'Arsene Lupin Returns' has been inevitably compared to its 1932 predeccessor 'Arsene Lupin', which very memorably starred John and Lionel Barrymore. Being somebody that immensely enjoyed that film for many reasons (especially the performances of the Barrymore brothers), expectations were high for 'Arsene Lupin Returns'. Especially with such a talented cast that sounded a dream on paper, a great idea for a story that is my kind of film and with the legendary Franz Waxman as composer.
On the most part, 'Arsene Lupin Returns' delivers and is a worthy follow up. Maybe not quite as good, the atmosphere is not as authentic (not as much of the French flavour here) and it is hard to shake off those great feelings had watching the Barrymore brothers previously. 'Arsene Lupin Returns' is every bit as well made, performed and witty though, with much charm too, and others will like that it goes at a faster pace and is more refined than 'Arsene Lupin'. Both are enjoyable films and go well together.
There really is not much to dislike. Did think that John Halliday was on the dull side as a rather thanklessly written character that doesn't really add very much.
Maybe the romantic rivalry could have been developed a little more than it was.
However the cast do really well and the actors are fine in their own way, clearly looking as if they were having fun while not being too broad and having the intensity when needed. The always never less than reliable and often great Melvyn Douglas is charming and debonair in the lead role, while Virginia Bruce is alluring glamour personified. Warren William provides a lot of entertaining moments and is suave and witty. The verbal sparring sparkles. EE Clive, returning Tully Marshall and especially Nat Pendleton also looked as though they were enjoying themselves and George Zucco is suitably formidable. 'Arsene Lupin Returns' is slickly directed and goes at a lively pace, not being bogged down by un-neccessities like the 1932 film sometimes was.
Production values are handsome and Franz Waxman's music score also makes an impact, interesting for it being an early work of his and being not as distinctively swelling in emotion as one usually hears with Waxman. Yet the lush orchestration and mix of playfulness and suspense in the scoring makes for a very enjoyable listen. The script sparkles like bubbles on top of a glass of champagne, especially in the verbal sparring, and the story is diverting and clever with some neat clues (even if full attention is needed all the time as some of the plot does get complicated). The ending is surprising and satisfies if not as thrilling as in 'Arsene Lupin'.
In conclusion, worthy and very enjoyable. 8/10
