The Man Who Played God

An aging & celebrated concert pianist completely loses his hearing, and with it his faith in The Almighty. After learning to lip read, he realizes he can once again enter into people's lives, alleviating the misfortunes of total strangers. With this much power to do good, he becomes THE MAN WHO PLAYED GOD.

Although sadly neglected today, George Arliss was one of the very greatest of film actors of the 1930's. His art was consummate - a whole volume of emotion could be conveyed by the slightest movement of face or posture. He gives a wonderful performance here as a man torn from what he loves the most, blaming God for it and eventually finding peace.

A splendid actress of the same period, Louise Closser Hale gives quiet dignity to the role of Arliss' sister. As his protégé, young Bette Davis does a fine job; she always considered this to be her first film role of substance. Ivan F. Simpson is excellent as a very loyal butler. Hedda Hopper has a tiny role as a woman at a picnic & look for an uncredited Ray Milland as a young man in Central Park attempting suicide.

First and foremost, "The Man Who Played God" (1932) is not a Bette Davis vehicle. She was still a few years away from receiving top billing and graduating into 'A' pictures. However, the mere fact that she's in this overlooked and forgotten film will only push it into wider circulation and rapidly increase its number of viewers. So much has already been said about her, there's very little one can add to further compliment her. Personally, I think she gave some of her best performances in these early 1930s B programmers for Warner Bros. Sure, the material wasn't nearly as good, which only made her performances stand out all the more. But Bette Davis has little to do with what stands out about this movie.

After losing his hearing, a well-loved and respected piano player (George Arliss) becomes a recluse. He rejects most of his old friends and companions, and is cruel to the few he does see. He learns to read lips, but grows more and more depressed at the same time. And finally when he has hit rock bottom, he finds a purpose in his life,... philanthropy. Putting aside his own problems and selfishness, his salvation comes from helping others. This is a theme that would recur over and over again to varying degrees in the Depression era 30s (especially in Frank Capra's movies).

The other thing of interest here is the act of voyeurism. Through the aid of binoculars, he's able to read lips, and essentially, spy on everyday New Yorker's. One can't help but wonder if this little movie may have had some influence or have been the basis for the idea of Cornell Woolrich's short story "It Had to Be Murder", which would be eventually adapted into Alfred Hitchcock's "Rear Window" (1954).

This movie, is, by no means a masterpiece, but its still an important one. With so many interesting ideas going on here, its well worth the watch.

This story has been made and remade many times. The first was back in the 1910s as "The Silent Voice". Then, a decade later, George Arliss made "The Man Who Played God"...and then again, a decade after this, Arliss made a sound version. But that wasn't all...in the 1950s, Liberace made "Sincerely Yours"...yet another version of this story!

The story is about a world famous concert pianist (Arliss), a man who is beloved and loves life. He also has a significantly younger woman (Bette Davis) who wants to marry him. But in spite of this, his life takes a sour turn when he is deafened...and sour is the word for it! This is because the pianist soon becomes bitter and resentful from his hearing loss and he spends much of his time brooding. So what is his salvation? See the movie.

Arliss, as usual, is very good. And, the story is a wonderful tale about loss and coping with it. My only complaint, and it's a minor one, is that the story seems a tad old fashioned. Now this does NOT mean I suggest you see the later Liberace version...it's not particularly good. But the 1932 film is well worth seeing...with a great object lesson for us all.

By the way, late in the film look carefully at the minor character of an embezzler...it's played by the soon to be discovered Ray Milland.

This is an unusual little film starring George Arliss as master concert musician Monty Royale whose young pupil Grace (Bette Davis) confesses her love to him. He's of course flattered but unsure of what the coming years will bring considering their age difference. He agrees to marry her if she feels the same in six months. However, near the beginning of the six month period something happens that leaves Monty unable to enjoy his own music - he is left completely deaf from an explosion. He becomes a bitter man who shuts himself away from everyone. He does take some training in learning to read lips so that he can deal with the world in his new condition, and this training leads him to realize that he now has the means to bring happiness to people in a different and more individualized way than he could as a musician. With the aid of some powerful binoculars left behind by Grace, he can read the lips of the people in the park across the street, learn their troubles, and with his large family fortune and influence, save lives or maybe just bring someone some welcome happiness.

Soon the joy of living has reentered Monty's life, and he is happy that the six month waiting period is soon to end and Grace will be returning from California - they can be wed. He's people watching at his window when Grace suddenly appears in the park across the street. She sits down with someone and begins to have a conversation. Monty "listens in". What will he discover and how will he react? Watch and find out.

In addition to the fine work of George Arliss and Bette Davis, the supporting roles are well played here too. Ivan Simpson is great as Monty's gentleman's gentleman who has no trouble sternly lecturing his master when he needs it, yet is such a formal person that he cannot leave the house -even on an urgent errand - without his hat, and there is even a very small part played by a very young Ray Milland. Highly recommended for fans of early 30's films. It has some precode elements in it, particularly the part where Monty is wrestling with God and his loss of belief, but I would not call it a precode at all.

In 1932 many actors were still rather new to sound pictures and the great majority of them were theatre trained and while some would stay on in Hollywood, many would return to the stage to stay. Bette Davis was a young actress in the midst of making that decision to aty in Hollywood or return to New York and the stage. She had made several low buget pictures, but things just were not clicking for her. The success of this movie and the attention she received convinced her to stay on and make movies and we are all thankful for that. George Arliss was a grand old man of the stage and his artistry is well portrayed here. His makeup is a little heavy, making him look a little like the Phantom of The Opera with lipstick and darkened nostrils, but soon you get beyond that. The acting is almost strictly stage-style here, this MUST have been a play before it was filmed. The blocking and angles of the actors and the way they seem to talk "at" each other rather than to each other shows the stage acting. Great story, nice escapism... who wouldnt like to help others? We can do that through George Arliss in this movie.