Famous for PHANTOM OF THE OPERA, Gaston Leroux’s CHÉRI-BIBI was probably his second most adapted novel. Here, retitled PHANTOM OF PARIS to boost any connection to his big hit, it was the fifth Talkie, and third attempt, at ‘course correction’ for pricey M-G-M silent-star John Gilbert, in career meltdown after his first two disastrous Talkies. This one at least has the right idea. After just playing a reluctant bootlegger and shortly before a turn as a nasty valet, Gilbert makes a better fit as suave illusionist, a sort of Parisian Harry Houdini, hoping to marry society gal Leila Hyams. Only Papa doesn’t approve. Neither does ex-fiancé Ian Keith, who’ll lose a big inheritance. It’s a workable set up under John S. Robertson’s functional direction and the first act comes off well enough. But once the whackadoo plot kicks in (Keith kills putative pop before the old man can change his will; Gilbert is blamed; uses his professional skills to escape; returns disguised as his rival to prove his innocence), this combo platter of Alexandre Dumas & Victorien Sardou proves ridiculous.* Gilbert does little to distinguish the two sides of his double role, while M-G-M house style smothers what’s left of the fun. Gilbert just dug his hole a little deeper.
WATCH THIS, NO THAT/LINK: *The basic idea is a modernized COUNT OF MONTE CRISTO, the old Dumas story best served three years after this, splendidly, on a tight budget, by director Rowland V. Lee and an irreplaceable Robert Donat. https://maksquibs.blogspot.com/2012/06/count-of-monte-cristo-1934.html
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