Counsellor at Law

'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.

What a wonderful film. Just saw it last night for the first time. My first impression viewing the movie was that this was the best performance I had seen from Barrymore. I was wondering if perhaps I had gotten a little carried away, but from reading some of the other comments I see that there is great concurrence on this point. In general this lost gem is fast, funny, poignant and incredibly well acted.

So few films tell the story of a Jewish character, but this one does and very well. Barrymore is a surprising casting choice for the lead, but it is hard to imagine that anyone else could have been as good, much less better. Bebe Daniels is just excellent in the role of the loyal secretary, much better than in her more famous role in 42nd Street. John Qualen and Vincent Sherman are also very good in small roles.

If you are looking for an enjoyable hour and one half that will amuse and also make you think at the same time, jump on this rarely seen jewel. It is reputedly hard to purchase, but TCM recently featured it on its station and hopefully will do so again soon.

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.

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

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!