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  • The main plot idea in this film is that two cousins are completely alike physically--so much so that when one substitutes for another no one knows! Although this is a familiar film and TV theme (such as in "The Patty Duke Show"), it is rather stupid--cousins don't look THAT close to each other and how could they account for the same voice and mannerisms? My advice is to try to look past this impossibility and just enjoy this wonderful film. And, by the way, that's my same advice for another Ronald Colman film made just a few years later--where, in THE PRISONER OF ZENDA, you are expected to believe that distant cousins are spitting images! Now, provided you can look past all this, the film is actually quite good.

    The film begins with Ronald Colman #1. He's a drug-addicted member of the British parliament and his party is disappointed in him again and again because he is almost totally incapacitated by the drug he drinks. They never really say WHAT it is--I assume it's Laudanum. Anyways, when this falling down addict discovers that he's got a long lost and identical cousin (Ronald Colman #2), he begs the cousin to take his place. Unfortunately, things do too well--as the longer the substitute pretends to be the once-great parliamentarian, the bigger his reputation becomes! To make things worse, Ronald Colman #1's estranged wife is now attracted to who she THINKS is her husband and Ronald Colmen #2 is too nice a guy to just sleep with her! The whole thing sounds a bit comedic, but it's not. However, it is a nice drama with romantic overtones.

    What makes it so good is the wonderful performances by Colman (he is his usual erudite self) as well as good writing--particularly the ending which is NOT what you'd normally expect and increased my love for this film immensely.
  • longchamps3 February 2007
    It is a shame this film is so hard to find. Ronald Coleman does an excellent job in his dual role of Chilcote/Loder. The two characters are quite opposite and I might venture to call his delivery remarkable. It is similar in some ways to the Prisoner of Zenda, which indeed is a good film, but I prefer the ending of this one. Elissa Landi, her usual sweet and serenely beautiful self, is the model of a faithful wife. She did an excellent job as the wronged, but still loving wife who returns to help her husband in a time of need. It is a great shame that she did not make more films and is not better remembered to-day. She almost always played gentle, ladylike, loving, and thoughtful roles and did so very convincingly. Combine that with being very pretty and you have a good actress in my opinion. Try to find this one on ebay!!
  • 'The Masquerader', an obscure drama starring Ronald Colman, is very similar in its premise and subplots to Colman's great vehicle 'The Prisoner of Zenda' ... but he did 'The Masquerader' first. As in 'Zenda', Colman plays lookalike cousins who meet after many years of living in two different countries ... one of whom has an opportunity to take over the other's life, while falling in love with the other man's disenchanted lady.

    Colman's main role is John Loder (no relation to the bland actor of that name), a disaffected journalist who returns to his native England after many years abroad. Loder's more successful cousin is Sir John Chilcote, a prominent member of Parliament. But Chilcote is secretly a morphine addict, and his addiction is becoming harder to conceal. Also concealed (not very well) is Chilcote's philandering relationship with Lady Joyce, while his estranged wife Eve (Lady Chilcote) is humiliated on the sidelines.

    When Sir John's addiction causes him to collapse just before he introduces a crucial piece of legislation, Chilcote's loyal manservant Brock persuades Loder to impersonate his cousin. Loder, pretending to be Chilcote, gives an impassioned speech on the floor of Commons. Lady Chilcote has been estranged from her husband for years; now, attending this speech, she wonders why she is suddenly attracted to her husband again ... not realising that this is actually Loder impersonating Lady Chilcote's husband. (Shades of Princess Flavia in 'Zenda'.) Meanwhile, Loder (still pretending to be Chilcote) is utterly cold to Chilcote's mistress Lady Joyce, much to her bafflement.

    SPOILERS COMING. Sir John dies of his addiction, without this becoming public knowledge. Brock persuades Loder to abandon his own life and become Sir John Chilcote permanently, appropriating Chilcote's wealth and reputation. Of course, this means that Loder will now be married to Lady Chilcote. Hmmm...

    'The Masquerader' is not very plausible, yet it's quite enjoyable. Ronald Colman gives two distinctly different performances in the lookalike roles... although his turn as the drug-addicted Chilcote is a bit too overwrought. Moss Hart's smooth dialogue papers over some of the cracks in the plot line. Gregg Toland's photography is up to his usual high standard, and I was especially impressed by the scenes in which both Ronald Colmans are on screen at the same go. (Most dual-role movies made during this period featured flat sideline lighting during the double-exposure sequences; Toland avoids this.) Also well-photographed is a night sequence in Hyde Park (filmed on the Goldwyn Studio's backlot); Toland keeps the lighting bright enough for us to see the action, but dark enough to minimise the obvious fakery of the scenery. Creighton Hale is good in a small role. In the role of Lady Eve Chilcote, Elissa Landi is appropriately patrician (and slightly less blonde than usual), but her performance is weak. In the role of Lady Joyce, Juliette Compton is so dull and unattractive that I had difficulty believing Sir John would ever prefer her to his wife. The studio reconstruction of the House of Commons is a lot more convincing than I expected it to be, especially for a Yank film. I'll rate this movie 8 out of 10.
  • I consider myself fortunate to finally get to see The Masquerader for the first time in about forty years. Ronald Colman's dual performance as a dissolute Member of Parliament and his lookalike writer cousin still holds up well.

    Finding out that the basis for the film version, a second version I might add of this film was a 1904 novel knocked certain notions from my head. I do think that the modern crisis alluded to in the film is based on the General Strike that Great Britain was undergoing in 1926. It would not surprise me if newsreels of the period were incorporated into the film. In real life however Stanley Baldwin's government was not toppled, in fact most historians give him great kudos for his handling of the crisis.

    As the story opens party members are looking to promising young MP Colman for some brilliant oratory that will topple the existing government which is unable to cope with a domestic crisis. Greatness calls but Colman is not answering. He's become alcohol and drug dependent with the demands of public life coming on top of a bad domestic situation with both wife Elissa Landi and mistress Juliette Compton making his private life hell as well.

    A passing run in that Colman has with his lookalike cousin gives butler Halliwell Hobbes an idea. Cousin Colman substitutes for the MP and does rally the party and becomes the toast of the nation. The cousin also has to do some fast thinking on his feet as far as the wife and mistress are concerned.

    I think the character of the MP is based on Lord Randolph Churchill who for reasons of his own dissolute enjoyment of the vices took a rapid tumble in a brilliant career to be. His son certainly fulfilled the promise that that father had. As for the film itself I venture to say that the lookalike substitution may have its inspiration from The Man In The Iron Mask. And if you think about the MGM comedy Callaway Went Thataway has a very similar plot development. Of course that one was played strictly laughs and laughs are very few in The Masquerader.

    Ronald Colman was nothing short of brilliant here, excelling in both roles. Kudos should also be given to Halliwell Hobbes who played many butlers in his career, but was never better here. In the end Hobbes is entrusted with a secret that could involve the history of the realm itself.

    Ronald Colman is better known for playing that other dual role in The Prisoner Of Zenda. He may very well have been cast in that part by David O. Selznick on the strength of what he did here in The Masquerader.
  • Warning: Spoilers
    This film offers yet another outstanding performance by Ronald Colman playing two different characters. If anyone has seen the film "Dave" with Kevin Kline, they will be shocked to find that this film was not only the inspiration for that film, but it was much darker (Particularly as it relates to John Chilcote's drug addiction), and Spoilers Ahead: The ending was even more twisted because John Loder (Chilcote's look a like cousin), in order to save England, had to remain playing Chilcote (Including being with Eve (A woman he loves, but was willing to walk away from because she was Chilcote's neglected wife)).

    The reason why this film was neglected is it was a Goldwyn Studios Film (Like all of Colman's early work), and distributed by MGM. MGM is the kiss of death for classic movies, and at least in this case, it will become better known because Warner Brothers bought the license. If anyone knows how Warner Bros works, they will know they do everything possible to complete and restore their film library (RKO is a huge part of it, and the 21 RKO Titles they acquired out of 74 Goldwyn Films is their primary motivation behind the deal). When this film is restored, and released on DVD, everyone will see what a classic it is. ps I think after getting the license Warner's will never surrender the rights to these films, and film fans will all benefit. Making this rarity more available, is why it is a great deal.
  • There's no question but that "The Masquerader" is dated. This 1933 movie is set in a London contemporaneous with the era in which it was filmed and portrays a highly stratified social milieu that has all but disappeared in the intervening eight decades; one is almost surprised that the constable at the doors of the House of Commons doesn't pull his forelock as he addresses the parliamentarians who emerge. But the movie is nimbly and deftly made and features both good acting in its principal and secondary roles and sure direction by Richard Wallace. Portraying both the dissolute Sir John Chilcote and his identical cousin John Loder, Ronald Colman is afforded the opportunity to display both his louche and noble sides (qualities he was to exploit to greater advantage in "A Tale of Two Cities" made two years later) and Colman makes the most of it. He's ably assisted here by Elissa Landi, Juliette Compton and the ubiquitous Halliwell Hobbes (playing his faithful, if long-suffering manservant, Brock). And, really, it's the acting that makes this movie come to life; in the hands of lesser thespians the much-used plot and only serviceable dialogue would begin to display the threadbare attributes of the cinematically shop-worn. But good acting always has the ability to move us... or it should. The joy that Colman's and Landi's characters feel when the expected but nonetheless surprising ending to "The Masquerader" rolls 'round is palpable and -- in a cool, present-day cinematic era when highly charged emotion is regarded as somewhat suspect -- refreshing.
  • Warning: Spoilers
    The director treats this one as a photographed stage play, employing little camera movement, using few, if any, reverse angles, and no doubt encouraging his players to over-act. The script is rather wordy, but the players manage to pull it off with only a dull moment here and there. Despite the advertising build-up, the story holds little suspense as it's obvious how the movie will end, given that this was a pre-code production. Gregg Toland's noirish camera-work sets the right mood of tragic elegance, and the movie is nothing if not expansively produced. The special effects are so well contrived, few people will be aware of their technical brilliance. Of the players, Juliette Compton of "Woman to Woman" (1929) not only gives a fine performance here, but is glamorously wardrobed and photographed as well. Elissa Landi runs her close.
  • The Masquerader (1933) is a Pre-Code beguiling mix of suspense, romance and humor. Ronald Colman is at his best in a dual role as member of Parliament (with a drug addiction) who asks his look-alike cousin (a political journalist) to fill in for him both professionally and domestically. Elissa Landi, as the wife, offers her unique persona and natural nuance in a captivating portrayal. The multi-gifted actress composed and played the lilting Sonata in F Minor for the film. The performances are complimented by the exquisite deep-focus camerawork of Gregg Toland, and director Richard Wallace's ability to make the fantastic seem probable.
  • Leofwine_draca24 December 2016
    Warning: Spoilers
    THE MASQUERADER is a star vehicle for popular actor Ronald Colman who gets to play not one but two different roles in this production. His first is as a drunken politician in the midst of battling a drug addiction that's threatening to destroy his career. His second is as the politician's lookalike cousin who is tasked with impersonating the politician and thus giving him time to get himself back on his feet.

    This type of tale is a familiar one and in THE MASQUERADER's favour, the film utilises some very impressive split screen effects which are almost as good as the one seen decades later in the likes of Van Damme's DOUBLE IMPACT. Colman convinces in the two opposing roles, so it's a pity that the storyline is so weak and dreary. Instead of being full of high drama and important character stuff, THE MASQUERADER just sort of plods along aimlessly, focusing too much on relationships and not on the important career stuff. The twist ending can be seen a mile off and the pacing is so slow that sleep constantly threatens to overwhelm the viewer.
  • Warning: Spoilers
    After getting We Joined the Navy and One Way Out ,I started looking for a final title that me and my dad could watch over the Easter holiday. Talking to a DVD seller,I got directed to a very unique- sounding movie,which led to me joining the masquerade.

    The plot:

    Returning to London for the first time in years,actor John Loder sees his cousin Sir John Chilcote fail to deliver a major speech in parliament, due to fainting over having had so many drink and drugs. Ending up a complete mess,Chilcote's staff,wife and mistress fear the effect his vices will have on parliament. Learning of Loder (who has a distinctive scar on one of his wrists) a servant of Chilcote comes up with the idea of getting Loder to hide his scar and pretend to be Chilcote,whilst the real one dries up. Agreeing to the plan,Loder joins in the masquerade.

    View on the film:

    Seeing double four years before he would go to Hollywood for a similar plot in The Prisoner of Zenda, Ronald Colman gives not one,but two magnetic performances. Stumbling out of parliament,Colman sends Chilcote walking across the screen with a visible whiff of booze,as Chilcote huffs and puffs round everyone who gets in the way of his hands being filled with drink and drugs. Looking rather dashing in his London fog intro,Colman gives Loder an enticing,heroic stride,shining from Loder delivering the perfect off the cuff one-liner,to charming any girl in his sight. Trying to hide his scar, Colman gives Loder an awareness that his fake identity could be unmasked at any time.

    Despite there being some muffled moments making the troubles "talkies" had easy to hear, director Richard Wallace and cinematographer Gregg Toland giving this tale a stylised elegance,via Toland'd dazzling depth of field making Chilcote's broken state stand out in the shadows of his house. Backed by a sweeping score from Alfred Newman,Wallace gives the flick a sweet romantic mood in soft focus close-up witnessing everyone fall for Loder.

    Going to the masquerade based on John Hunter Booth's book and Katherine Cecil Thurston's play,the screenplay by Howard Estabrook and Moss Hart crosses Chilcote and Loder with a whimsical Prince and the Pauper quality,that becomes increasingly prominent as Loder finds himself criss-crossing paths with a drunk Chilcote. Wisely not going to hard on the satirical offerings,the writers give a witty, underlying theme of Loder's skills gained from the entertainment industry helping him become the masquerade.