El destino de un caballero

I certainly agree with Ron Oliver that this is a lousy movie, but the great John Gilbert has a few scenes in this mish-mash that show yet again what a terrific career he could have had in talkies if Mayer hadn't been such a vindictive pig and Thalberg a spineless wimp.

The opening sequence is good and Gilbert is in terrific voice as he sets about to prepare for his day with fiancée Leila Hyams. In a later scene with Louis Wolheim, Gilbert is terrific as he defies the fate of his life and declares his hatred of the rackets and his love for.....

Nothing much in this film works very well and it's solid proof of the crap Mayer handed Gilbert to star in as he tried to force Gilbert to break his contract. Most of Gilbert's talkies are lousy films, but he always comes off rather well, and the films DOWNSTAIRS and THE PHANTOM OF Paris are actually pretty good. Gilbert never gave in to Mayer; he finished his contract with MGM even though he knew the rotten films were finishing is career as a star actor.

Mayer is famous for his petty vengeances and his hatred ruined the careers of Buster Keaton, Lillian Gish, William Haines, and eventually Ramon Novarro. Later Mayer ruined Joan Crawford, Jeanette MacDonald, Judy Garland, and many others. As soon as someone started to slip Mayer could be counted on to drive a spike through their hearts. Others he went after with a hatred unparalleled in Hollywood history.

Gilbert gives this film his best shot. Hyams and Wolheim are OK as are Anita Page and Marie Prevost.

Most stars had the final word because their films have survived. Mayer is remembered as a hateful pig. The actors he tried to ruin have lived on long after Mayer's "fame" and power have faded to nothing.

Long live John Gilbert!

JOHN GILBERT reveals himself to be a credible actor, with a range not demonstrated in some of his other earlier films. He's the son of a dying gangster who ends up getting involved with bootleggers after falling in love with a society girl.

The plot is all over the place with little twists here and there but it seems more like a jumbled mess than a coherent story. But Gilbert rises above the inadequacies of the plotting and gives a persuasive performance as the unhappy bootlegger.

Anita Page and Marie Prevost play gangster molls with some silly dialog for comedy relief. Prevost says something like, "What would this world be without bootleggers?" to demonstrate her lack of sophistication.

It's watchable, mainly to watch John Gilbert with his piercing eyes and handsome demeanor tormented by the fact that his fiancé decides to run off and marry another man. Ironically, in real life, Greta Garbo left him waiting at the altar.

A dying gangster reveals himself as the true father of a young society man, thus turning that GENTLEMAN'S FATE completely upside down...

According to cinematic legend, all the talkie MGM films starring John Gilbert were dreadful - the result of a bitter hatred between Gilbert (the highest paid star in Hollywood, with a $1.5 million contract) & studio boss Louis B. Mayer. A determination on Gilbert's part to fulfill the contract, and a campaign instituted by Mayer to destroy Gilbert's career - including spreading the rumor that Gilbert's voice was 'high & feminine', culminated in several unwatchable movies.

Not entirely true. The Studio had a huge financial investment in Jack Gilbert and was not going to completely cut its own throat by showcasing him in nothing but dreck. However, of the 8 MGM talkies in which he appeared as solo star (1929 - HIS GLORIOUS NIGHT; 1930 - REDEMPTION; WAY FOR A SAILOR; 1931 - GENTLEMAN'S FATE; THE PHANTOM OF Paris; WEST OF Broadway; 1932 - DOWNSTAIRS; 1933 - FAST WORKERS) most, including GENTLEMAN'S FATE, were rather ghastly.

Poor editing, a tawdry story line about unpleasant people, unattractive sets and a depressing climax all work together to sink the film. Poor Gilbert seems deflated, obviously embarrassed by appearing in such a poor film. His rather cold appearance & demeanor make it hard to sympathize with his character. What makes matters worse is that he is continually upstaged by Louis Wolheim, who actually gives a noteworthy performance as Gilbert's older, plug-ugly brother. (That these two could actually be siblings is one of the script's most unbelievable contrivances.)

Two lovely ladies, Leila Hyams & Anita Page, grace the film with their presence, but they are sadly wasted. Their romantic tribulations are meaningless to the audience because it is so difficult to warm up to Gilbert, the object of their affections. Paul Porcasi, Frank Reicher & John Miljan all strive to make their small roles meaningful, but they are largely defeated by the unforgiving script.

Marie Prevost has some good moments as a slatternly moll, but it is very sad to see her scenes with Gilbert. One is inevitably reminded that both their lives would be cut short by acute alcoholism, her final circumstances being especially atrocious.

Finally, about The Voice. There was nothing at all strange or unnaturally high about Gilbert's voice. As a matter of fact, it was of medium range & rather cultured & refined. That was the crux of the problem, of course. While it is possible that no voice could have ever matched the perfect one viewers heard in their minds while watching his strong, virile silent roles, the reality was very different from what they wanted to hear (imagine Robert Montgomery's voice coming out of Clark Gable's mouth.) Gilbert was doomed from his first scene in his debut talkie; his war with Mayer only intensified the agony. He would die in 1936, forgotten by most of his former fans, at the age of only 36.

This film begins with a rich playboy by the name of "Jack Thomas" (John Gilbert) living the life of luxury while also courting a beautiful woman named "Marjorie Channing" (Leila Hyams) who he absolutely adores. His life changes, however, when he is shocked to learn that, rather than being an orphan, his father is alive but in critical condition in New Jersey due to a gunshot wound incurred while operating an illegal bootlegging operation. Not only that, but upon visiting his father he also learns that he has an older brother named "Frank Tomasulo" (Louis Wolheim) who has been taking care of the family business during his father's injury as well. What he isn't prepared for, however, is the reaction from his fiancé when he tries to help his dying father by taking the blame for a crime he did not commit. Now, rather than reveal any more, I will just say that I was pleasantly surprised by how good this film turned out to be. For starters, I really liked the performance of John Gilbert who seemed tailor-made for his role. Additionally, having two beautiful actresses like Anita Page (as "Ruth Corrigan") and the aforementioned Leila Hyams certainly didn't hurt either. Be that as it may, although it was definitely a bit dated, I still found this film to be quite enjoyable and I have rated it accordingly. Above average.

This and many other early talking pictures (especially "Downstairs") disprove that the notion that John Gilbert's career in films was cut short because he could not translate well from silents. Too many times I have heard that his voice was poor and this led to his MGM contract being dropped. However, once again, Gilbert turns in a very good performance in "Gentleman's Fate"--and his voice, though not booming, was quite nice.

The film begins with Gilbert playing the life of a spoiled playboy. Apparently his father died when Gilbert was a child but he left his kid with an ample inheritance. However, out of the blue, Gilbert learns that his father is NOT dead but is dying. So, Gilbert rushes to see him and learns that his father is a mobster--and his fortune came from bootlegging. After his dad really dies, Gilbert's brother (who he just met--played by Louis Wolheim) tells him that he is more than welcome to continue receiving his allowance and he should return to his old playboy life. However, rather inexplicably, Gilbert insists he wants to go into the family business. Not surprisingly, this ultimately leads to disaster--just like the way all gangster films of the age ended (such as in "Little Caesar", "Scarface" and "The Public Enemy").

While not a great film, "Gentleman's Fate" is quite entertaining. And, while Gilbert is good, I think the best performance is from Louis Wolheim. Sadly, Wolheim died only a few months later--like Gilbert a star who died way too young. And, while I am talking about Wolheim, he was very good BUT casting him as Gilbert's brother was odd. Gilbert, for want of a better word, was a pretty man. Wolheim, however, was one of the ugliest men in Hollywood and his face and build were the opposite of Gilbert. Odd....but considering the fine acting, I could suspend disbelief on this one.