John Barrymmore plays a puppeteer who takes in a small boy who grows to be a great dancer. Things get dicey when the boy's eye strays from dancing toward one girl in particular.Intrguing pre-code film that, at times, has Barrymore giving a great performance. Watch his early scenes and you'll see just how good he was. During bits later in the film he seems to be phoning it in but he's still a joy to behold. The movie itself is a potboiler in the Svengali mode, but it's entertaining. I love the ballet sets which are decidedly of the time the film was made.Worth a peak.

Warner Brothers were clearly eager to give the 1931 public what it wanted and also consolidate the success of SVENGALI made earlier that year by instantly reuniting the leads from that film – John Barrymore and Marian Marsh – in a quickly rehashed potboiler on similar lines. Barrymore is an embittered puppeteer whose lameness had dashed his dreams of a dancing career but, as fate would have it, is provided with the opportunity of living that glory vicariously through the agile street urchin he saves one day from the clutches of his cruel father (a small role for a pre-fame Boris Karloff). Growing up to be a peerless dancer (played by an uncharismatic Donald Cook) through the ruthless patronage of his foster father, he is ready to give it all up for the love of an innocent girl in the show (Marsh) but, needless to say, Barrymore will not let anything stand in the way of art and his ambitious plans for the prized pupil. Amusing sidekick Charles Butterworth helplessly looks on as Barrymore sadistically convinces dope-addicted choreographer (Luis Alberni) to fire Marsh but Cook overhears their heinous scheme and this causes a rift between impresario and protégé. Years pass but more scheming on Barrymore's part enables the estrangement of the lovers and the rekindling of the working relationship between father and son. Once again, however, fate intervenes with Barrymore eventually getting his just desserts at the hands of the distraught Alberni – on stage during the performance of what was to be Cook's crowning achievement! Admittedly, the plot is much inferior to that of SVENGALI but an unhinged Barrymore is always worth watching, Marsh is typically lovely while Michael Curtiz's expressionistic direction (his first of three notable forays in the genre) and Anton Grot's stylish sets lend the production a touch of class that keeps one watching if not exactly enthralled.

There is a story that has since become part of Hollywood folklore that Boris Karloff, still a relatively unknown supporting player, was summoned to the office of director Michael Curtiz. The Hungarian expatriate took one look at the slender, soft spoken Englishman and allegedly said "Good God, you're not Russian! I sent for you because your name is Karloff. It certainly sounds Russian! Oh well, now that you're here I guess I'll have to use you." It seems like a lot to go through for a role that lasts about 2 minutes onscreen and was probably completed in 1 day but Boris got the part anyway. In truth, Boris is so convincing hidden behind a beard and using a Russian accent that many people do not realise it is him! In those pre-FRANKENSTEIN days you could also spot Karloff in THE YELLOW TICKET in which he has no lines at all; or in THE PUBLIC DEFENDER where he is quite noticeable; or even CRACKED NUTS where he appeared opposite comedians Wheeler and Woolsey. It was not long after THE MAD GENIUS that director James Whale asked Karloff to test for, as he (Whale) put it, " . . .a damned awful monster." The rest, as they say, is history. Frankie Darro, whose role is almost as small as Boris', had already costared with Rin Tin Tin Sr in THE LIGHTNING WARRIOR (1930) and would meet up with Rinty Jr in THE WOLF DOG (1934).

In another of John Barrymore's bizarre characterizations the great actor portrays a club-footed itinerant puppeteer who rescues an abused boy from vile existence,recognizes the lad's incredible of agility and footwork and begins to train the youngster to be a "new" Nijinsky.Years go by,the boy reaches manhood,and Barrymore the impresario of a successful ballet company.But when the ballet dancer begins to have ideas of his own,falls in love with pretty Marian Marsh,Barrymore,consumed with madness and jealousy attempts to manipulate their lives leading to shocking results. This extraordinary film oscillates between intriguing drama and moments of near horror with Barrymore in masterly control of his human puppets. Boris Karloff is the boy's monstrous father and Luis Alberni stands out as the drug-addicted ballet director.Magnificent direction by Michael Curtiz