The Amazing Dr. Clitterhouse (1938) 7.0
Black comedy about a brilliant Park Avenue doctor who becomes a criminal in order to do research into the criminal mind. Director:Anatole Litvak |
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The Amazing Dr. Clitterhouse (1938) 7.0
Black comedy about a brilliant Park Avenue doctor who becomes a criminal in order to do research into the criminal mind. Director:Anatole Litvak |
|
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| Cast overview, first billed only: | |||
| Edward G. Robinson | ... | ||
| Claire Trevor | ... |
Jo Keller
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| Humphrey Bogart | ... | ||
| Allen Jenkins | ... |
Okay
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| Donald Crisp | ... |
Inspector Lane
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Gale Page | ... |
Nurse Randolph
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Henry O'Neill | ... |
Judge
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| John Litel | ... |
Prosecuting Attorney
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Thurston Hall | ... |
Grant
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Max 'Slapsie Maxie' Rosenbloom | ... |
Butch
(as Maxie Rosenbloom)
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Bert Hanlon | ... |
Pat
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Curt Bois | ... |
Rabbit
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| Ward Bond | ... |
Tug
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Vladimir Sokoloff | ... |
Popus
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Billy Wayne | ... |
Candy
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Dr. Clitterhouse is fascinated with the working of the criminal mind. His interest is so deep that he finds the best way to observe criminals in action is to become one himself! Whilst robbing a safe at an exclusive party he stumbles across an organized gang trying to the same thing. He teams up with the gang to observe them in action but one of the members, Rocks Valentine would like nothing better than to see Clitterhouse out of the way. Written by Col Needham <col@imdb.com>
The Hollywood films from the '30s and '40s that are celebrated are often much inferior to the many clever forgotten and unpretentious films. "Dr. Clitterhouse" is twice as good as the two Fritz Lang pictures Robinson made, ten times better than Howard Hawks's silly, static "BAll of Fire" and 20 times better than CApra's pretentious 'black comedy' "Arsenic and Old Lace." It's fascinating not just because of the intricate, psychological, talk-heavy, crime-caper script written by John Huston and two others, but because Robinson, in his 'up' 'hyperactive' mode is beyond fascinating to watch. He plays a psychologist writing a thesis on criminality who goes undercover with a bunch of thieves led by Bogart, helping them rob better by planning their heists, while he studies them. Like Gable, Muni, Garfield, Cagney, and the Bogart of the post-Maltese-Falcon years, Robinson, when he's in 'gangsta' or 'noir' mode, is one of those immortal characters that given half a chance, a decent script and passable direction always transcends and makes a film watchable. Given Orson Welles or Billy Wilder, he ends up in masterpieces. If you like this film also check out "Tampico" and "Unholy Partners," two other forgotten Edward G.Robinson classics.