User reviews

HIS DOUBLE LIFE (Paramount, 1933), directed by Arthur Hopkins, returns silent screen legend Lillian Gish to motion pictures for the first time since her talking debut in ONE ROMANTIC NIGHT (United Artists, 1930). Taking second billing under Roland Young, whose character is the main focus, this light comedy, taken from the novel "Buried Alive," and play "Great Adventure" by Arnold Bennett, is an interesting curio at best. Containing some witty elements in the style of director, Ernst Lubitsch, best known for sophisticated comedies with European settings, as much as it tries, really cannot compare to the Ernst "Lubitsch touch."

The plot development opens at an art gallery in England where numerous spectators gather around admiring the works of Priam Farrel, the world's most renowned English painter. Attending the gallery are Farrel's first cousin, Duncan (Montagu Love) with his little boy ("Yes, Poppa"), various critics, and spinster, Alice Chalice (Lillian Gish), whose connection with Farrel is through her corresponding letters with his personal secretary, Henry Leek (Roland Hogue), having found her through The Matrimonial Times magazine. As the story progresses, Priam Farrel (Roland Young) is described as a talented but very reclusive, shy artist seen by few. While at a social function in Spain, Priam finds himself unwittingly engaged to Lady Helen (Audrey Ridgewell). Wanting to break away from his forthcoming marriage, he and Leek seek refuge at his London residence of 91 Seawood Terrace. As Leek arranges a time and date for his initial meeting with Miss Chalice at the Grand Babylon Hotel, the unthinkable happens, Leek acquires a sudden case of pneumonia, dying in his master's bedroom where he was placed and cared for by Farrel. Mistaken for Leek by the doctors, an identity crisis ensues. Forced to leave the apartment by his cousin, Duncan, whom he hasn't seen since he was 12, Farrel, with no place to go, takes up residence at the Grand Babylon Hotel. Upon his arrival, he's approached by the awaiting Alice, believing him to be Leek, based on the photo given to her of Farrel and Leek standing together through Leek's most recent letter. Regardless of Farrel's fear of people, he becomes very relaxed with Alice. A courtship soon develops, leading to their marriage. While Priam does reveal his true identity to Alice, he is not believed but goes on loving him just the same. During his newfound life for which he describes as "having died and gone to Heaven," "Leek" resumes his pleasure of painting after his funds run out. After Alice sells some of them to art collector, Oxford (Lumsden Hare), he immediately recognizes the Farrel style to them, very much convinced that Farrel is alive. When this news reaching the world, Farrel's double life takes a dramatic turn through a series of complications as an unexpected visitation from Leek's wife (Lucy Beaumont) with twin adult nitwit sons (Oliver Smith and Philip Tonge) claiming bigamy, followed by a courtroom fiasco.

A wholesome story filmed previously in the silent era as GREAT ADVENTURE (First National, 1920) starring Lionel Barrymore and Doris Rankin, HIS DOUBLE LIFE is often bypassed by it's classified improved remake of HOLY MATRIMONY (20th Century-Fox, 1943) featuring Monty Woolley and Gracie Fields. What makes HIS DOUBLE LIFE worthy of consideration is its fine presence by Lillian Gish. Seldom working in comedy, Gish's performance is not of madcap sense but that of sophisticated manner, and she's quite good. Becoming the "perfect wife" during the film's second half comes as a reminder of Myrna Loy's character trait title she acquired after 1934 based on the "Thin Man" series. Gish performs well opposite the droll Roland Young, some years before becoming immortalized as "Topper" in three Hal Roach feature comedies later in the thirties.

Produced at Paramount's Astoria Studios in New York, circulating prints, either on late night presentations on public television or home video that began in the early 1980s, are usually taken from reissues with Atlantic Pictures as its distributor. Though the film suffers from occasional slow pacing in the tradition of a 1930 talkie, it makes one wonder if the film might have worked better under the direction of either a George Cukor or Ernst Lubitsch? While the slow pacing can be overlooked, the abrupt cuts found in numerous public domain video and TV presentations scenes cannot. Two scenes of mention worth noting: Priam Farrel's attempt to retrieve his lost hat in a crowded building, followed by immediate cut of him reading a newspaper; the second, a highlight, as Farrel attends his own funeral lead by his burial at Westminster Abby. This is introduced by the full view of the church, followed by close-up of Farrel in the middle of spectators, split second view of he going upstairs, then observing the funeral from above, to suddenly create a disturbance by crying out multiple times, "I had no idea," before being escorted out. Aside from these choppy scenes, the music soundtrack appears to be out of sync. Fortunately, a more accurate print does exist in the DVD presentation from Alpha Video. While underscoring is limited throughout, it's used extensively in comedic form during the climatic courtroom sequence. Unfortunately, this doesn't come off hilariously as anticipated.

Overall, HIS DOUBLE LIFE can be satisfactory entertainment in the old-fashioned sense of how two lonely people become united through a twist of fate. (**1/2 canvases)

In just ten years, the film industry has taken the motion picture, HIS

DOUBLE LIFE, and with the assistance of a far superior cast

produced HOLY MATRIMONY in 1943.

Roland Young, famed for his role as Cosmo Topper, bumbles

through his role of Priam Farrel, while Monty Wooley brings the

power of the recluse role into the tower of strength it must be.

Gracie Fields brings a profound heart warming love to the role so

adequately played by Lillian Gish.

Laird Cregar is the scheming art dealer, whose greed brings the

remake a far superior production.

I have always regarded HOLY MATRIMONY as a TEN. HIS DOUBLE LIFE is only a five, when one compares the true

emotions of love and greed so prominent in the remake.

Roland Young gives a good performance in "His Double Life" that helps out an otherwise rather silly story of confusion and dual identity. It is a quite watchable if not especially memorable movie.

Priam Farrel (Young) is a brilliant artist, but is totally incapable of dealing with the most basic social situations. When his devoted valet becomes ill and dies suddenly, and everyone mistakenly assumes that the dead man is the artist, Farrel finds himself at the mercy of events. He starts to assume his valet's identity, but longs for his own. The resulting situations are sometimes funny and sometimes thoughtful. They work alright mainly because Young is good at portraying the painfully shy and rather befuddled personality of his character, and is also good at communicating the dilemmas he faces.

There's not much more to it than that, but it moves quickly and is pretty good light entertainment for anyone who likes comedies of the era.

To say this movie, so to speak under-performs is an understatement. This situation comedy starts of charmingly with wit and the right amount of pathos. But the lucrid tone in the second part, especially the court room scene which is an example of unnecessary sumptuous foolishness, silliness and infantility of the highest order is a plain embarassment. Gish and Young are both fine and have a nice and cool chemistry. But the temere ending of this b-programmer leaves you feeling you just wasted 66 minutes of your time.

In my opinion, His Double Life is a sweet, charming adaptation of the venerable Arnold Bennett play Buried Alive. Roland Young plays Priam Farrell, a famous and reclusive artist who is loath to return to London to accept a knighthood. Hoping to drop out of sight, Farrell trades identities with his recently deceased valet. So far as the world is concerned, Farrell himself has died, allowing him to start life all over again with spinster Alice (Lillian Gish), whom he - or rather the man he is pretending to be - had been corresponding with through a matrimonial bureau. Complications arise when the dead valet's family pops up with the intention of accusing Young of bigamy! Filmed at the Astoria Studios in Long Island, His Double Life was for many years withdrawn from circulation because of its 1943 remake, Holy Matrimony.

Was curious to see Gish in a talkie as well as a film in which William de Mille and his screenwriter wife Clara Beranger were involved. The NYT reviewer praised it. Expectations were raised. The result was disappointment. But even with no expectations, I would have been disappointed.

This film is on the Mill Creek Comedy Collection that I'm watching. Despite a few comedy elements, this is not a comedy. And Roland Young does not give a laugh-producing performance. The trouble he gets himself into by being a mouse is not believable. However, from the moment Gish enters the story, because of her pragmatic yet eccentric character, the film becomes interesting. Alice's view of how to live and be happy is so unusual and so mesmerizing that I want to know more about her. I'm now motivated to read Bennett's novel.

The filmmakers had wonderful story material to work with, so it's puzzling as to why the end product is not wonderful. But thanks to the tip from another IMDb reviewer, I'll watch the 1943 remake with Monty Wooley and Laird Cregar. The only disappointment I'm expecting from the remake is that Gish will not be in it.

More than three quarters of a century after its release, this gem retains its delightful sparkle. The charming story of confused identity is enhanced by Roland Young's captivating portrayal of the delicately neurotic Priam Farrell. It is a treat to see the enormously talented Young in a film preceding "Topper" by several years. Not surprisingly, Lillian Gish is superb as his stabilizing love interest. The heroine of "Birth of a Nation" and "Broken Blossoms" handles her role with ease befitting a truly great actress.

It would be an unfair mistake to judge the quality of this work using more modern films as a standard. To do so would be the hallmark of a fragile ego hungry for validation, using unfounded, ignorant, and empty criticism. Enjoy this film for what it is, a well-acted story, albeit somewhat dated.

Celebrated artist Roland Young (as Priam Farrel) is very successful; but, he can't stand the limelight. Suddenly, his valet dies. As Mr. Young was reclusive, he is easily mistaken for the deceased servant. Then, Young meets lovely Lillian Gish (as Alice Challice), who had been corresponding with his valet; and, a romance blossoms. Unable to convince anyone of his true identity, Young happily marries Ms. Gish. Complications peak when the new "Mr. and Mrs. Henry Leek" are visited by the first Leek family.

Dull version of the Arnold Bennett play "The Great Adventure" (1913), which was most memorably filmed as "Holy Matrimony" (1943). "His Double Life" is livened, however, by a rare 1930s film appearance by Gish. Though the presentation of the story is not at all convincing, Gish's performance is sincere. Her "tea party" with the original Leek family is the film's highlight.

**** His Double Life (12/15/33) Arthur Hopkins ~ Roland Young, Lillian Gish, Montagu Love, Lumsden Hare

Rented a DVD of the Young-Gish "Double Life" because the plot seemed interesting. Watched it once, then watched it again because Alice (played by Lillian Gish) was so remarkable. Then read the play "The Great Adventure" the movie was adapted from. Then read the novel "Buried Alive" the play was based on. Alice went from "a plain widow" in the book to "a nice little package" in the play to the beautiful Lillian in the movie. And the plots and endings of the three works varied extensively. But the personality of Alice (aka Janet) is consistent. She is the eminently sensible, practical woman. A rare creature. Any sensible man would be delighted to have her as his companion. Watch this movie if only to experience the character of Alice.

I'm still not sure what this 68-minutes was supposed to add up to. Perhaps some find the proceedings droll; to me, they're plain dull. And were it not for an inoffensive Roland Young and a winning Lillian Gish, I would have turned it off. The plot's about a celebrated reclusive painter who's believed dead even though much alive. So he trades his real identity for his dead valet's. At first he likes the anonymity of being thought someone else, but then meets a winsome young woman and becomes conflicted.

Now actor Young can be quite droll as his Topper series shows, but here neither the material nor the direction brings out a comedic aspect. In fact, there's no spark at all from director Hopkins, which may account for his meager two credits. Maybe that's also why we get the asinine courtroom hijinks, appearing, as it were, an act of comic desperation. Overall, the movie comes across as a joyless narrative that somehow got committed to film. One positive thing, I guess Young learned that he needed to stick to real ghosts.

I rented this movie from my local library, excited because I could finally hear my all time favorite actress, Miss Lillian Gish's voice while she was still a young woman. Imagine my surprise when, instead of the quality films she had appeared in during her silent career, I find this horrible, hackneyed "melo-dramedy" not worthy of the nitrate it was filmed on.

The other comments on this page will give you a good idea about the plot of the movie. Out of 10, I gave it a four, only because of the luminous beauty of Lillian Gish, and a rare chance to hear her voice while she was still young.

She had been quite captivating in her silents, and now I got the chance to watch her talkie, and she didn't disappoint, may be performed better than the silents. In that era, quite a few silent stars had tended to over-act, but not Lilian. Ronald, as Priam Farrel, the seclusive artist, as mentioned elsewhere, has been a bit too meek, but that could always be attributed to his Enochlophobia, probably assisted by his domineering cousin at childhood. Most of the areas I could bear with it, except some of the segments were a bit excessive even for that (e.g. the scene at Abbey). But not Lilian, as Alice, the girl, crossing the nubile age, despite having a bit of dowry to offer. A plain, matter of fact, and altogether inartistic-minded girl - "That is a bit much for a painting of a cop isn't it?" but practical, beyond doubt. One of the most brilliant scenes were with the Leek family at the tea, and several times trying to protect Priam, by folding him in her wings, either with Oxford, or in court. It is Lilian's movie all the way, and she had more than made up for the many weakness in plot.