplessly looks on as Barrymore sadistically convinces dope-addicted choreographer (Luis Alberni) to fire Marsh but Cook overhears their heinous scheme and this causes a rift between impresario and protégé. Years pass but more scheming on Barrymore's part enables the estrangement of the lovers and the rekindling of the working relationship between father and son. Once again, however, fate intervenes with Barrymore eventually getting his just desserts at the hands of the distraught Alberni – on stage during the performance of what was to be Cook's crowning achievement! Admittedly, the plot is much inferior to that of SVENGALI but an unhinged Barrymore is always worth watching, Marsh is typically lovely while Michael Curtiz's expressionistic direction (his first of three notable forays in the genre) and Anton Grot's stylish sets lend the production a touch of class that keeps one watching if not exactly enthralled.

Benoît A. Racine (benoit-3) This film is an ideal companion piece to Barrymore's other mad manipulator "Svengali". It is just as eerie but unfortunately all but unavailable on the video market. I saw it one time on the late show and it stayed with me all my life. It is really an exaggeration of the relationship between impresario Diaghilev and his protégé Nijinski but it also inspired (is there a better word?) the Powell-Pressburger ballet epic "The Red Shoes". Funny how one story gets around...