This 1954 British color version of SVENGALI has always gotten the short end of the stick in my opinion. A lot of that has to do with the fact that it’s always compared to the legendary 1931 version with John Barrymore but it’s like comparing apples and oranges. This version has gorgeous color photography, is well lit, contains atmospheric studio sets (it looks like John Huston’s MOULIN ROUGE) and it puts the emphasis back on Trilby rather than Svengali. After all TRILBY is Du Maurier’s original title. Director Noel Langley, best known for his written adaptations of THE WIZARD OF OZ and Alastair Sim’s A CHRISTMAS CAROL, gets a more ensemble effect from his actors which allows for more character development from the supporting players especially Billie’s artist friends. Just as in the Barrymore version, a number of liberties have been taken with the original story (though different liberties) especially the ending but remember this was England in the mid 1950s so certain allowances needed to be made. Chances are that if Barrymore’s version had not been a pre-Code vehicle, made before 1934 when the Production Code began to be enforced, then the results might have been the same.
Most of the criticism regarding this version has been leveled at Hildegard Neff (actually Knef) who makes no attempt to hide her German origins when Trilby is supposed to be Irish. Although it can be disconcerting at first, the further you get into the movie the more she seems like Trilby especially after she embarks on her singing career. BTW that’s Elizabeth Schwarzkopf singing for Neff in the opera scenes. Donald Wolfit, no stranger to over the top performances, actually manages to somewhat underplay his role as Svengali. The role was intended for Robert Newton who would have been WAY over the top but his drinking got him dismissed and Wolfit stepped in. Praise should be given to VCI for making this rare film available as part of their British film series. The source print is a little soft and the colors occasionally fade at the reel changes but overall it looks very good for a public domain copy. In the end it may not measure up to the John Barrymore film but it’s way better than the modern update from 1983 with Peter O’Toole and Jodie Foster. Just so you can make your own comparisons, VCI has also included a pristine version of the 1931 Barrymore version (incorrectly listed as 1934) on this DVD.
The Capsule Critic 