THE MAN WHO PLAYED GOD
US, 1932, 80 minutes, Black & white.
George Arliss, Violet Heming, Bette Davis, Louise Closser Hale, Donald Cook, Ivan F. Simpson, Hedda Hopper, Ray Milland.
Directed by John G. Adolfi.
The Man Who Played God was originally a silent film with George Arliss. Working with John C. Adolfi, a director with whom he worked frequently, George Arliss now stars in a sound version. Arliss had won the Oscar for Disraeli in 1929 and was to portray many historical characters including Alexander Hamilton, the Duke of Wellington, Voltaire. This was also an early role for Bette Davis – without her mannerisms that she developed during the 1930s. She was to win the Oscar for Dangerous three years later. Ivan F. Simpson gives an interesting performance as Battle, Arliss’s butler. Hedda Hopper, the gossip journalist, appears as a society hostess. Ray Milland, unbilled, appears as a young man in the park.
The film focuses on an ageing musician and his greatest fan, played by
Bette Davis. They plan to marry. He plays the piano in Paris for a European king and is rendered deaf by an explosion, an attempt on the life of the king. He becomes bitter, will not see anyone. However, he is trained to lip-read and with binoculars listens to people and their problems in the park, becoming like the
God he was denying, sending out his butler to help people with money and advice.
It is interesting to see George Arliss and his visual style, a British stage actor, who came late to the screen.
The film was remade in 1955 as Sincerely Yours, with Liberace as the musician.
1. The impact of the film in the 1930s? George Arliss and his reputation? Classic acting? Bette Davis at the beginning of her career? The themes of impairment, denial of God’s existence, the discovery of philanthropy and doing good for others (a playing of God)?
2. 1932 production values, the black and white photography, the Paris and New York settings? The outdoor sequences of both cities? A feel of authenticity? The film mainly confined to rooms and concert halls? The musical score – and the classics?
3. The portrait of Montgomery Royle? George Arliss and his age, appearance? His musical skills? The devotion of Grace, walking in the streets, his fans wanting to greet him? His slightly ironic air, not taking it all too seriously? Florence as his manager? The friendship with Mildred? The performance, the coming of the king, performing for him? The bomb, his losing his hearing? Memories of his mother, her religious background, losing her hearing? Return to New York, his isolating himself, people writing notes? Grace and her devotion, Mildred and her visits, Florence and her management? His dependence on Battle? The solution of his learning to lip-read, the doctor and Monty’s skills? Grace’s binoculars? His using them, looking down into the park, the young couple in love but having no money, the boy’s illness? Asking for the address and sending the money? The young man and his girl, his robbing the money, returning it, his arrest, Monty’s influence in getting the charge withdrawn? Their happy reunion? His reading Grace’s lips, hearing of her devotion to him, her love for Harry? Her arrival, his gracious letting her go, her response? The organ, his going to play it – and the possibility of a future with Mildred? An interesting character and performance?
4. Grace, the young Bette Davis? Devotion to music, infatuation with Monty, the lessons, walking in Paris, the promise of marriage? Her dismay at his withdrawal, her going to Santa Barbara for the month, the attentions of Harold? Away from New York, falling in love with Harold? The scene in the park, her confession to Harold, going to marry Monty, her realising he had read her lips? His letting her go?
5. Florence, her love for her brother, managing him? Her friendship with Mildred, encouraging Mildred to see Monty? Mildred and her discussions, her finally being with Monty in the church at the organ?
6. Battle, the tradition of the butler? The message for Florence, his realising that Monty was going to attempt suicide, his saving him, giving him the hard word? His going to the people in the park, helping them out, the kiss for the young woman, best man at the wedding? Devotion?
7. The picture of society at the time, the people at Santa Barbara, the high life? Grace in this context? Harold and his devotion?
8. French society, duchesses, fans of the musician? The concerts? The contrast with life in New York?
9. The religious dimension of the film, the Scripture quotations, Monty and his rejection of God, his life being saved by Battle, his looking at people in the park, his beneficence, happiness in sharing the work with God?
