Counsellor at Law

(1933) A Universal Picture.

Produced by Carl Laemmle, Jr. Directed by William Wyler. Screenplay by Elmer Rice. Based on the stage play by Elmer Rice. Photography by Norbert Brodine. Edited by Daniel Mandell. Art direction by Charles D. Hall. Sound by Gilbert Kurland. 80 min.
Cast: John Barrymore (George Simon), Bebe Daniels (Regina Gordon), Doris Kenyon (Cora Simon), Onslow Stevens (John P. Tedesco), Isabel Jewel (Bessie Green), Melvyn Douglas (Roy Darwin), Thelma Todd (Lillian LaRue), Marvin Kline (Herbert Weinberg), Conway Washburn (Arthur Sandler), John Qualen (Johann Breitstein), J. Hammond Dailey (Charlie McFadden), Clara Langsner (Lena Simon), Malka Kornstein (Sarah Becker), Angela Jacobs (Goldie Rindskopf), T.H. Manning (Peter J. Malone), Elmer Brown (F.C. Baird), Vincent Sherman (Harry Becker), Bobby Gordon (Henry Susskind), Barbara Perry (Dorothy Dwight), Richard Quine (Richard Dwight, Jr.), Victor Adams (David Simon), Mayo Methot (Zedora Chapman), Frederick Burton (Crayfield), Ed Mortimer (Man in waiting room), George Humbert (Italian Client).

An unjustly forgotten classic, which never seems to turn up anywhere (even revival houses and cable television tend to overlook it), COUNSELLOR AT LAW is an excellent example of a stage play superbly adapted to the screen. Based on the Elmer Rice drama, which ultimately became the Broadway hit of the 1931-32 season, the film version was one of the biggest money-makers of 1933 and was an unprecedented success for Universal Pictures. Originally cast in the stage play was Paul Muni, whom Universal tried to sign for the film version, after the film rights were purchased for a then hefty $175,000. Muni, however, was skeptical, fearing that he would be forever typecast in Jewish roles (having already been a member of the Yiddish Theatre). John Barrymore, now freed from his contract at Metro- Goldwyn-Mayer was the eventual replacement and, although devoid of Jewish stereotypes, turns in one of his finest performances ever, despite his deteriorating health. Also cast as Barrymore's love interest was Bebe Daniels, a most versatile actress who started her career at the Hal Roach Studios in the Harold Lloyd comedies.
The director of COUNSELLOR AT LAW was the up and coming William Wyler, who, until to that time, was busy directing minor westerns and melodramas. Wyler succeeds incredibly in working his actors at break-neck speed to accentuate the rapid dialogue which heightens the proceedings. Barrymore, who had a reputation of being very difficult on a movie set, must have admired Wyler's style, for he would listen to every suggestion and even obeyed orders when Wyler recommended that Barrymore "tone down" a bit on the Jewish gestures and intonations. This does not mean that the film is devoid of any stereotypes. The character names are most definitely ethnic and also many of the leading character's clients who pop in and out of the office, especially Barrymore's mother, are commonplace to say the least. The supporting cast is also excellent, with Doris Kenyon as the loathsome wife of the leading character, George Simon. Together with her two spoiled brat children, they seem so convincing in their parts that one wonders if they could ever play more amiable roles. Onslow Stevens, who plays Simon's Italian associate John Tedesco, is always reassuring and understanding, while Isabel Jewell, as the switchboard operator is loud and annoying.

The commercial and critical success of COUNSELLOR AT LAW proved to be a shot in the arm for director William Wyler, for in only two years he was to be producer Samuel Goldwyn's premier director. Together they would churn out some of the greatest classics imaginable, such as "Dodsworth", "Dead End", "Wuthering Heights", "The Little Foxes", "The Westerner", "The Best Years of Our Lives", and many others. As for John Barrymore, he was relegated to second leads in movies, and as a result of his failing health due to alcoholism, was soon consigned to B-movies supporting personalities like Kay Kyser, Patsy Kelly, and Lupe Velez. Alas, a sad end to one of the greats of stage and screen.