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Counsellor at Law

  • 1933
  • Approved
  • 1h 22m
IMDb RATING
7.5/10
1.6K
YOUR RATING
John Barrymore in Counsellor at Law (1933)
Legal DramaSatireWorkplace DramaComedyDrama

A successful attorney has his Jewish heritage and poverty-stricken background brought home to him when he learns that his wife has been unfaithful.A successful attorney has his Jewish heritage and poverty-stricken background brought home to him when he learns that his wife has been unfaithful.A successful attorney has his Jewish heritage and poverty-stricken background brought home to him when he learns that his wife has been unfaithful.

  • Director
    • William Wyler
  • Writer
    • Elmer Rice
  • Stars
    • John Barrymore
    • Bebe Daniels
    • Doris Kenyon
  • See production info at IMDbPro
  • IMDb RATING
    7.5/10
    1.6K
    YOUR RATING
    • Director
      • William Wyler
    • Writer
      • Elmer Rice
    • Stars
      • John Barrymore
      • Bebe Daniels
      • Doris Kenyon
    • 40User reviews
    • 22Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
    • Awards
      • 2 wins total

    Photos51

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    Top cast24

    Edit
    John Barrymore
    John Barrymore
    • George Simon
    Bebe Daniels
    Bebe Daniels
    • Rexy Gordon
    Doris Kenyon
    Doris Kenyon
    • Cora Simon
    Isabel Jewell
    Isabel Jewell
    • Bessie Green
    Melvyn Douglas
    Melvyn Douglas
    • Roy Darwin
    Onslow Stevens
    Onslow Stevens
    • John Tedesco
    Thelma Todd
    Thelma Todd
    • Lillian La Rue
    Clara Langsner
    • Lena Simon
    John Hammond Dailey
    • Charlie McFadden
    • (as J.Hammond Dailey)
    Mayo Methot
    Mayo Methot
    • Zedorah Chapman
    Robert Gordon
    • Henry Susskind
    • (as Bobby Gordon)
    Malka Kornstein
    • Sarah Becker
    Vincent Sherman
    Vincent Sherman
    • Harry Becker
    Marvin Kline
    • Herbert Weinberg
    T.H. Manning
    T.H. Manning
    • Pete Malone
    • (as T. H.Manning)
    John Qualen
    John Qualen
    • Johan Breitstein
    Angela Jacobs
    • Goldie Rindskopf
    Richard Quine
    Richard Quine
    • Richard Dwight Jr.
    • Director
      • William Wyler
    • Writer
      • Elmer Rice
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews40

    7.51.6K
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    Featured reviews

    7n_r_koch

    Natural-looking filmed play

    What a surprise this film was: the boring title hardly leads you to expect much. Barrymore really shows his chops as a pure actor, someone who can bring off a character through expression, gesture, posture, accent, tone of voice, body language, mannerisms, &c. This is an adaptation of a play about an self-made Jewish lawyer in New York. It's hard to believe that Barrymore was, in life, more like his character's wife than the lawyer he plays here. He brings off the self-made man's insecurities in every detail, from his macho way of walking to his fidgety hands and overloud way of talking and laughing. He even drops some of his g's, and I love the way he says "Yeah" (Oscar Jaffe would blanch). The script is full of telling details. Notice how the lawyer offers a guest a choice of cigar or cigarette from an expensive box, and then forgets to offer him a light. Because Wyler is at the controls, these nuances aren't hammered at the audience either.

    Many film scholars have claimed that Wyler, maybe because he avoided catfights with his studio bosses, was no "auteur". Wyler never puffed himself up, either, in the way someone like Welles did. Yet the style is already visible here, long before Deep Focus, in the simultaneous double and triple reaction shots, the multiple planes of action, the underplaying and long takes, the natural dialogue, the strong performances from the bit players-- and most of all in the realistic, accurate, detailed design. This is basically a B movie. It's all shot on one basic set, in fact. But what a set! Get all that Art Deco glass and the Socialist-Realist reliefs.

    Those who don't think Wyler had a style should check out "Carrie" (1952), separated from this film by almost 20 years and starring this other guy by the name of Olivier-- who always credited Wyler for teaching him how to act in films. Barrymore maybe got a few pointers for his performance here, too. All in all this is a great way to film a play, and a nice Depression period piece too.
    9mik-19

    Mind-blowing

    'Counsellor at Law' is guaranteed to take your breath away, even if you're a child of the so-called MTV revolution of ultra-fast editing and relentless energy. It is more than 70 years old now, and it feels so new and invigorating.

    John Barrymore, in the role of a lifetime, plays the brisk and matter-of-fact lawyer who came to his prestige, fortune and society-wife the hard way, cutting corners along the way, meddling in gray areas and doing a bit of shady business on the side. "I'm no golf player", he says, and right he is. In the course of a work-day, the same day that his wife and his two overbearing step-children are on their way to Europe, he is accused of corruption and his whole world collapses around him, as he tries to evade his destiny.

    No synopsis of 'Counsellor at Law' can do the film justice. It is a manic, mind-blowing depiction of a breakdown, stressful and paranoiac. Barrymore's character is completely alienated from his own family, because he originates from the working-class, the son a Jewish-German baker. During this one morning at work, before things start crashing down, Barrymore has a visit from a woman who wants him to defend her son who was arrested in Union Square in the middle of an inflammatory Communist speech. And it is not even lunch-time yet.

    Rent this movie, even better: Buy it. You will want to watch it more than once. It is a bona fide masterpiece, filmed in William Wyler's usual brilliantly organic style.
    Camera-Obscura

    Hard-boiled and fast-paced social commentary with John Barrymore in great form

    Based upon the play "Counsellor at Law" by Elmer Rice, John Barrymore shines in this depression-era drama as George Simon, a Jewish lawyer who frantically juggles the scandals, crimes and crises that pass through his art deco office high in the Empire State Building. Simon is far from perfect and engages in insider trading and bleeds funds from wealthy clients, while tending to the needs of the less fortunate New Yorkers who come from his own working-class background. Everything seems to be going pretty well for him, but when a political enemy uncovers a past legal indiscretion and begins disbarment proceedings, Simon's socialite non-Jewish wife (Doris Kenyon) walks out on him and seeks comfort in the arms of another man (Melvyn Douglas). With the unflagging support of his faithful secretary (Bebe Dabiels in a truly magnificent performance) Simon attempts to exercise his legal skills to defend his reputation and protect those who rely upon him for justice.

    Is George Simon a modern-day Robin Hood? In a sense he is, but he is far from perfect. Simon doesn't seem to grasp the many of his wrong-doings and largely blames his downfall on the outside world. John Barrymore gives a rich and very credible performance as a rags-to-riches Jewish lawyer, despite his Waspish appearance and Bebe Dabiels as his loyal secretary Miss 'Rexy' Gordon really gives a stand-out performance. A typical film of the era, fast-paced, and very stagy with the camera never moving out of the office, but thanks to Wyler's crisp direction and a superb cast this still makes very agreeable viewing, although the ending is so abrupt, I had to rewind in order to see what happened in order to see the last twenty minutes again. Everything goes so incredibly fast, attention must be paid.

    Camera Obscura --- 8/10
    10mardri

    One of my secret favorites!

    This film is so rare that probably few people have heard of it. What a terrible shame! The only copy I have was taped from cable TV several years ago. I

    never dreamed that I would be reading such appreciation of this little treasure by so many others! There should be a movement afoot to try to bring this

    wonderful work out of obscurity, at least to get it on video!

    I have read that John Barrymore considered himself miscast here. But I think he was the best possible choice for this film role (played on Broadway by Paul

    Muni). At a time when Hitler was just coming to power, I wouldn't want to

    imagine the response by the average U.S. moviegoer toward an actual Jewish

    actor trying to elicit sympathy for the personal struggles of a Jewish man trying to get himself accepted into Gentile society in this way.

    As for the office setting, well, I work for a New York law firm, and this film hits the target dead on! It evokes perfectly the scurry of New York office life, as well as the latest technologies, the fashions and the speech patterns of the period, like that adorable switchboard operator! Bravo to William Wyler!

    I have seen many, many John Barrymore movies, and I agree with everyone

    else writing here that this must certainly be his best surviving performance, his monument, for those of us who never saw his Richard III or Hamlet. It's even

    better than "Twentieth Century" and "Grand Hotel". In an era when silent-movie histrionics was still evident in the acting style, his performance is subtle, nuanced, very modern and deeply affecting, especially in that final scene!
    9marcslope

    Well-made play. Well-made movie.

    It's criminal that this superb melodrama, from a well-made play of the day, isn't better known. Barrymore, all cylinders firing yet giving a perfectly natural, restrained performance, is a hotshot New York lawyer facing personal and professional ruin; he may never have been better in the movies, and some of the magnetism that made him a stage legend shines through. Wyler makes no attempt to "open up" the stage material; he basically confines it to one (very beautiful) set, and his camera unobtrusively follows the legal-office denizens around, seemingly overhearing conversations, Altman-style. There's a lot of social history tucked away -- with commentary about Jews and gentiles, rich and poor, capitalist and communist -- and a whole stageful of compelling characters, who often define themselves in a walk, a smirk, a laugh. And yes, there are contrivances and coincidences, but that's the stuff the well-made melodramas of the time were made of, and they were seldom constructed as neatly as this. I saw it at a revival house, with a smart New York audience, and nobody laughed in the wrong place or grew cynical about the old social conventions that no longer apply. In fact, at the end they applauded good and hard -- after 70 years, this one's still a corker.

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    Related interests

    Tom Cruise, Demi Moore, and Kevin Pollak in A Few Good Men (1992)
    Legal Drama
    Peter Sellers in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
    Satire
    Meryl Streep in The Devil Wears Prada (2006)
    Workplace Drama
    Will Ferrell in Anchorman: The Legend of Ron Burgundy (2004)
    Comedy
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drama

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Although this film is frank about some matters, the Production Code of the Hays Office - i.e., censorship - was still in effect. In one 16mm print there is a curious moment of dead air at the end of Lillian Larue's parting speech to George Simon. She says (approximately), "Well, for God's sake, what do they expect for ten thousand dollars?" John Barrymore keeps looking at Larue (Thelma Todd) as if she is still speaking, and she must be, but there is no sound. Her last words in the text of the play are, "A virgin?"
    • Goofs
      At 44:10 into the film actress Angela Jacobs who plays the frumpy secretary Goldie Rindskopf is seen walking towards the cameras in the hallway in front of the elevators. She is wearing a black dress with scattered white dots. Much comedy relief is made of men watching her walk away with the spots accenting her motions. However, when the camera angles switches at 44:15 and this time when she is walking away from the camera she is wearing a different dress that is made up of mostly white flowers with very little black seen between the much busier pattern.
    • Quotes

      Bessie Green: [answering a call] I thought you were dead and buried. Well sure I missed you, like Booth missed Lincoln. What do you think I've been doing, sitting around the house embroidering doilies?

    • Crazy credits
      The opening credits cast list has the heading "The Players" preceding a list solely of the actors' names. "A Good Cast Is Worth Repeating... The Players" is the heading of end credits, which solely lists the same actors' names in the same order as the opening credits.
    • Connections
      Featured in American Masters: Directed by William Wyler (1986)

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    FAQ16

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    Details

    Edit
    • Release date
      • December 25, 1933 (United States)
    • Country of origin
      • United States
    • Languages
      • English
      • Italian
      • Yiddish
      • French
    • Also known as
      • Der Staranwalt von Manhattan
    • Filming locations
      • Universal Studios - 100 Universal City Plaza, Universal City, California, USA(Studio)
    • Production company
      • Universal Pictures
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 22m(82 min)
    • Color
      • Black and White
    • Aspect ratio
      • 1.37 : 1

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