If this film has a weak spot it's the story's details. Without giving anything away the whole idea of Vance's (Calhern) Svengali-like hypnotic effect on his wife (Astor) is a bit far-fetched, even for 1934. And quite frankly Robinson's disguise left a lot to be desired. And let's not forget the clue that clinched the policeman's case. I can't imagine building a case of such flimsy evidence. There's other areas of concern but I digress. Now for the good part: where the film shines is in the performances. This bevy of fine actors does a most excellent job at presenting complex characters driven by events not of their own choosing. It's a pretty talky film but I didn't mind in the least. The dialog is spirited, lively, expressive. And the performers tended to make me forget the plot's weak points. They were captivating, all of them, Robinson, Astor, Calhern, Cortez (in a rare good guy part), and last but not least, Mae Clarke, in my opinion a most underrated actor.
34 Reviews
Edward G. Robinson in his element
JohnHowardReid17 November 2017
Warning: Spoilers
Director: ARCHIE MAYO. Screenplay: Tom Reed and Niven Busch. Based on the stage play The Dark Tower by George S. Kaufman and Alexander Woollcott. Photography: Tony Gaudio. Film editor: William Holmes. Art director: John Hughes. Music: Bernard Kaun. Music director: Leo F. Forbstein, conducting The Vitaphone Orchestra. Songs: "Stormy Weather" (Clarke) by Harold Arlen (music) and Ted Koehler (lyrics); "Am I Blue?" by Harry Akst (music) and Grant Clarke (lyrics). Producer: Robert Lord.
Copyright 14 July 1934 by First National Pictures, Inc. Released through Warner Brothers Pictures, Inc. New York opening at the Strand: 11 July 1934. U.K. release: 30 March 1935. Australian release: 5 December 1934. 72 minutes.
SYNOPSIS: A black-hearted confidence trickster (Louis Calhern) exerts an unbreakable hypnotic influence over his actress wife (Mary Astor).
NOTES: The stage play opened on Broadway at the Morosco on 25 November 1933, and, despite excellent reviews, ran a very middling 57 days. "It was a tremendous success," claimed co-author Woollcott, "except for the minor detail that people wouldn't come to see it!"
The cast included Basil Sydney (as Damon Wells), Margalo Gilmore, William Harrigan, Margaret Hamilton, Leona Maricle, Margaret Dale, Ernest Milton and Porter Hall. (Sydney also headed the London cast, opposite Edna Best, Martita Hunt, Francis L. Sullivan and Frith Banbury). Sam H. Harris produced, authors Woollcott and Kaufman directed.
COMMENT: Here's Edward G. Robinson in his element once more, this time playing a hammy actor who impersonates a French impresario. In the movie, this disguise is supposed to be wholly convincing to the other players, but Ed didn't ring true to me — not for a single second.
Mind you, some critics excused Robinson's performance on the grounds that the audience was supposed to be in on the "joke" from the start. But whether the hollowness of the deception was deliberate or not, I still think the movie would have been more entertainingly suspenseful if Robinson and his make-up men had tried a little harder.
After all, I have just seen an extremely modest Jack Perrin movie, "Hair-Trigger Casey" (1936), in which a little-known support person named Edward Cassidy manages to bring off an extremely successful transformation, thanks not only to his own histrionic talent but the skills of Poverty Row studio technicians.
True, Archie Mayo's direction is more than several notches ahead of all but the most stylish "B" personnel, and the support rendered by actors of the caliber of chillingly realistic Mary Astor and suavely evil Louis Calhern (one of his best performances ever) leaves most second-rated players for dead.
Ricardo Cortez, however, is wasted in a nothing role, though it is nice to see him enact the good guy for a change. Mae Clarke spends the movie stooging for Edward G., but does get a chance to warble a few notes from "Stormy Weather".
Despite its missed opportunities, "The Man with Two Faces" still provides a reasonable modicum of "A"-grade pleasures. TCM deserves a round of applause just for scheduling this picture.
Copyright 14 July 1934 by First National Pictures, Inc. Released through Warner Brothers Pictures, Inc. New York opening at the Strand: 11 July 1934. U.K. release: 30 March 1935. Australian release: 5 December 1934. 72 minutes.
SYNOPSIS: A black-hearted confidence trickster (Louis Calhern) exerts an unbreakable hypnotic influence over his actress wife (Mary Astor).
NOTES: The stage play opened on Broadway at the Morosco on 25 November 1933, and, despite excellent reviews, ran a very middling 57 days. "It was a tremendous success," claimed co-author Woollcott, "except for the minor detail that people wouldn't come to see it!"
The cast included Basil Sydney (as Damon Wells), Margalo Gilmore, William Harrigan, Margaret Hamilton, Leona Maricle, Margaret Dale, Ernest Milton and Porter Hall. (Sydney also headed the London cast, opposite Edna Best, Martita Hunt, Francis L. Sullivan and Frith Banbury). Sam H. Harris produced, authors Woollcott and Kaufman directed.
COMMENT: Here's Edward G. Robinson in his element once more, this time playing a hammy actor who impersonates a French impresario. In the movie, this disguise is supposed to be wholly convincing to the other players, but Ed didn't ring true to me — not for a single second.
Mind you, some critics excused Robinson's performance on the grounds that the audience was supposed to be in on the "joke" from the start. But whether the hollowness of the deception was deliberate or not, I still think the movie would have been more entertainingly suspenseful if Robinson and his make-up men had tried a little harder.
After all, I have just seen an extremely modest Jack Perrin movie, "Hair-Trigger Casey" (1936), in which a little-known support person named Edward Cassidy manages to bring off an extremely successful transformation, thanks not only to his own histrionic talent but the skills of Poverty Row studio technicians.
True, Archie Mayo's direction is more than several notches ahead of all but the most stylish "B" personnel, and the support rendered by actors of the caliber of chillingly realistic Mary Astor and suavely evil Louis Calhern (one of his best performances ever) leaves most second-rated players for dead.
Ricardo Cortez, however, is wasted in a nothing role, though it is nice to see him enact the good guy for a change. Mae Clarke spends the movie stooging for Edward G., but does get a chance to warble a few notes from "Stormy Weather".
Despite its missed opportunities, "The Man with Two Faces" still provides a reasonable modicum of "A"-grade pleasures. TCM deserves a round of applause just for scheduling this picture.
Cross purposes
nickenchuggets24 April 2022
Warning: Spoilers
In one of Edward G Robinson's most entertaining films, Dr. Ehrlich's Magic Bullet, he has the appearance of an old man trying to cure a dangerous disease. This movie is similar because Robinson making himself look old is one of the core parts of the story, but he only pretends to be in order to achieve deception. The Man With Two Faces isn't an especially memorable or excellent movie, but it does have one of my favorite actors in it so I decided to see it. In this movie, Mary Astor (who would later find fame for her role in Maltese Falcon) plays Jessica, a stage actress returning after a long hiatus. Right before getting back to work, Jessica is surprised at home by the visit of Stanley Vance (Louis Calhern), who used to be married to her and also committed some terrible crimes in the past. Jessica's brother Damon (Robinson) wants to get Vance out of the way so that Jessica's comeback will be a definite success, so he dresses up as an elderly Frenchman named Jules Chautard. Damon poses as Chautard and invites Stanley to his office, offering to pay him for Jessica's play. However, Damon drugs and murders him in a closet. Shortly after, the police seemingly know that the old french guy was responsible, but Damon is able to simply take off his costume and get rid of any suspicion. Unfortunately for Damon, his cover is blown when a cop discovers the fake mustache he used as Chautard looks suspiciously similar to something an actor would use (and he's right). Damon is not arrested right away because the police knew all about Stanley's bad behavior, and Damon is given the chance to act his way out of a murder charge. This is one of several 1930s movies that are so unknown today that I wasn't really able to find anything on how contemporary audiences reacted to the film. I'm estimating that they probably had the same reaction that I did, as Robinson gives a good performance, but he's only truly great if the movie is great. The plot in this isn't really that interesting so his efforts feel kind of wasted. It was nice just to see him at all, because I enjoy discovering footage of him I never knew existed.
Eddie Robinson repeating history?
theowinthrop3 July 2004
Warning: Spoilers
THE MAN WITH TWO FACES is one of the Edward G. Robinson films that rarely reappears on television, like SILVER DOLLAR and THE HATCHET MAN. I only saw it on television once in the last decade. It is about a famous actor who dislikes the swine who has married his sister (Louis Calhern, who is the husband of Mary Astor in this film). He creates a "perfect" crime scheme, kills Calhern in the apartment of a fictitious producer he has impersonated, and leaves Calhern there for the police to puzzle over. A blunder regarding the disguise (his false mustache is left in a bible) unravels the crime. But the film ends with Robinson (about to be arrested by Ricardo Cortez) believing he might be able to win acquittal at his own trial. Last minute bravura or growing insanity/instability...we are left guessing.
The basis for this plot of the disguised murderer is as old as the hills, but the most likely source was the 1882 Pelzer Case in Belgium. Two brothers, Armand and Leon Pelzer, planned to murder a lawyer named Guillaume Bernays. Bernays was married to a woman Armand wanted to murder. They hoped that Armand, when comforting the widow, would be able to marry her. To commit the crime, Armand gave Leon money to go around Europe marketing a plausable business scheme for a new shipping line. Leon was carefully disguised with false hair and mustache. Leon was a linguist (apparently a good one) and pretended he was a man named Harry Vaughan from England. Thus a realistic straw man was created, even to the extent of "Vaughan" renting property in Paris, Brussels, and other cities. Bernays was approached by "Vaughan" to come to his rented rooms in an isolated building for a business meeting. Bernays went to the meeting, but was killed. Shortly afterwards the police were tipped off by a letter from "Vaughan" that there had been an accident at the meeting and Bernays was shot and killed. But when the police came they found evidence that the body had been tampered with. For nearly four months police throughout Europe and America were looking for the Englishman Harry Vaughan, when suspicion of Armand and his brother developed. Leon's movements were traced, and he was found to not be able to account for his movements when "Vaughan" seemed to have legitimately existed. Eventually both brothers were tried and convicted of murder, receiving life sentences (Belgium had abolished the death penalty).
THE MAN WITH TWO FACES follows a general pattern based on the Pelzer Case, but consolidates it, and changes the motivation and relationship of the perpetrator and the victim. Whether or not a full film study of the actual Pelzer Case would be a better film I cannot guess. Nobody seems to have thought of doing one.
The basis for this plot of the disguised murderer is as old as the hills, but the most likely source was the 1882 Pelzer Case in Belgium. Two brothers, Armand and Leon Pelzer, planned to murder a lawyer named Guillaume Bernays. Bernays was married to a woman Armand wanted to murder. They hoped that Armand, when comforting the widow, would be able to marry her. To commit the crime, Armand gave Leon money to go around Europe marketing a plausable business scheme for a new shipping line. Leon was carefully disguised with false hair and mustache. Leon was a linguist (apparently a good one) and pretended he was a man named Harry Vaughan from England. Thus a realistic straw man was created, even to the extent of "Vaughan" renting property in Paris, Brussels, and other cities. Bernays was approached by "Vaughan" to come to his rented rooms in an isolated building for a business meeting. Bernays went to the meeting, but was killed. Shortly afterwards the police were tipped off by a letter from "Vaughan" that there had been an accident at the meeting and Bernays was shot and killed. But when the police came they found evidence that the body had been tampered with. For nearly four months police throughout Europe and America were looking for the Englishman Harry Vaughan, when suspicion of Armand and his brother developed. Leon's movements were traced, and he was found to not be able to account for his movements when "Vaughan" seemed to have legitimately existed. Eventually both brothers were tried and convicted of murder, receiving life sentences (Belgium had abolished the death penalty).
THE MAN WITH TWO FACES follows a general pattern based on the Pelzer Case, but consolidates it, and changes the motivation and relationship of the perpetrator and the victim. Whether or not a full film study of the actual Pelzer Case would be a better film I cannot guess. Nobody seems to have thought of doing one.
Eddy G plays a double part!
HotToastyRag11 March 2019
Edward G. Robinson always gives a solid performance, but in The Man with Two Faces, he's given the wonderful opportunity to play a double part and show off the French accent he could have used if he'd been cast in The Story of Louis Pasteur. He's really fantastic, and if you aren't looking for it, you might not even recognize that it's him!
Eddie G plays a theater director who also acts alongside his sister, Mary Astor. Mary used to be married and controlled by her evil husband, but after she died, she was able to enjoy freedom and a renewed career. Unfortunately, her husband isn't as dead as everyone thought, and Louis Calhern makes an entrance right before the Broadway debut. Louis is so incredibly creepy, it's a wonder he had any career after this film. Mary is literally hypnotized by him and turns into an obeying robot whenever in his presence. It's eerie, and you'll probably feel like you need a good scrubbing after watching the movie. I had a double feature handy for later in the evening, even though Eddie G's performance was very entertaining to watch.
Eddie G plays a theater director who also acts alongside his sister, Mary Astor. Mary used to be married and controlled by her evil husband, but after she died, she was able to enjoy freedom and a renewed career. Unfortunately, her husband isn't as dead as everyone thought, and Louis Calhern makes an entrance right before the Broadway debut. Louis is so incredibly creepy, it's a wonder he had any career after this film. Mary is literally hypnotized by him and turns into an obeying robot whenever in his presence. It's eerie, and you'll probably feel like you need a good scrubbing after watching the movie. I had a double feature handy for later in the evening, even though Eddie G's performance was very entertaining to watch.
Make it a Double
howdymax3 May 2011
Interesting and unusual movie. It seemed to start out as a routine backstage mystery, but as time went by, it got more and more convoluted. Edward G Robinson plays an actor about to star in a promising new play. Mary Astor is his actress sister about to make a comeback. It seems she was married to a Svengali named Stanley Vance, played by Louis Calhern. Mary was under his spell when he disappeared, until she hears that he died. She then goes to pieces. That sets the stage for the plot. It takes three years for her to recover, she falls in love with Ricardo Cortez, and when she is just about to make her breakthrough, he's back.
Now it gets bizarre. She immediately falls back under his spell - and I'm not kidding. She doesn't respond to anyone but him. Her eyes glaze over. She walks around in a trance. In fact, she acts a lot like the current crop of actors we have coming out of Hollywood today. Anyway, Vance doesn't really care about her, he just wants to cash in on her share of the profits from the play. The problem for Eddie is what to do about it. Well, I won't tell you, except to say it involves a complicated, and totally implausible plan. It really doesn't matter though. If you wouldn't watch this movie for any other reason, watch it for the unbelievable, robotic performance of Mary Astor. It was mesmerizing in it's own right, but it unintentionally bordered on laugh out loud funny. If I have a complaint, it would be that the Code was in full force in 1934. You or I could have come up with a better finale.
Now it gets bizarre. She immediately falls back under his spell - and I'm not kidding. She doesn't respond to anyone but him. Her eyes glaze over. She walks around in a trance. In fact, she acts a lot like the current crop of actors we have coming out of Hollywood today. Anyway, Vance doesn't really care about her, he just wants to cash in on her share of the profits from the play. The problem for Eddie is what to do about it. Well, I won't tell you, except to say it involves a complicated, and totally implausible plan. It really doesn't matter though. If you wouldn't watch this movie for any other reason, watch it for the unbelievable, robotic performance of Mary Astor. It was mesmerizing in it's own right, but it unintentionally bordered on laugh out loud funny. If I have a complaint, it would be that the Code was in full force in 1934. You or I could have come up with a better finale.
A sterling performance
bkoganbing26 June 2014
Edward G. Robinson turns in a pair of great performances as both an actor theatrical impresario and as a character he plays out in real life as a possible investor in his new show which stars his sister Mary Astor. Thus Robinson becomes The Man With Two Faces.
Things seem to be going well when Louis Calhern shows up. He was actually thought dead and had very few who mourned him. Calhern is a thorough going cad, in a few years his would have been a part that George Sanders would have relished. But he has a strange Svengali like influence over Astor and for her sake he's barely tolerated.
Robinson has had a scheme long in the making about Calhern. The problem is that Calhern is in need of money. That's where Robinson as the investor comes in.
Don't want to give too much away. The film is based on a George S. Kaufman-Alexander Woollcott play The Dark Tower. I thought it a strange product for Kaufman. None of the satirical wit is present or at least in this film version, it might have been drained antiseptic by the newly placed Code.
However Robinson is outstanding and his fans should The Man With Two Faces.
Things seem to be going well when Louis Calhern shows up. He was actually thought dead and had very few who mourned him. Calhern is a thorough going cad, in a few years his would have been a part that George Sanders would have relished. But he has a strange Svengali like influence over Astor and for her sake he's barely tolerated.
Robinson has had a scheme long in the making about Calhern. The problem is that Calhern is in need of money. That's where Robinson as the investor comes in.
Don't want to give too much away. The film is based on a George S. Kaufman-Alexander Woollcott play The Dark Tower. I thought it a strange product for Kaufman. None of the satirical wit is present or at least in this film version, it might have been drained antiseptic by the newly placed Code.
However Robinson is outstanding and his fans should The Man With Two Faces.
"If I'd said what I really thought, I'd've made him cry."
guswhovian4 August 2020
A renowned actor (Edward G. Robinson) seeks to free his sister (Mary Astor) from the control of her abusive husband (Louis Calhern).
This is a pretty standard 30s Warner Brothers programmer. The plot requires a lot of suspension of disbelief: the plot hinges on the fact that Eddie Robinson's character disguises himself as a Frenchman, but it's obviously him with a French accent, even though nobody seems to notice. And then there's the fact Mary Astor is supposed to be the most promising young stage actress in America...
The supporting cast is excellent. Mae Clarke is excellent as Robinson's girlfriend, Louis Calhern is good as the villain and I enjoyed Emily Fitzroy's performance as the maid. There's worse ways to spend 72 minutes.
This is a pretty standard 30s Warner Brothers programmer. The plot requires a lot of suspension of disbelief: the plot hinges on the fact that Eddie Robinson's character disguises himself as a Frenchman, but it's obviously him with a French accent, even though nobody seems to notice. And then there's the fact Mary Astor is supposed to be the most promising young stage actress in America...
The supporting cast is excellent. Mae Clarke is excellent as Robinson's girlfriend, Louis Calhern is good as the villain and I enjoyed Emily Fitzroy's performance as the maid. There's worse ways to spend 72 minutes.
"The Dark Tower" translates to black comedy
duke102921 March 2011
George S. Kaufman was one of the towering figures of 20th Century American theater. He occasionally lent his enormous talent to Hollywood as in the Marx Brothers'"A Night at the Opera," but he is best known for adaptations of his theater work. Kaufman frequently worked with collaborators as varied as Moss Hart and Edna Ferber and here combined his prodigious talent with a fellow member of the renowned Algonquin Round Table, acerbic critic Alexander Woollcott. The resultant thriller with comic overtones, "The Dark Tower," reminds the viewer of "Sleuth," a great showcase for actors with a flair for theatrics and makeup.
Like "Sleuth" its impact comes from the revelation rather late in the play that one actor has been playing dual roles, but "The Man with Two Faces" telegraphs that surprise because of the very nature of the film medium. Even the most casual viewer will realize quite quickly that Damon Wells and Jules Chautard are both played by Edward G. Robinson after the first close-up of the bearded Frenchman. The film's producers seem to have conceded that point with the changeover to the title "The Man with Two Faces" in order to promote contract player Robinson as a deserving successor to Lon Chaney. So what is the movie's great appeal?
Although the storyline comes out of 19th Century melodramatic tradition, the actors tackle their roles with such enthusiasm, the film becomes a guilty pleasure.
Mary Astor is Jessica Wells, a beautiful and talented actress returning to the stage after a three year absence due to an undisclosed mental breakdown. Although her triumphal comeback seems certain, family and friends are shocked when Vance, her long-lost husband, shows up at the family home. Louis Calhern plays this slimy character with flamboyant relish as Vance immediately exerts his influence on the usually vivacious Jessica. She is Trilby to his Svengali as she immediately reverts to a sleepwalking automaton blindly obeying his every wish.
The authors never make clear what the hold Vance has on her is, but hints of a Caliostro-like hypnotic power are suggested. The avaricious and opportunistic Vance has heard that his estranged wife holds half the rights to the current play, a prospective mega-hit with her in the cast, but a sure flop with Jessica in her current somnambulist state. Calhern plays the vain, larcenous conman with obvious over-the-top élan. He feeds cheese to the pet mice he carries with him in a cage, threatens to kick in the head of an elderly housekeeper, punches his wife in the face with a pinkie ring, and orders garishly gaudy silk ties on the family's dime.
Robinson plays Jessica's loyal but alcoholic brother, who goes on the wagon to lend his theatrical prestige and expertise to his sister's comeback while helping her to reclaim her talent as her on-stage acting coach. He quickly realizes that the viperous Vance must be dealt with once and for all (crunched "underfoot on the sidewalk" according to Jessica's manager, Ricardo Cortez), so he enters into an elaborate sting that will get rid of the vermin-like Vance permanently.
The bravura of Calhern's enjoyably shameless overplaying is balanced by Robinson's subtle underplaying, and several of the supporting roles are extremely well done -- especially Arthur Landau as an homicide detective, Emily Fitzroy as a crusty housekeeper, and Warner favorite Mae Clarke as Robinson's low-rent girlfriend.
In order to substitute for the loss of the play's original surprise revelation of the dual role, the authors have substituted a wryly ironic denouement, surprisingly satisfying for this highly enjoyable Pre-Code black comedy.
Like "Sleuth" its impact comes from the revelation rather late in the play that one actor has been playing dual roles, but "The Man with Two Faces" telegraphs that surprise because of the very nature of the film medium. Even the most casual viewer will realize quite quickly that Damon Wells and Jules Chautard are both played by Edward G. Robinson after the first close-up of the bearded Frenchman. The film's producers seem to have conceded that point with the changeover to the title "The Man with Two Faces" in order to promote contract player Robinson as a deserving successor to Lon Chaney. So what is the movie's great appeal?
Although the storyline comes out of 19th Century melodramatic tradition, the actors tackle their roles with such enthusiasm, the film becomes a guilty pleasure.
Mary Astor is Jessica Wells, a beautiful and talented actress returning to the stage after a three year absence due to an undisclosed mental breakdown. Although her triumphal comeback seems certain, family and friends are shocked when Vance, her long-lost husband, shows up at the family home. Louis Calhern plays this slimy character with flamboyant relish as Vance immediately exerts his influence on the usually vivacious Jessica. She is Trilby to his Svengali as she immediately reverts to a sleepwalking automaton blindly obeying his every wish.
The authors never make clear what the hold Vance has on her is, but hints of a Caliostro-like hypnotic power are suggested. The avaricious and opportunistic Vance has heard that his estranged wife holds half the rights to the current play, a prospective mega-hit with her in the cast, but a sure flop with Jessica in her current somnambulist state. Calhern plays the vain, larcenous conman with obvious over-the-top élan. He feeds cheese to the pet mice he carries with him in a cage, threatens to kick in the head of an elderly housekeeper, punches his wife in the face with a pinkie ring, and orders garishly gaudy silk ties on the family's dime.
Robinson plays Jessica's loyal but alcoholic brother, who goes on the wagon to lend his theatrical prestige and expertise to his sister's comeback while helping her to reclaim her talent as her on-stage acting coach. He quickly realizes that the viperous Vance must be dealt with once and for all (crunched "underfoot on the sidewalk" according to Jessica's manager, Ricardo Cortez), so he enters into an elaborate sting that will get rid of the vermin-like Vance permanently.
The bravura of Calhern's enjoyably shameless overplaying is balanced by Robinson's subtle underplaying, and several of the supporting roles are extremely well done -- especially Arthur Landau as an homicide detective, Emily Fitzroy as a crusty housekeeper, and Warner favorite Mae Clarke as Robinson's low-rent girlfriend.
In order to substitute for the loss of the play's original surprise revelation of the dual role, the authors have substituted a wryly ironic denouement, surprisingly satisfying for this highly enjoyable Pre-Code black comedy.
Family ties
russjones-8088715 August 2020
A talented actress returns triumphantly to the stage after a three-year break. However, her family and friends are shocked when her long lost husband with a criminal past, believed to be dead, turns up and casts his influence over her.
Decent drama starring Edward G. Robinson as the actress's brother with Louis Calhern playing the controlling husband. The main downside is the performance by Mary Astor who instantly becomes an obedient robot once her husband appears.
Decent drama starring Edward G. Robinson as the actress's brother with Louis Calhern playing the controlling husband. The main downside is the performance by Mary Astor who instantly becomes an obedient robot once her husband appears.
The fake mustache in the bible was last straw!
Paularoc16 April 2012
Warning: Spoilers
It sometimes happens after reading the reviews of a movie, I wonder if I've seen the same movie other reviewers seem to have seen. This movie ranks as one of the worse I have ever wasted my time on. If Robinson hadn't been the star, I would have deleted it from the dvr right after the Calhern character (Stanley Vance) shows up and Astor's character (Jessica Welles) goes into a docile trance-like state. I find the whole Svengali concept hogwash or, at the very least pathetic and sad. Who knows why Robinson, Astor and Clarke accepted parts in this movie. Calhern, however, probably had a ball with his outlandish villain's role. Robinson's make-up was dreadful and it passes belief that those who knew him as Damon Welles could possibly not recognize him as Jules Chautard. The final straw was that the murder was solved as a result of a fake mustaches being left in the hotel room bible! This movie is only worth a look because Robinson is in it.
"Whoever would rid the Earth of Stanley Vance would be doing a public service"
planktonrules2 April 2017
A play is about to have it's opening night when something awful happens....Stanley Vance (Louis Calhern) arrives. It seems that everyone thought he was dead...and hoped this was the case. But this malicious jerk is somehow alive and he's arrived for one reason....to destroy his wife's play until he is paid off to just go away again! It seems that Jessica (Mary Astor) is like a zombie around the Svengali-like Stanley...as if he is exerting some sort of mind control over her...and she seems helpless to stop him from ruining everything. Everyone hates Stanley...everybody. So you assume sooner or later Stanley is going to suffer some 'accident' which will permanently remove this vicious jerk from the picture. But who and how...that is what you'll have to find out when you watch the picture.
I really enjoyed watching Louis Calhern. He was delightfully awful...sort of like watching a cat toying with a mouse before ultimately snuffing it. He must have had a great time doing this...and he was excellent. I also loved that this is the sort of film where the audience is pulling for the murder to happen AND for the killer to get away with it...something which helped make "The Suspect" one of the best movies of its day. Overall, a very entertaining film...well acted, well written and very enjoyable.
I really enjoyed watching Louis Calhern. He was delightfully awful...sort of like watching a cat toying with a mouse before ultimately snuffing it. He must have had a great time doing this...and he was excellent. I also loved that this is the sort of film where the audience is pulling for the murder to happen AND for the killer to get away with it...something which helped make "The Suspect" one of the best movies of its day. Overall, a very entertaining film...well acted, well written and very enjoyable.
Two-faced man
blanche-26 April 2012
Edward G. Robinson is "The Man with Two Faces" in this 1934 drama which also stars Louis Calhern, Mary Astor, and Ricardo Cortez. Astor and Robinson are Jessica and Damon Wells, sister and brother actors appearing in the out of town tryout of a play called "The Dark Tower." Astor's cruel, greedy, crooked husband, Stanley Vance (Calhern) is believed dead. Unfortunately he's not, and he shows up where the cast is staying.
Damon Wells comes up with an idea of getting rid of Vance once and for all, and he uses Wells' greed to do it, telling him that a man, Chautard, is interested in buying Vance's and Jessica's part of the show for a great deal of money. Stanley eagerly meets Chautard at his hotel.
This is a nice, short mystery that showcases both Robinson and Calhern. It's not the most believable plot - for one thing, Astor becomes shell-shocked when her husband appears and does everything he tells her, as if she has no mind of her own. That seemed rather odd. However, the acting is good and the action goes by pleasantly.
Damon Wells comes up with an idea of getting rid of Vance once and for all, and he uses Wells' greed to do it, telling him that a man, Chautard, is interested in buying Vance's and Jessica's part of the show for a great deal of money. Stanley eagerly meets Chautard at his hotel.
This is a nice, short mystery that showcases both Robinson and Calhern. It's not the most believable plot - for one thing, Astor becomes shell-shocked when her husband appears and does everything he tells her, as if she has no mind of her own. That seemed rather odd. However, the acting is good and the action goes by pleasantly.
Limited murder story
sixshooter50028 April 2020
I like a good murder story, and this has some of that charm. But there are a lot of weaknesses here. Firstly, there is a lot of wasted time, showing why other people would want to kill Stanley Vance, but not why Eddie G's character would want to do it. I understand that Vance's wife is the murderer's sister, but so little is really shown here. Instead we've got a dull talkie film where Vance wastes time with all these characters that end up irrelevant to the over arching plot.
But, Edward G. Robinson does show that the weakness of the film isn't his fault, as he plays a double part, and plays both very well, and the actor who plays Stanley does a very impressive hate worth villain.
5/10, a yawn mostly
But, Edward G. Robinson does show that the weakness of the film isn't his fault, as he plays a double part, and plays both very well, and the actor who plays Stanley does a very impressive hate worth villain.
5/10, a yawn mostly
a snappy murder mystery; a filmed play
Sleepy-1721 September 2000
Great acting from Robinson, and a little over the top, but enjoyably so, from Calhern and Astor. Very stagey, but good setups and moving camera. Beware the plot synopsis in the TV Guide movie database. It seems to describe the ending of the play, but the movie (a censored version?), which played on TCM, has a more ambiguous ending which works better and is more interesting (to me, at least). (Not that I'm for censorship, but sometimes...) Ironically, the play had a happy ending, and that is the one described by TV Guide and Maltin. It's amusing to see when the established references contain reviews that were written by people who had not seen the entire film, and in some cases not at all.
A plot so stupid it defies logic...but hey, Edward G. Robinson is in it so...it works
nomoons1120 June 2012
Warning: Spoilers
This one I knew wasn't going to a ground breaking film from the 30's but I saw that Edward G. Robinson was in it so I had to watch it. I didn't live back in the 30's but I can bet that even back then no one would believe the basic plot line in this one. Totally ridiculous.
The premise is that an actress is coming back from a lengthy illness/sabbatical. She has a successful turn at her first acting in a play in a while and it's a success. Her brother is almost done with acting but does the play because she's in it. He loves her. The issue is she has a nefarious husband who's life is to make everyone's life around worse by doing one thing....hypnotizing them. The reason his wife was "away" because he has an overpowering effect on her and she needed to get away from him. Luckily, he got jail time so she had time to recuperate.
When you first see this guys character come into play and hearing his first lines and his demeanor you can't help but laugh. It's so stupid. Can you imagine? Someone who can hypnotize most around him or that his over bearing personality can make people do whatever he wants. I mean as soon as we see him, his wife goes back into the trance like state. It's just beyond unbelievable. Of course there are a few who don't buy it and one is her brother (Edward G). He prepares a detailed plan to get him out of there life. I won't go into detail with that part because it's actually pretty good.
The reason why this film barely works is because Edwar G. Robinson saves it. He's such a good actor he could have made Plan 9 from Outer Space a decent "B" film. He brings such ability to the screen you believe in what he portrays. The ending is quite good and I'm sure you'll agree. I would have given this film a higher rating but the basic plot point is so stupid I just couldn't.
Watch this when your bored on a Saturday afternoon and be prepared to watch a plot that's right out of a Soap Opera.
The premise is that an actress is coming back from a lengthy illness/sabbatical. She has a successful turn at her first acting in a play in a while and it's a success. Her brother is almost done with acting but does the play because she's in it. He loves her. The issue is she has a nefarious husband who's life is to make everyone's life around worse by doing one thing....hypnotizing them. The reason his wife was "away" because he has an overpowering effect on her and she needed to get away from him. Luckily, he got jail time so she had time to recuperate.
When you first see this guys character come into play and hearing his first lines and his demeanor you can't help but laugh. It's so stupid. Can you imagine? Someone who can hypnotize most around him or that his over bearing personality can make people do whatever he wants. I mean as soon as we see him, his wife goes back into the trance like state. It's just beyond unbelievable. Of course there are a few who don't buy it and one is her brother (Edward G). He prepares a detailed plan to get him out of there life. I won't go into detail with that part because it's actually pretty good.
The reason why this film barely works is because Edwar G. Robinson saves it. He's such a good actor he could have made Plan 9 from Outer Space a decent "B" film. He brings such ability to the screen you believe in what he portrays. The ending is quite good and I'm sure you'll agree. I would have given this film a higher rating but the basic plot point is so stupid I just couldn't.
Watch this when your bored on a Saturday afternoon and be prepared to watch a plot that's right out of a Soap Opera.
"Brains and talent don't mean much to the Devil, Mr. Weston."
utgard1410 November 2014
Another fine Edward G. Robinson movie from the '30s. This one has Eddie playing an actor whose sister (Mary Astor) was married to a jerk (Louis Calhern) that had a strange hold over her. He disappeared years before and was presumed dead. Now the husband is back and Eddie is determined to protect his sister. Starts out like a comedy but it's more of a murder mystery. Robinson's good, as usual. Calhern is a scuzzy heel. Astor's melodramatic but it works for her. Cast also includes Ricardo Cortez, Mae Clarke, David Landau, John Eldredge, and Arthur Byron. Creaks a little due to age and staginess but worth checking out if you're a fan of Robinson.
The brotherly thing to do.
michaelRokeefe27 May 2011
Warning: Spoilers
From Warner Brothers Archive Collection, THE MAN WITH TWO FACES has Edward G. Robinson playing Damon Welles, a stage actor known for his character acting. Damon's sister Jessica(Mary Astor)is on the brink of a "come back" after suffering a nervous breakdown. Jessica stars in a play along side her brother. The play is produced by her lover, Ben Weston(Ricardo Cortez); and all is well until her ex-husband Stanley Vance(Louis Calhern)comes around. Vance has always seemed to have a hypnotic hold on Jessica; and makes it known he will take money to leave her alone. When the much hated Vance is found dead; just about anyone could be the murderer. Damon's skill of playing many characters and a Gideon Bible are important in solving the murder case almost given up on. A well written crime drama directed by Archie Mayo. Other players: Mae Clarke, Henry O'Neil, David Landau and Arthur Byron.
Fairly intriguing little mystery shows its stage origins...
Doylenf3 May 2011
Archie Mayo was a reliable Warner Bros. contract director who made a lot of good films at the Warner lot, but this has to be regarded as one of his lesser efforts. The plot is simple--an actor who will do anything to help clear his sister of a murder charge--resorts to impersonation but leaves behind a clue that gives away his identity to the police.
When in disguise, EDWARD G. ROBINSON looks like an entirely different person and even manages to keep his accent under cover. MARY ASTOR has trouble with a part that requires her to look as though she's under hypnosis most of the time--managing to give barely a hint of expression to her face no matter what's happening around her. It's definitely not one of her better roles. MAE CLARKE, on the other hand, has a more spirited role as a lower-class actress, girlfriend of Robinson who treats her like dirt.
All of it leads toward a nice ending that wraps up the whole story neatly while conforming to the production code that requires a murderer to be punished for his deeds, however contrived that ending might be.
When in disguise, EDWARD G. ROBINSON looks like an entirely different person and even manages to keep his accent under cover. MARY ASTOR has trouble with a part that requires her to look as though she's under hypnosis most of the time--managing to give barely a hint of expression to her face no matter what's happening around her. It's definitely not one of her better roles. MAE CLARKE, on the other hand, has a more spirited role as a lower-class actress, girlfriend of Robinson who treats her like dirt.
All of it leads toward a nice ending that wraps up the whole story neatly while conforming to the production code that requires a murderer to be punished for his deeds, however contrived that ending might be.
not great, but very entertaining, rewarding
chipe15 May 2011
This movie is a nice little gem, mainly for the witty dialog and impressive rank of actors who clearly enjoyed their work. No surprise there -- just look at the writers, source material and cast. Even the supporting players had great lines that they delivered with gusto. None of it is very realistic, but the set-up is great, much of the acting is over-the-top fun, and there is a great deal of humor. The finale is interesting -- it won't please everyone, but it is even-handed -- both pre-code and code aspects. See it and you will know what I mean. Incidentally, as another reviewer here noted, the TV Guide review (you have to go to the TV Guide website to see it) is WRONG about important parts of the plot and especially the ending. It is as though their reviewer did not see the movie!
The Movie with Shoelaces
charlytully4 June 2011
Warning: Spoilers
Does THE MAN WITH TWO FACES really feature shoelaces? It might was well, as nearly everything but the kitchen sink is tossed into the mix by writer Tom Reed, in an apparently desperate effort to see what will stick. It's never really made clear exactly WHY svengali Stanley Vance (played by Louis Calhern) left his cash cow wife Jessica Wells (Mary Astor), over whom he exerts a never-explained hypnotic control. Further, it's not really clear how and why he faked his own death on the west coast. Furthermore, the white mice or rats he brings to the house of Jessica's Aunt Martha on his return to Manhattan are poorly explained. Are they the agents of his power over Jessica? Did he possess pet rodents when the pair got married? Are the little white creatures a breeding couple? (And why, by the way, does Jessica have to live with her Aunt Martha? If she and her brother Damon--Edward G. Robinson--are such hotshots on Broadway, couldn't they afford their own digs? And why does Damon spell the family surname "Welles," though Jessica's is listed in the movie credits as "Wells"? Does some sort of mental defect doom this family, in similar fashion to Edgar Allan Poe's ill-fated house of Madeleine and Roderick Usher?) Finally, a case broken by a mustache in a Gideon Bible? Like most of the plot points in this film with any resolution, this one is telegraphed from a mile away. I better stop reviewing this movie, before I have to downgrade my rating from "7" to a "5" or "6."
Two Faces has no lift.
st-shot17 October 2020
With the disappearance and probable death of her husband Stanley Vance (Louis Calhern) behind her, actress Jessica Welles (Mary Astor) future seems bright with a new beau (Ricardo Cortez) and well received play. Friends and family marvel at her comeback until the conniving hubby shows up with his pet rat in tow turning Welles into a submissive, catatonic Trilby. Detested by all and making no effort to endear himself he's murdered, his wife accused.
The Man with Two Faces is not much of a mystery with Jessica's brother played by Ed Robinson letting us in early on the plan, his dual role obvious to all but victim Vance, his unravelling not much of an enigma. Robinson is smug and annoying to a degree in both roles but they pale in comparison to Calhern's iniquitous turn that has everyone in the cast and probably the audience wants dead. The scenes of Astor in her trance like state surrounded by befuddled onlookers adds laughably to this poorly executed work featuring a reputable cast of players directed haphazardly by Archie Mayo.
The Man with Two Faces is not much of a mystery with Jessica's brother played by Ed Robinson letting us in early on the plan, his dual role obvious to all but victim Vance, his unravelling not much of an enigma. Robinson is smug and annoying to a degree in both roles but they pale in comparison to Calhern's iniquitous turn that has everyone in the cast and probably the audience wants dead. The scenes of Astor in her trance like state surrounded by befuddled onlookers adds laughably to this poorly executed work featuring a reputable cast of players directed haphazardly by Archie Mayo.
The actor with hundreds of characters.
mark.waltz16 June 2020
Warning: Spoilers
Whether playing a murderous bootlegger, a G-Man, an insurance agent with a knack for spotting fraud or a traitorous Hebrew who would drowned his own people in the Nile for a spot of gold, Edward G. Robinson could do it all. Well maybe not sing and dance (although he did tap a bit on film), and in this brilliantly written black comedy, he superbly shows how getting away with murder is an art all its own. He's a veteran actor who is disturbed by the return of evil brother-in-law Louis Calhern and decides to protect fellow actor and sister Mary Astor even if it means his freedom. Robinson's Damon Welles is a master of disguise and utilizes his old drama credentials as his means for revenge, and in Calhern's last moments, the look on his eyes that he is being murdered is unforgettable. Now Robinson must create two alibi's, one for the disguise he was wearing, the other for himself. But a smart detective (Henry O'Neill) has his eyes on Robinson, and the very funny finale is filled with irony that the production code the very same year would soon fight against.
A brilliantly written psychological tale of how to get away with murder and have the audience convinced that you were justified, this gives Robinson perhaps one of his great roles, a scenery chewing one for sure, but your eyes will never go off of him,. Louis Calhern, a forgotten gem of the stage and screen, would be remembered in later years for playing lovable old grandfathers and distinguished gentlemen, but in the 1930's, he was adept at villain roles, and his character here is vile in every way. Charming on the outside but filled with venom in every word, he manipulates the beautiful Mary Astor into pretty much being in a trance and doing his every bidding. Ricardo Cortez and Mae Clarke are wasted in smaller roles that could have gone to lower down the rung supporting players, and Astor has had juicier parts, but they seem to know that they are in a production of high class. Every aspect of this film is glamorous and devious and delicious, and that is what makes a great pre-code melodrama that will have you clutching your armchair yet laughing at the same time.
A brilliantly written psychological tale of how to get away with murder and have the audience convinced that you were justified, this gives Robinson perhaps one of his great roles, a scenery chewing one for sure, but your eyes will never go off of him,. Louis Calhern, a forgotten gem of the stage and screen, would be remembered in later years for playing lovable old grandfathers and distinguished gentlemen, but in the 1930's, he was adept at villain roles, and his character here is vile in every way. Charming on the outside but filled with venom in every word, he manipulates the beautiful Mary Astor into pretty much being in a trance and doing his every bidding. Ricardo Cortez and Mae Clarke are wasted in smaller roles that could have gone to lower down the rung supporting players, and Astor has had juicier parts, but they seem to know that they are in a production of high class. Every aspect of this film is glamorous and devious and delicious, and that is what makes a great pre-code melodrama that will have you clutching your armchair yet laughing at the same time.
Nifty little tale
vincentlynch-moonoi5 November 2014
Warning: Spoilers
As I first began watching this film it was a little slow, but it picked up momentum and got fairly interesting. The plot involves a fine stage actress (Mary Astor) who is resuming her career after a 3 year hiatus. Her missing husband (Louis Calhern in a truly unsavory role) returns, and he seems to have an hypnotic affect on her (literally) and she loses all desire to act. Meanwhile, her brother (Edward G. Robinson) decides not to let Calhern ruin his sister's life once again, so he disguises himself and murders the fiend. Will he get away with it? Edward G. Robinson does nicely here, and a refreshing change from all his gangster roles of the era. He is particularly entertaining in his semi-dual role. Mary Astor may just overdo it slightly in her role when she is in a daze as a result of her husband's return; I generally liked her as an actress, but not so much here; that may be the director's fault. Ricardo Cortez is attractive, but not particularly good as a producer. Louis Calhern is simply sleazy as the villain here. Arthur Byron is pleasant as a doctor. David Landau has a very nice turn as a police sergeant. Emily Fitzroy is entertaining as the housekeeper. Henry O'Neill is present as a police inspector.
I wouldn't rate this as high as the television service did, but it's pretty good, and a good chance to see Robinson in his prime...but not as a gangster.
I wouldn't rate this as high as the television service did, but it's pretty good, and a good chance to see Robinson in his prime...but not as a gangster.
Completely Scuttled by the Ending
view_and_review29 April 2024
Warning: Spoilers
I'm having a hard time recalling a movie that sank itself so completely by the ending like "The Man with Two Faces" did. This movie was sailing along so smoothly then hit an iceberg that sank the ship and killed everyone onboard. It had everything to do with the way a detective solved the murder of Stanley Vance (Louis Calhern)--if you want to call it "solving" the murder.
The important characters were Damon Wells (Edward G. Robinson), Jessica Wells (Mary Astor), Ben Weston (Ricardo Cortez), and Stanley Vance (Louis Calhern). Ben was a play producer. His main actors were Damon and Jessica Wells, brother and sister. They all had big plans until Jessica's husband, Stanley Vance, showed up out of nowhere. When Stanley entered the home they were all congregated at, the proverbial record stopped playing. Everyone and everything came to a halt and everyone stared--or more accurately they glared at Stanley. It was clear that he was not welcome.
What was stranger was how Jessica, his wife, behaved when she saw him. She became impassive and blank. She started behaving like a robot awaiting specific instructions. From then on it was as if she was hypnotized. Hypnotized to obey none but her husband Stanley. As her brother Damon told Stanley, "Normally, my sister is the most promising young actress in America. But with you around, she turns into a colorless automaton that I wouldn't trust to carry a tray across the stage."
If it was just that Stanley had mind control over his wife, then that would be enough to make him an unlikeable figure, but beyond that he was a horrible person. If Jessica and the world were going to be free of Stanley, someone was going to have to buy him off or bump him off.
Damon opted to bump him off and his plan was ingenious.
Damon made himself up and pretended to be a Frenchman named Jules Chautard, someone interested in buying Jessica's stake in the theater production she was a part of. Stanley took over the negotiating with Chautard because his plan was to take the money and run, except Damon killed him.
Damon murdered Stanley in a hotel room, hid his body in a closet, wiped down everything, and left. The whole city was looking for Jules Chautard when he was just a fictional character.
Damon was totally in the clear except that he left behind a fake mustache. A fake mustache in reality wouldn't mean much of anything, but a detective named Curtis (David Landau) was able to piece together the entire murder from that one fake mustache.
First, he figured that an actor had to have been in that hotel room due to the fake mustache as if no one but actors could access fake mustaches. Second, he was able to recognize and remember that Damon Wells was an actor. Finally, and most improbably, Curtis recalled a role Damon Wells played fifteen years earlier in a small New York theater in which he played a Frenchman. Curtis put all of these tenuously connected things together and built a case on it.
His next move was to present this "evidence" and this theory to Damon. When I thought Damon would laugh in Curtis's face he did the opposite. He all but admitted his guilt. There was nothing to deny because Curtis hadn't made an accusation; all Damon had to do was scoff at the theory, or even brush it off like it was meaningless. Instead, he gave the theory credence by having an terribly worried look. It was a look of worry and surprise that he made such a simple mistake.
That was all Curtis needed. It was such a damper.
Here it is, Damon is supposed to be one of the finest actors in the country and he couldn't act innocent?!? A five-year-old could've acted more innocently than Damon did. What Curtis had was nothing more than a theory. In reality he didn't even have enough to get an arrest warrant. The only physical evidence he had was a fake mustache. Damon could EASILY deny it was his. After that, Curtis had NOTHING. So, for them to wrap up the movie with Curtis confirming his theory was juvenile and it totally ruined the movie.
Free on Odnoklassniki.
The important characters were Damon Wells (Edward G. Robinson), Jessica Wells (Mary Astor), Ben Weston (Ricardo Cortez), and Stanley Vance (Louis Calhern). Ben was a play producer. His main actors were Damon and Jessica Wells, brother and sister. They all had big plans until Jessica's husband, Stanley Vance, showed up out of nowhere. When Stanley entered the home they were all congregated at, the proverbial record stopped playing. Everyone and everything came to a halt and everyone stared--or more accurately they glared at Stanley. It was clear that he was not welcome.
What was stranger was how Jessica, his wife, behaved when she saw him. She became impassive and blank. She started behaving like a robot awaiting specific instructions. From then on it was as if she was hypnotized. Hypnotized to obey none but her husband Stanley. As her brother Damon told Stanley, "Normally, my sister is the most promising young actress in America. But with you around, she turns into a colorless automaton that I wouldn't trust to carry a tray across the stage."
If it was just that Stanley had mind control over his wife, then that would be enough to make him an unlikeable figure, but beyond that he was a horrible person. If Jessica and the world were going to be free of Stanley, someone was going to have to buy him off or bump him off.
Damon opted to bump him off and his plan was ingenious.
Damon made himself up and pretended to be a Frenchman named Jules Chautard, someone interested in buying Jessica's stake in the theater production she was a part of. Stanley took over the negotiating with Chautard because his plan was to take the money and run, except Damon killed him.
Damon murdered Stanley in a hotel room, hid his body in a closet, wiped down everything, and left. The whole city was looking for Jules Chautard when he was just a fictional character.
Damon was totally in the clear except that he left behind a fake mustache. A fake mustache in reality wouldn't mean much of anything, but a detective named Curtis (David Landau) was able to piece together the entire murder from that one fake mustache.
First, he figured that an actor had to have been in that hotel room due to the fake mustache as if no one but actors could access fake mustaches. Second, he was able to recognize and remember that Damon Wells was an actor. Finally, and most improbably, Curtis recalled a role Damon Wells played fifteen years earlier in a small New York theater in which he played a Frenchman. Curtis put all of these tenuously connected things together and built a case on it.
His next move was to present this "evidence" and this theory to Damon. When I thought Damon would laugh in Curtis's face he did the opposite. He all but admitted his guilt. There was nothing to deny because Curtis hadn't made an accusation; all Damon had to do was scoff at the theory, or even brush it off like it was meaningless. Instead, he gave the theory credence by having an terribly worried look. It was a look of worry and surprise that he made such a simple mistake.
That was all Curtis needed. It was such a damper.
Here it is, Damon is supposed to be one of the finest actors in the country and he couldn't act innocent?!? A five-year-old could've acted more innocently than Damon did. What Curtis had was nothing more than a theory. In reality he didn't even have enough to get an arrest warrant. The only physical evidence he had was a fake mustache. Damon could EASILY deny it was his. After that, Curtis had NOTHING. So, for them to wrap up the movie with Curtis confirming his theory was juvenile and it totally ruined the movie.
Free on Odnoklassniki.
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