Svengali (1931): Hypnotic, Creepy, and All John Barrymore

Okay, so Svengali from 1931. Is it worth checking out today? Yeah, if you’re a real movie buff, especially someone into those super early talkies and a bit of gothic melodrama. It’s got a particular, almost stagey, charm. But if you’re looking for anything fast-paced or subtle, you might find yourself a little bored. It’s definitely not for everyone, but it’s a fascinating peek into old Hollywood.

John Barrymore as Svengali? Wow. He is just… *a lot*. His performance is so big, so theatrical, it’s like he’s trying to hypnotize the audience right through the screen. Those eyes, man, they practically bore into you during his close-ups. You honestly can’t look away from him, even when he’s being incredibly creepy. It's magnetic, in a strange way. 😵‍💫

He plays this music teacher, a real piece of work, who sets his sights on Trilby, played by Marian Marsh. She’s this laundress in Paris, living among a bunch of bohemian artists. The early scenes in the artist's quarter feel kinda grimy and authentic, a nice contrast to the later grandeur.

The whole premise is, Svengali can control her mind, make her sing like an angel, even though she has no natural talent. It's a classic mad genius story, but for 1931, the mind control stuff must have felt really chilling. There's this one moment where he just *stares* at her across the room for what feels like an eternity. It’s a very long, intense shot, and you almost feel uncomfortable just watching it.

When he starts doing his hypnosis, it's not subtle at all. Barrymore makes these wild gestures, and Marsh just kinda... goes blank. It’s not how we’d show it now, but for the time, it’s pretty effective at conveying that loss of will. You can almost feel the movie trying to convince you this moment matters, and Barrymore sells it.

Trilby's transformation from simple girl to famous singer happens pretty quick once Svengali gets his hooks in. It's all about her being his instrument. You never really get a sense of her own feelings, because he’s always there, pulling the strings. It makes you wonder about the person underneath, you know?

The pacing is a bit of a mixed bag. Some scenes really linger, which is great for building atmosphere around Barrymore's intensity. Other times, the story moves along quite briskly, almost skipping over things. It's a different rhythm than modern films, for sure. The sound quality, too, has that early talkie echo to it in some of the bigger sets, which just adds to the old-world feel.

I caught myself noticing little things. Like, in one of the crowd scenes, the extras look a bit stiff, almost like they’re not quite sure where the camera is. Small detail, but it makes you remember you’re watching something from a different era of filmmaking. Or the fact that Svengali's apartment is incredibly grand, despite his supposed humble beginnings. A bit of cinematic convenience there, maybe? 🤔

The ending, without giving too much away, wraps things up in a way that feels both dramatic and, well, a little abrupt. It’s not quite the neat bow you might expect, but it fits the film’s overall slightly unhinged vibe. It feels like someone took notes during or immediately after watching the movie, a classic finish to a very particular kind of tale.