IMDb RATING
6.3/10
2.1K
YOUR RATING
In 1903, a doctor suspects murder in the gothic Bederaux family.In 1903, a doctor suspects murder in the gothic Bederaux family.In 1903, a doctor suspects murder in the gothic Bederaux family.
- Nominated for 1 Oscar
- 1 nomination total
Richard Bartell
- Hospital Intern
- (uncredited)
Edward Biby
- Art Exhibition Guest
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe title is a common variation of a line from Hippocrates, the Greek Father of Medicine: "Life is short, art is long, decision difficult, and experiment perilous." The line is recited by Nick Bederaux in the film.
- GoofsDr. Huntington Bailey rings a doorbell at street level, but when he steps through the door into his friend's apartment, they are on an upper floor.
- Quotes
Nick Bederaux: Life is short and the art long. Decision difficult, experiment perilous.
Featured review
A Pleasure to Look At
Beautifully mounted recreation of 19th century New York, which is not surprising since this was RKO's golden age of set design and art direction. Those wall encased aquariums that line the main hall are shrewdly suggestive that anything might happen in such an exotic old mansion. Note too, the constant presence of snow on the sidewalks, a realistic and atmospheric touch unusual because of the expense.
The opening scenes foreshadow dangers to come-- the locomotive plowing through flooded tracks, the odd "birdlike" passenger who intrudes with her strange story. All of this had me thinking the movie would be special. Indeed, the first half is intriguing as the doctor (Brent) delves further into the mysterious death of the birdlike woman. However, the second half flattens out into a rather static drawingroom drama that fails to generate the kind of edge-of-the-seat climax that's needed.
George Brent was never a charismatic leading man, bland at best. Here, however, he blends right in as the stolidly responsible doctor who can be believed. The trouble is that the script follows him around for almost the entire time, and since he's seldom privy to events with the boy, we don't get much sense of the menace surrounding the boy that should drive the suspense, but doesn't. La Marr, of course, looks exquisite as the script requires; nonetheless, her skills as a besieged wife are considerably less than those of Ingrid Bergmann in the remarkably similar Gaslight (1944). Then too, Paul Lukas lacks the kind of conniving charm that the part calls for, making the showdown less a revelation of his true character, than a simple extension.
On the other hand, the movie has the great Albert Decker as a maverick sculptor who breathes real life into the proceedings, along with a terrific explosion and fire that's a real grabber. However, I'm still puzzling over that awkward epilogue involving the cop at movie's end. Was that to satisfy Code requirements that nothing gets past the police since there is an element of deception that would otherwise be left hanging. Anyway, whatever the movie's shortcomings, it remains unerringly pictorial throughout, a tribute to the artistic eye of director Jacques Tourneur and the RKO art department.
The opening scenes foreshadow dangers to come-- the locomotive plowing through flooded tracks, the odd "birdlike" passenger who intrudes with her strange story. All of this had me thinking the movie would be special. Indeed, the first half is intriguing as the doctor (Brent) delves further into the mysterious death of the birdlike woman. However, the second half flattens out into a rather static drawingroom drama that fails to generate the kind of edge-of-the-seat climax that's needed.
George Brent was never a charismatic leading man, bland at best. Here, however, he blends right in as the stolidly responsible doctor who can be believed. The trouble is that the script follows him around for almost the entire time, and since he's seldom privy to events with the boy, we don't get much sense of the menace surrounding the boy that should drive the suspense, but doesn't. La Marr, of course, looks exquisite as the script requires; nonetheless, her skills as a besieged wife are considerably less than those of Ingrid Bergmann in the remarkably similar Gaslight (1944). Then too, Paul Lukas lacks the kind of conniving charm that the part calls for, making the showdown less a revelation of his true character, than a simple extension.
On the other hand, the movie has the great Albert Decker as a maverick sculptor who breathes real life into the proceedings, along with a terrific explosion and fire that's a real grabber. However, I'm still puzzling over that awkward epilogue involving the cop at movie's end. Was that to satisfy Code requirements that nothing gets past the police since there is an element of deception that would otherwise be left hanging. Anyway, whatever the movie's shortcomings, it remains unerringly pictorial throughout, a tribute to the artistic eye of director Jacques Tourneur and the RKO art department.
helpful•112
- dougdoepke
- Apr 21, 2008
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Details
- Runtime1 hour 31 minutes
- Color
- Aspect ratio
- 1.37 : 1
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