The Mad Genius
Tags: insanity, murder

Plot synopsis:
A crippled puppeteer, Ivan Tsarakov (Barrymore), is frustrated that he will never dance ballet. He adopts a protegé, Fedor Ivanoff (Cook), whom he makes into the greatest dancer in the world. Fedor falls in love with a dancer, Nana Carlova (Marsh), but Tsarakov fears that she will ruin Fedor as a dancer. He tries to separate them and ultimately fires Nana from the ballet troupe. Fedor runs away with Nana to Paris, but Tsarakov has blacklisted him, and he cannot get ballet jobs and is reduced to working in a cabaret. Nana begs Tsarakov to give Fedor his job back. Tsarakov agrees, if Nana will leave Fedor and marry another man; she agrees. Fedor returns embittered; he sees Nana on opening night and realizes that she still loves him; he refuses to dance. Tsarakov threatens to kill him, but the ballet master, under the influence of drugs that Tsarakov has given him, kills Tsarakov. Fedor is reunited with Nana.
In the film Svengali, released earlier the same year, Barrymore played the title character who similarly manipulated the life of a female singer, also played by Marsh.

Review: In another of John Barrymore's bizarre characterizations the great actor portrays a club-footed itinerant puppeteer who rescues an abused boy from vile existence,recognizes the lad's incredible of agility and footwork and begins to train the youngster to be a "new" Nijinsky.Years go by,the boy reaches manhood,and Barrymore the impresario of a successful ballet company.But when the ballet dancer begins to have ideas of his own,falls in love with pretty Marian Marsh,Barrymore,consumed with madness and jealousy attempts to manipulate their lives leading to shocking results.
This extraordinary film oscillates between intriguing drama and moments of near horror with Barrymore in masterly control of his human puppets.
Boris Karloff is the boy's monstrous father and Luis Alberni stands out as the drug-addicted ballet director.Magnificent direction by Michael Curtiz.
Interesting variation on the "Svengali" theme...good John Barrymore performance....
In this interesting variation on the "Svengali" theme, JOHN BARRYMORE plays a crippled puppeteer with a club foot, who lives vicariously his dream of becoming a great dancer when he assumes responsibility for a runaway boy (FRANKIE DARRO) escaping the clutches of his cruel father (BORIS KARLOFF), well disguised with a thick Russian accent and wig that practically makes his features invisible.Michael Curtiz has directed with enormous help from Anton Grot's well designed sets and a generous use of background music at a time when it was rare for most films to feature so much music on the soundtrack.
Not only are the sets on a grand scale, but the B&W photography is richly detailed and Barrymore gives one of his most intense performances as the Svengali-like puppet master who finds he can't control his discovery once love enters the picture.Doll-faced MARIAN MARSH makes a lovely sort of "Trilby" character but DONALD COOK looks a bit uncomfortable in the role of Fedor, the dancer.
The story is a little cumbersome in getting started, but once the plot starts spinning into high gear the suspense mounts and Curtiz stages all of the scenes involving theatrical productions in a manner that puts the film into the A-film category.Worth seeing for Barrymore's fascinating performance, Russian accent and all, and remarkable in that "the talkies" were only four years old when the film was made and the technical advances are obvious..
This film is an ideal companion piece to Barrymore's other mad manipulator "Svengali".
I've always liked the John Barrymore/Marian Marsh film "Svengali" and have always wanted to see Warner Brothers' re-teaming of the two in "The Mad Genius".
Although it's not a favorite of mine like "Svengali" is, "The Mad Genius" is still a film that I enjoy.
Tsarakov (Barrymore) rescues a small boy from his abusive father (Boris Karloff).
As the years pass the boy, Fedor (Donald Cook), grows up to become a seasoned ballet dancer and Tsarakov is the ballets impresario.
Tsarakov pampers every move in Fedor's life; getting him leads in ballets and encouraging him to have a steady supply of young women lovers.
However, Fedor loves Nana (Marian Marsh) and Tsarakov, seeing this as the ruination of Fedor's career, forces Nana to take up with Count Renaud (André Luget), a good-natured, understanding man.
In "The Mad Genius" John Barrymore delivers one of his most enjoyable screen performances, playing a club-footed, alcoholic, womanizing Russian puppeteer who takes an abused youth under his wing and molds him into a great star with the Ballet Russe, an accomplishment he could never attain himself due to his deformity.
Some may consider his performance hammy, but at least it's Grade A.The film opens expressionistically somewhere in "Central Europe" on a rain-drenched night with Barrymore and his dim-witted sidekick (the deadpan Charles Butterworth) rehearsing a traveling puppet show when a barefoot youth (Frankie Darro), fleeing a beating from his insanely sadistic father (Boris Karloff), stumbles into their tent.
The youth is now a young man (Donald Cook) who is in love with a fellow dancer (Marian Marsh).
Barrymore, still the puppeteer but of humans now, wants no one interfering with his controlling relationship and maneuvers Marsh out of the company while elevating a lesser dancer to her position.
Meanwhile, Barrymore's dance director (Luis Alberni) is slowly going mad from a cocaine addiction enabled by his employer.
Marian Marsh and Donald Cook are sometimes mechanical and artificial but not to the extent that they undermine their roles and both have strong moments.
Carmel Myers is excellent in a brief drunken scene with Barrymore.Donald Cook looks so much like the Warners contract actress Kay Francis that they should have been cast in a movie together as siblings.
There is a story that has since become part of Hollywood folklore that Boris Karloff, still a relatively unknown supporting player, was summoned to the office of director Michael Curtiz.
Oh well, now that you're here I guess I'll have to use you."  It seems like a lot to go through for a role that lasts about 2 minutes onscreen and was probably completed in 1 day but Boris got the part anyway.
Coming out in the same year as the iconic adaptations of Frankenstein, Dracula, and Dr. Jekyll & Mr. Hyde; but in my humble opinion, The Mad Genius is a better and more intriguing film than any of those.The opening of The Mad Genius does a superb job at setting a time and place; central Europe in the early 20th century.
Equally as impressive is Vladimar Ivan Tsarakov's (John Barrymore) Berlin theatre and the large-scale stage set with hints of German expressionism throughout and the widespread use of music in the soundtrack, unlike other early talkies.John Barrymore is (unsurprisingly) mesmerising as Vladimar Ivan Tsarakov (quite a name), one of the most repulsive characters he ever played as he spends the movie spewing pompous and at times mad scientist like dialogue.
In one scene in which he refuses to deal drugs with the stage director played by Luis Alberni, I love his summary on drugs when he throws them into the fire; "If I drop this, you will be free, but you will suffer of course, but in the end, you will be happier than you could ever dream".
Likewise In one of the movie's comic highlights, there is an early use of profanity in the film; "It's unbelievable that there's any human being living, who should be such a stupid ass".One of the many interesting observations in The Mad Genius is the combination of elements from other movies.
The plot itself is derivative of Barrymore's previous horror outing Svengali, while Tsarakov's desire to create a great ballet dancer out of a young boy is a variation on Dr. Frankenstein (which the movie itself alludes to).
The theatre setting has vibes of The Phantom of the Opera and perhaps most interestingly are the elements of The Red Shoes with the film's inclusion of ballet and the themes of going to extremes for one's art.
The Mad Genius is far from the best of John Barrymore's sound films.
Barrymore's plays a cripple who wanted to be a great ballet dancer, but only is confined to doing puppet shows with his sidekick Charles Butterworth.One day he and Butterworth rescue young Frankie Darro from a cruel father Boris Karloff.
Barrymore sees in young Darro the promise and form of the dancer he wanted to be.
This was before the Code so the homoerotic ideas in the scene are exploited to the max.Fast forward a dozen years and Darro is now Donald Cook at the top of his game as a ballet dancer, a veritable Nijinsky.
He's also got eyes for pretty Marian Marsh, but so has Barrymore.Barrymore's years of training in the puppet theater have stood him in good stead as he's now a real puppet master, scheming and manipulating people to his will.
And he's given great support by the ensemble Warner Brothers and director Michael Curtiz gave him..
John Barrymore(Tsarakov) plays a crippled, half-mad puppeteer, who yearns to dance.
Upon saving the young boy Fedor(Frankie Darro) from his foster father's (Boris Karloff) abuse, he recognizes the youth's ability and hopes to make him a famous dancer.
John Barrymore dominates the entire screen, but they still need Karloff to bring the 193l audiences into the movie houses..
Michael Curtiz, John Barrymore and an Art-Deco Pre-Code Delight.
This Follow-Up to Svengali (1931) is a Similar Story, the Lush Art-Deco Production and the Stylish Direction from Michael Curtiz makes this a more Sprawling and Grander Film, but perhaps, not a better one.
There's Boris Karloff, a heartbeat before Frankenstein (1931), in a very Small but Noticeable Role as a Sadistic Child Abuser, and Marion Marsh as a Doll-Faced Dancer that can Light Up the Screen.
John Barrymore's Lead Performance is Captivating Evil and Playful at the same time.
This film feels a little like a Tod Browning production, with John Barrymore in the role of a dark, twisted man that we could imagine Lon Chaney playing for Browning, but it's actually directed by Michael Curtiz.
Barrymore leads a ballet troupe and jealously guards his young protégé (Donald Cook), who he's raised from a boy since essentially stealing him from his abusive peasant father (Boris Karloff, briefly).
He wants to use him to live out his own frustrated dreams of being a great dancer.
Enter Marian Marsh, a sweet young dancer who he falls in love with, thus setting up the central conflict in the film.
When he's not busy trying to control the young man, Barrymore is up to no good elsewhere.
that there should be any human being living who is such a stupid ass." Barrymore is excellent throughout the film and turns in a performance that dominates, though Cook and Marsh are reasonably good as well.
Stars John Barrymore and Charles Butterworth as a team of performing puppeteers.
and yes, that's the monster-master Boris Karloff, as the boy's terrible father we see right at the opening.
Directed by Michael Curtiz, who had started out in the silent films, as had Barrymore and Karloff.
John Barrymore's final film for "Warner Bros.".
John Barrymore was easily the most suitable actor for film, in comparison with his older brother and sister.
"The Mad Genius" was Barrymore's final film for "Warner Bros." He was paid the rather handsome sum of about $70,000 a film and gave some fine performances.
"The Mad Genius" is a remake of a previous film for the studio, "Svengali." The former movie is far better than this inferior remake.
Only the performance of John Barrymore and the direction from Michael Curtiz save this film.
Boris Karloff is completely wasted in a brief appearance at the beginning of the film.
Great Performances Save Film.
The Mad Genius (1931) *** (out of 4) Vladimar Ivan Tsarakov (John Barrymore) dreamed of becoming a world famous dancer but a club foot prevented that from happening.
One day he notices a young boy being abused so he takes the kid as his own with the plan of turning him into a great star.
As an adult, Fedor (Donald Cook) begins to rise to stardom as Vladimar's obsession grows stronger and more deranged.Obviously this here was meant as a version of SVENGALI, which was released earlier in the same year as this picture.
In all honesty, I've always thought that film was somewhat overrated but it was saved thanks to the great performance by Barrymore.
A lot of the more horror-like elements are drained of any sort of suspense or drama.As I said, the reason the film remains watchable is due to the performances with Barrymore once again leading the way.
I also thought Marian Marsh was good in her role of the love interest and Cook is also good, if a bit bland, in his role.
Charles Butterworth nearly steals the picture with his comic timing in the role as Karimsky.As I said, there are quite a few flaws to be found in THE MAD GENIUS but the cast and performances are just so good that you can't help but stay with the picture..
John Barrymore had some wonderful performances over his film career.
One of these embarrassingly bad performances was his famous "Svengali" and another was the follow-up film, "The Mad Genius".
In fact, both performances seem just about identical--with Barrymore playing essentially the same sort of guy--a creepy manipulator who is troll- like and with a thick, thick accent.
THE MAD GENIUS (Michael Curtiz, 1931) ***.
Warner Brothers were clearly eager to give the 1931 public what it wanted and also consolidate the success of SVENGALI made earlier that year by instantly reuniting the leads from that film – John Barrymore and Marian Marsh – in a quickly rehashed potboiler on similar lines.
Barrymore is an embittered puppeteer whose lameness had dashed his dreams of a dancing career but, as fate would have it, is provided with the opportunity of living that glory vicariously through the agile street urchin he saves one day from the clutches of his cruel father (a small role for a pre-fame Boris Karloff).
Growing up to be a peerless dancer (played by an uncharismatic Donald Cook) through the ruthless patronage of his foster father, he is ready to give it all up for the love of an innocent girl in the show (Marsh) but, needless to say, Barrymore will not let anything stand in the way of art and his ambitious plans for the prized pupil.
Amusing sidekick Charles Butterworth helplessly looks on as Barrymore sadistically convinces dope-addicted choreographer (Luis Alberni) to fire Marsh but Cook overhears their heinous scheme and this causes a rift between impresario and protégé.
Once again, however, fate intervenes with Barrymore eventually getting his just desserts at the hands of the distraught Alberni – on stage during the performance of what was to be Cook's crowning achievement!
Admittedly, the plot is much inferior to that of SVENGALI but an unhinged Barrymore is always worth watching, Marsh is typically lovely while Michael Curtiz's expressionistic direction (his first of three notable forays in the genre) and Anton Grot's stylish sets lend the production a touch of class that keeps one watching if not exactly enthralled..
When Michael Curtiz directed this odd ballet and horror film he presumably had the recent success of the John Barrymore - Marian Marsh film SVENGALI (from George Du Maurier's TRILBY) in mind.
The story of THE MAD GENIUS was similar - Donald Cook is a brilliant ballet dancer who was trained by impresario Barrymore, and the latter is determined to get his protégé the career he deserves - by all means necessary.
Marsh is a female member of the ballet company that Cook is falling for, and Barrymore is willing to push her out of the company, and even turn her into a wealthy nobleman's mistress to keep Cook in line.The film actually works.
To perfect the boy's dancing (and the company's) he is willing to be the drug supplier to dance master Luis Alberni (one of the first examples of cocaine use in movies).
One of the funniest aspects of the film is how Barrymore picks up his own sexual partners from starry eyed young woman coming in to join the ballet company.
This is the film wherein Boris Karloff (for about one minute) shares screen time with John Barrymore.
This movie was so obviously an attempt by Warners to cash in on John Barrymore's earlier "Svengali", they even reunited a lot of the cast - Barrymore, Marian Marsh, Carmel Myers and Luis Alberni.
This movie was to ballet what "Svengali" was to opera, purportedly based on the relationship between Diaghilev and Nijinsky, although in reality Nijinsky had already created a stir in the ballet world before he met Diaghilev.John Barrymore gets a chance to play another "warped" genius and his performance dominates the film, without him it would be just a forgettable romance played out against a ballet background.
When he gives shelter to a village boy, Fedor, (Frankie Darro) who is hiding from his cruel father (Boris Karloff), Tsarakov (Barrymore) vows "I will make him the greatest dancer of all time"!!!
and within 15 years, Fedor (now played by Donald Cook) has taken the ballet world by storm.
Tsarakov is now manager of a "Ballet Russe" (shades of Diaghilev) but behind his kindly uncle demeanor is an evil tyrant who manipulates people through their own weaknesses.Fedor is in love with the beautiful Nana (Marsh) but that does not fit in with Tsarakov's plans and he plots to have Nana expelled from the company.
It all ends in a completely melodramatic way that would have pleased Barrymore no end.In a 1985 Films in Review article, Marian Marsh recalled the happy memories she had of working with Barrymore.
John Barrymmore plays a puppeteer who takes in a small boy who grows to be a great dancer.
Things get dicey when the boy's eye strays from dancing toward one girl in particular.Intrguing pre-code film that, at times, has Barrymore giving a great performance.
I love the ballet sets which are decidedly of the time the film was made.Worth a peak..
Director Mike Curtiz seems to be in awe of Barrymore and favor him with eye- rolling close-ups and long takes at the expense of other members of the cast, especially Marian Marsh.
We do see a lot of Donald Cook, however, despite the fact that he is, at best, a rather stodgy, humdrum actor with – at least in this movie – little in the way of charisma.
Although not quite as good as Svengali, this follow-up with John Barrymore and Marian Marsh from that film isn't too shabby.
Donald Cook is the grown-up Fedor, now an undeniable ballet talent thanks to Barrymore's Vladimir Tsarakov, on marquees heading extravagant stage presentations.
This film includes a drug addict who trains the performers and is shaken when Vladimir demands he remove Nana from a starring role...precode Hollywood was once quite daring with these kinds of characters.