Diagonaldi
Very well executed
Exoticalot
People are voting emotionally.
Logan
By the time the dramatic fireworks start popping off, each one feels earned.
LeonLouisRicci
Edgy Pre-Coder with a Number of Memorable Scenes and Some Interesting Camera Shots. Warren William Plays a Sleazy Huckster who Could Con the Feathers off a Pigeon but Could Not Sell a Brush to Keep from Starving.A Fine Cast and a Carnival Atmosphere with a Second Act Demeaning Rich Folks as Adulterous Asses (typical for Films in the depression) and Deserving of the Exposing that the "Mind Reader" Lays Out for the Suspecting Wives.In Support, there is the Beautiful Constance Cummings as the Love Interest and Allen Jenkins as a Bombastic and Loud Mouthed Sidekick. It's a Good Entertainment with a Sombre Theme and Enough Angst to Make it a Winner. Most of the Pre-Code Stuff comes from Implication and Dialog. References to Underage Girls being Preyed Upon and Other Nastiness. The Ending is a Double Edge Contrivance and may Sit Differently Depending on Personal Expectations. A Powerful Movie but there is One Similar Film that is even Better, Creepy, and Navarious. Nightmare Alley (1942), One of the Best Film-Noir and Starring an Unlikely Tyrone Power.
dougdoepke
A con-man works his way up the fortune-telling ladder only to find his life is not made better.The con-man role is tailor made for the commanding Warren William. His Chandra The Fortune Teller is such a masterful stage presence who in the audience would dare challenge his psychic gift. Never mind that his shifty confederate Frank (Jenkins) is feeding him answers telephonically. It makes for a heckuva show, and the rubes keep coming, sometimes ruefully so. Oddly, I found myself being anxious when there's problems with the messaging relay from Frank. That is, do I really want Chandra to succeed in his criminal con job. Yet I couldn't help being torn. Anyway, notice in passing, how the map shows Chandra first touring smaller border state towns, nothing big yet. That will come later, once he hones his act. Cummings (Sylvia) makes an attractive love interest, even if the script presents her flip-flops in a pretty implausible light. Also, the familiar Allen Jenkins plays his part pretty straight, unlike many of his comedic side-kick parts. Now, you might think, courtesy the screenplay, that every upper-class husband in New York has a silken mistress, leaving a broken-hearted wife behind. Then too, I suspect that dark suspicion played well with Depression era audiences. But once Chandra goes big-time, there are no more rubes, only the sleek and well upholstered. Frankly, I didn't like the big turnaround that comes last. After all, this is pre-Code, so abject mea-culpa endings aren't required as they soon would be. Up to that point, the story really deserves a climax more ironic than the implausibly conventional. (Check out the similar Nightmare Alley {1947} for a more apt ending.)Anyway, William has to be one of the neglected delights of that long ago period. Passing away in 1948 means he had no post-war credits to speak of. Thus he's largely unknown even to many old movie fans. It's that pre-Code period, before his serial programmers (Perry Mason, the Lone Wolf), where he really shines, usually as an ethically challenged big-wig (Employee's Entrance {1933}; Skyscraper Souls {1932}). And there's no one better. Plus, he's good enough here to make even the flawed, albeit interesting, script well worth watching.
mukava991
A trio of con artists (Warren William, Allen Jenkins and Clarence Muse) travels from city to city in middle America swindling suckers with a bogus mind reading act featuring William as "Chandra the Great," complete with turban and crystal ball. We the screen audience get to see the trickery behind his apparent clairvoyance, but a pretty, unemployed stenographer (Constance Cummings) is not so fortunate, and besotted with William's talents, joins his itinerant enterprise. Eventually she finds out what is really going on, but by then it's too late because she has fallen in love with her employer, and he with her. To elaborate further would spoil the impact of this unusual pre-Code film, but I will say that its chief problem is that Cummings is just too smart to be as innocently unaware of certain things as the screenplay tries to make her, so we stop taking the story seriously. However, there remains much witty and mature dialogue, striking cinematography, and this interesting group of performers. William gets the opportunity to play the on- and offstage modes of his character and also makes the most of an extended drunk scene. Cummings, largely wasted here, projects a tart intelligence that is probably more than the role deserves. Jenkins, the eternal sidekick, gets a generous share of the verbal zingers and Muse's role goes beyond the subservient nonsense usually assigned to black supporting players at that time. Mayo Methot, the future Mrs. Humphrey Bogart, appears briefly as a grief-deranged victim of Chandra's charlatanry.Like so many feature films of the early 30's, this one moves along briskly so that none of its improbabilities have time to sink in and ruin the fun.
John Seal
The ever affable Warren William stars as the title character, a traveling carny who engages in crooked confidence scams with his colleagues Frank and Sam (Allen Jenkins and Clarence Muse). He falls for one of his victims, a charming young thing played by the beautiful Constance Cummings, who gets her man back on the straight and narrow--only to find him falling off the wagon when a new job hawking brushes door-to-door doesn't quite pan out. Thanks to Stephen Sondheim, this classic 'B' feature returned to television recently, and it's quite a revelation. Filled with pre-Code flavor, including references to the Mann Act, drug abuse, and oodles of adultery, The Mind Reader is far from being a one-trick pony: it also features a well developed screenplay by Robert Lord and Wilson Mizner, impressive expressionistic photography by the reliable Sol Polito, and some stunning art deco set design by Robert Haas. It all comes together beautifully thanks to director Roy Del Ruth, but the real revelation for me was the acting of Ms. Cummings--still with us as I write this! Besides looking radiant, she delivers a tour-de-force performance as the put upon Sylvia, whose innocence soon turns to anger and resignation when she realizes the true nature of her husband's work. As would be expected, William and Jenkins are both excellent, and Muse gets a sizable and generally dignified role as well. For any number of reasons, this is a wonderful relic of 1930s cinema that needs to get a DVD release. Happily, TCM's print has been well preserved and looks as good or better than any big budget classic from the period.
