The reputation of George Arliss, the third actor to win the Best Actor Oscar for DISRAELI, has been unfairly buffeted because of the series of biographical films he made in the early days of talkies. These are dismissed as nonsensical or slapdash or formulaic. Actually while a trifle old fashioned, Arliss's performances are always excellent, and several of the films (CARDINAL RICHELIEU and THE HOUSE OF ROTHSCHILD) have merits of their own. But the proof of Arliss's ability as an actor is in the non-biographical films. This one, THE LAST GENTLEMAN, is a good film to start with.
Cabot Barr is the last New England aristocrat (as witness his first name). Living on a large estate, he is deeply disgruntled because of his son and heir, Judd Barr (Donald Meek). Meek is a spendthrift gambler, and is seeking to get an advance on his inheritance or to get control of the estate. Barr loves the past, a slower more traditional and staid period. He keeps having the family butler (Edward Ellis) start and restart the old tune, "Put On Your Old Gray Bonnet" on his Victrola. He has peacocks strolling on his lawn. Barr keeps looking for someone among his family to turn to who can be a better heir than the disgusting Judd. But it has to be somebody who can pass on the family name he is proud of.
As in all of his films, the crusty, intelligent Arliss has a sense of humor. He plays and replays the song because he knows it annoys a lot of people (like his sister, played by Edna Mae Oliver). The high point of the film is when a psychiatrist arrives, brought in by Judd to declare the old man incompetent. Arliss confronts the psychiatrist, and skillfully proves he is totally in control of his mind and his senses. The psychiatrist agrees, and leaves (glaring at Judd). Judd tries to paper over this really dreadful action, but Arliss, quietly and effectively tells him to leave, and never see him again. In some ways it may have been George Arliss's most effective moment on screen - or at least among them.
The conclusion of the film is pretty well summarized in the plot synopsis on this thread. The filmed will is a nice surprise, as is the way Arliss cleverly leaves the land of the living by passing out of a side door at the end of the will. But best is his treatment of Judd, to whom he decides to leave the peacocks.
Cabot Barr is the last New England aristocrat (as witness his first name). Living on a large estate, he is deeply disgruntled because of his son and heir, Judd Barr (Donald Meek). Meek is a spendthrift gambler, and is seeking to get an advance on his inheritance or to get control of the estate. Barr loves the past, a slower more traditional and staid period. He keeps having the family butler (Edward Ellis) start and restart the old tune, "Put On Your Old Gray Bonnet" on his Victrola. He has peacocks strolling on his lawn. Barr keeps looking for someone among his family to turn to who can be a better heir than the disgusting Judd. But it has to be somebody who can pass on the family name he is proud of.
As in all of his films, the crusty, intelligent Arliss has a sense of humor. He plays and replays the song because he knows it annoys a lot of people (like his sister, played by Edna Mae Oliver). The high point of the film is when a psychiatrist arrives, brought in by Judd to declare the old man incompetent. Arliss confronts the psychiatrist, and skillfully proves he is totally in control of his mind and his senses. The psychiatrist agrees, and leaves (glaring at Judd). Judd tries to paper over this really dreadful action, but Arliss, quietly and effectively tells him to leave, and never see him again. In some ways it may have been George Arliss's most effective moment on screen - or at least among them.
The conclusion of the film is pretty well summarized in the plot synopsis on this thread. The filmed will is a nice surprise, as is the way Arliss cleverly leaves the land of the living by passing out of a side door at the end of the will. But best is his treatment of Judd, to whom he decides to leave the peacocks.