Emphasis on the Word Mad
I feel like no other decade seems to have as many obscure gems lost to time as the 1930’s; case in point, The Mad Genius. Coming out in the same year as the iconic adaptations of Frankenstein, Dracula, and Dr. Jekyll & Mr. Hyde; but in my humble opinion, The Mad Genius is a better and more intriguing film than any of those.
The opening of The Mad Genius does a superb job at setting a time and place; central Europe in the early 20th century. There is an impeccable level of detail in creating the world of a traveling performer; with the falling of the rain, the wind and the sound of horse and carriage taking full advantage of sound technology to create a world. Equally as impressive is Vladimar Ivan Tsarakov’s (John Barrymore) Berlin theatre and the large-scale stage set with hints of German expressionism throughout and the widespread use of music in the soundtrack, unlike other early talkies.
John Barrymore is (unsurprisingly) mesmerising as Vladimar Ivan Tsarakov (quite a name), one of the most repulsive characters he ever played as he spends the movie spewing pompous and at times mad scientist like dialogue. He has a misogynistic attitude towards women and is even seen ogling up the skirts of his dancers, in one of the film’s very pre-code elements. He is even a drug dealer, although the word drug is never used in the film nor is it identified what substances appear in the film. In one scene in which he refuses to deal drugs with the stage director played by Luis Alberni, I love his summary on drugs when he throws them into the fire; “If I drop this, you will be free, but you will suffer of course, but in the end, you will be happier than you could ever dream”. Likewise In one of the movie’s comic highlights, there is an early use of profanity in the film; “It’s unbelievable that there’s any human being living, who should be such a stupid ass”.
One of the many interesting observations in The Mad Genius is the combination of elements from other movies. The plot itself is derivative of Barrymore’s previous horror outing Svengali, while Tsarakov’s desire to create a great ballet dancer out of a young boy is a variation on Dr. Frankenstein (which the movie itself alludes to). When Tsarakov is wearing on overcoat he is bent over like Quasimodo; Barrymore’s facial appearance is very similar to that of Bela Lugosi in White Zombie, likewise, his voice is reminiscent of Lugosi’s Dracula. The theatre setting has vibes of The Phantom of the Opera and perhaps most interestingly are the elements of The Red Shoes with the film’s inclusion of ballet and the themes of going to extremes for one’s art. Could Powell and Pressburger have taken inspiration from The Mad Genius?