Cool tip, I never heard of this one til today, but I'm a huge fan of Curtiz and I love the pre-Code films. Lubtisch is one of my fave directors from that time ("Design for Living" is a 1933 flick that pretty unapologetically dives into the idea of a sexual ménage-à-trois situation... 60+ years before Chasing Amy).

It's crazy when you think of how many decades of cinema were stunted or outright scrapped by the churchlady Code. Don't get me started on Wages of Fear which was censored for some 50 years just because it dared to imply (in a verrry roundabout, metaphoric way) that there's no such thing as an afterlife; when we die we vanish. Code said nope you're not allowed to say that. Cutting room floor.

Anyway, back to Mad Genius, is it just the drug references that make it edgy or is there other stuff going on that would've freaked out the Code censors?

@rooprect said:

Cool tip, I never heard of this one til today, but I'm a huge fan of Curtiz and I love the pre-Code films. Lubtisch is one of my fave directors from that time ("Design for Living" is a 1933 flick that pretty unapologetically dives into the idea of a sexual ménage-à-trois situation... 60+ years before Chasing Amy).

It's crazy when you think of how many decades of cinema were stunted or outright scrapped by the churchlady Code. Don't get me started on Wages of Fear which was censored for some 50 years just because it dared to imply (in a verrry roundabout, metaphoric way) that there's no such thing as an afterlife; when we die we vanish. Code said nope you're not allowed to say that. Cutting room floor.

Anyway, back to Mad Genius, is it just the drug references that make it edgy or is there other stuff going on that would've freaked out the Code censors?

I am on a John Barrymore crusade, so I am getting by most of them. :)

"The Wages of Fear" is on my extensive watchlist. Would you also rate it pretty high?

In terms of the pre-code stuff: violent murder, up skirt shots, a pretty funny and perhaps the first version of a "shove it up your ass"-joke on film to mention a few. :)

@DonGable said:

@rooprect said:

Cool tip, I never heard of this one til today, but I'm a huge fan of Curtiz and I love the pre-Code films. Lubtisch is one of my fave directors from that time ("Design for Living" is a 1933 flick that pretty unapologetically dives into the idea of a sexual ménage-à-trois situation... 60+ years before Chasing Amy).

It's crazy when you think of how many decades of cinema were stunted or outright scrapped by the churchlady Code. Don't get me started on Wages of Fear which was censored for some 50 years just because it dared to imply (in a verrry roundabout, metaphoric way) that there's no such thing as an afterlife; when we die we vanish. Code said nope you're not allowed to say that. Cutting room floor.

Anyway, back to Mad Genius, is it just the drug references that make it edgy or is there other stuff going on that would've freaked out the Code censors?

I am on a John Barrymore crusade, so I am getting by most of them. :)

"The Wages of Fear" is on my extensive watchlist. Would you also rate it pretty high?

In terms of the pre-code stuff: violent murder, up skirt shots, a pretty funny and perhaps the first version of a "shove it up your ass"-joke on film to mention a few. :)

Haha the ‘shove it’ line sold me, but also I’ve never seen a John Barrymore flick so it’s officially on my list now!

Wages of Fear is incredible, especially when you realize the entire plot is basically just a bunch of trucks inching along at 15 mph.No lie, it’s one of the most suspenseful flicks I’ve ever seen.(Take that, “Speed”!)

If/when you watch it, be on the lookout for the part I mentioned, it’s a pivotal monologue toward the end where one character talks about a childhood memory where he’s exploring a vacant lot on the other side of a fence. It’s a cloaked metaphor for death/afterlife, and supposedly it offended the religious groups so much that Hollywood insisted it be cut, which it was until recent years when the full film was restored.

So yup I recommend it, it’s a nearly flawless film… theone flaw (to me) being when a guy unnecessarily kicks a dog in the opening scene. But I don’t think the dog was hurt. Just a heads up if you’re a pooch lover, the rest of the film is 10/10.

@rooprect said:

@DonGable said:

@rooprect said:

Cool tip, I never heard of this one til today, but I'm a huge fan of Curtiz and I love the pre-Code films. Lubtisch is one of my fave directors from that time ("Design for Living" is a 1933 flick that pretty unapologetically dives into the idea of a sexual ménage-à-trois situation... 60+ years before Chasing Amy).

It's crazy when you think of how many decades of cinema were stunted or outright scrapped by the churchlady Code. Don't get me started on Wages of Fear which was censored for some 50 years just because it dared to imply (in a verrry roundabout, metaphoric way) that there's no such thing as an afterlife; when we die we vanish. Code said nope you're not allowed to say that. Cutting room floor.

Anyway, back to Mad Genius, is it just the drug references that make it edgy or is there other stuff going on that would've freaked out the Code censors?

I am on a John Barrymore crusade, so I am getting by most of them. :)

"The Wages of Fear" is on my extensive watchlist. Would you also rate it pretty high?

In terms of the pre-code stuff: violent murder, up skirt shots, a pretty funny and perhaps the first version of a "shove it up your ass"-joke on film to mention a few. :)

Haha the ‘shove it’ line sold me, but also I’ve never seen a John Barrymore flick so it’s officially on my list now!

Wages of Fear is incredible, especially when you realize the entire plot is basically just a bunch of trucks inching along at 15 mph.No lie, it’s one of the most suspenseful flicks I’ve ever seen.(Take that, “Speed”!)

If/when you watch it, be on the lookout for the part I mentioned, it’s a pivotal monologue toward the end where one character talks about a childhood memory where he’s exploring a vacant lot on the other side of a fence. It’s a cloaked metaphor for death/afterlife, and supposedly it offended the religious groups so much that Hollywood insisted it be cut, which it was until recent years when the full film was restored.

So yup I recommend it, it’s a nearly flawless film… theone flaw (to me) being when a guy unnecessarily kicks a dog in the opening scene. But I don’t think the dog was hurt. Just a heads up if you’re a pooch lover, the rest of the film is 10/10.

I saw him in "Grand Hotel" from 1932, and was instantly captivated. But then again, The Golden Age is my deepest pleasure in film. Be sure to return when you've watched this. :)

I will definitely watch it at some point, although I can make no promises to when. :)

Duly noted. I hope you've had a spectacular weekend, Roo. :)

Don, in addition to Barrymore's best '30s and '20s screen dramas, make sure not to miss his absolutely first-rate-hilarious thoroughly films-stealing roles in the terrific comedies Twentieth Century (1934; co-stars Carole Lombard) and Midnight (1939; co-stars Claudette Colbert, Don Ameche, and Mary Astor). Barrymore - who's easily one of my all-time fave stars - milked every wonderful second of screen time he had in each of those.

For a top-notch and very enjoyable (as well as touching) Silent-era Barrymore treat, I highly recommend 1924's Beau Brummel, that stars also a very young and beautiful Mary Astor. That film is alternatingly comedy and drama, and works equally wonderfully as each.

As for 1931's The Mad Genius, I know I've watched, and no doubt enjoyed, it multiple times throughout the decades, but must admit I now can't recall anything about it, other than the title and who the leads are.

Some threads that may interest you:

John "The Great Profile" Barrymore (1882-1942)

John Barrymore & Mary Astor in very good 1924 Silent

Hilarious early mid-'30s classic comedy

John Barrymore's telephone scene

@genplant29 said:

Don, in addition to Barrymore's best '30s and '20s screen dramas, make sure not to miss his absolutely first-rate-hilarious thoroughly films-stealing roles in the terrific comedies Twentieth Century (1934; co-stars Carole Lombard) and Midnight (1939; co-stars Claudette Colbert, Don Ameche, and Mary Astor). Barrymore - who's easily one of my all-time fave stars - milked every wonderful second of screen time he had in each of those.

For a top-notch and very enjoyable (as well as touching) Silent-era Barrymore treat, I highly recommend 1924's Beau Brummel, that stars also a very young and beautiful Mary Astor. That film is alternatingly comedy and drama, and works equally wonderfully as each.

As for 1931's The Mad Genius, I know I've watched, and no doubt enjoyed, it multiple times throughout the decades, but must admit I now can't recall anything about it, other than the title and who the leads are.

---

Some threads that may interest you:

John "The Great Profile" Barrymore (1882-1942)

John Barrymore & Mary Astor in very good 1924 Silent

Hilarious early mid-'30s classic comedy

John Barrymore's telephone scene

I have watched "Twentieth Century", and it was ok. I am not really into the comedies of the 30s and 40s. Perhaps because I am not American, or because of the difference in generation. I still got "Midnight" coming up. The last one I watched was "Night Club Scandal" which was actually pretty good for what it was. :) I am happy to hear we both very infatuated with Mr. Barrymore. :D It's such a lovely feeling to come across someone who shares a niché interest.

Although I am yet to truly delve into silent films in general, I got "Beau Brummel", "Dr. Jekyll and Mr. Hide", "Don Juan", and lastly "When a Man Loves" as the chosen ones from his silent era.

I probably can't blame you for that regarding "The Mad Genius". :D

Thank you very much for a thorough and detailed reply, genplant. And I appreciate the links - I'll be sure to comment on some of them in a near future. I truly am grateful you took the time to write. Sometimes it pays off to open a discussion, which is why I love this site, in spite of some shortcomings. :) I hope you've had a great start to the week on this very Monday.