User reviews

Paul Muni plays a small town doctor who becomes mixed up with a wounded criminal (Barton MacLane) and falls for a pretty hitchhiker (Ann Dvorak). A fine WB crime drama that moves with a crisp pace. Mustachioed Paul Muni reunites with his Scarface costar Ann Dvorak. Muni is excellent in one of his more subdued roles. Dvorak is lovely and gives an effortless performance. As different as Muni was from other Hollywood actors at the time, Dvorak was just as different from the other actresses. She rarely goes for the theatrical or hysterical. Her performances are usually much more grounded than, say, Bette Davis, who never saw a rafter she didn't reach for. The standout of the movie is Barton MacLane, shouting and swaggering his way through every scene. It's a real treat to watch. As usual, the stable of WB supporting players are superb. Remade as King of the Underworld with Kay Francis and Humphrey Bogart, whose first wife Mayo Methot appears here as MacLane's moll.

Paul Muni has never made a bad movie or given a poor performance. He didn't crank out movie after movie like so many stars in that era, he carefully picked his roles. This is a terrific picture, Muni plays a doctor who has become a gangster's physician, but not by choice. The gangster is played with gusto by Barton MacLane. A woman who is kidnapped by the gang (Ann Dvorak) is injured and brought to Muni. She and the doctor soon fall in love. But, the gangster wants her, because she could testify against him since she knows what he looks like. Great cinematography but it's Muni's picture all the way. Helen Lowell provides fine support as "Ma".

As a film Dr. Socrates is significant in the career of Paul Muni because it is the first time he worked with William Dieterle who directed all of his biographical films at Warner Brothers for which he became best known for. They must have liked working together because Muni would not have had him as a director again, he had that kind of clout and was that demanding of his bosses at Warner Brothers.

The film itself is a minor drama with Muni playing the role of a kindly doctor who has settled in an obscure small town to forget the death of his sweetheart. As the town already has a doctor in Robert Barrat, there are some in the town who don't really take to Muni. But enough do so he gets by.

Although no one knows it the town is also the center of a vicious gang of robbers, headed by a John Dillinger like hoodlum played in swaggering style by Barton MacLane. The gang's hideout is at Olin Howland's farm, MacLane and the rest are from the area. He's public enemy number one in the parlance of the day.

One day MacLane is wounded in a bank holdup and he and the gang stop in at Muni and force him at gunpoint to patch him up. MacLane likes his work and now thinks he can intimidate the soft spoken Muni into being their regular physician.

Although Ann Dvorak had to be introduced somehow as a love interest, the script's biggest fault is the fact that she's wounded in a bank robbery at the hometown. She's a hitchhiker, but a lot believe she was in with the gang. Cardinal rule in real life and films, you absolutely don't do any criminal business in or near your sanctuary.

Usually people don't steal the show from Paul Muni, but in this case the swaggering, bullying Barton MacLane may have given the best performance of his career. MacLane was a menacing guy in films with that rasping voice of his and it was never put to better advantage than in Dr. Socrates.

Three years later the basic plot of Dr. Socrates was used again for King Of The Underworld where Kay Francis is a female doctor and Humphrey Bogart the gangster.

Dr. Socrates is a minor effort from Paul Muni, but still an enjoyable film. His next film was The Story Of Louis Pasteur, directed by William Dieterle that would set Muni's Hollywood image for all time.

Dr. Socrates (1935)

*** (out of 4)

Fast moving and tense film from Warner features Paul Muni in the title role of Dr. Socrates, a doctor who becomes the outcast in a small town after he helps a woman (Ann Dvorak) who accidentally got caught up with a gangster (Barton MacLane). Soon the doc and the girl begin to have feelings for one another and he must figure a way to get her away from the gangster. In an interesting bit of trivia, Muni didn't want to have anything to do with this film but agreed to do it if Warner would allow him to make THE STORY OF LOUIS PASTEUR, which would eventually be released the same year and earn Muni the Oscar. There's also a funny joke here where Muni is talking about a book on the life of Pasteur. With that out of the way, the rest of the film is a pretty tense little gem that manages to feature some great performances and a pretty smart story. The movie might not be as respectable as some of Muni's bigger films but I thought there was enough here to easily recommend it. For starters we have Muni delivering an exceptional performance as he perfectly can play the kindness of the doctor but also show off his brains. The doctor being able to think fast on his feet plays an important part in the film and Muni makes us easily believe that he is smart enough to do what happens at the end. He also has a dry, sarcastic humor that comes off very well and he even delivers a few laughs. Dvorak isn't one of my favorites but she makes an interesting mix with Muni. MacLane isn't one you'd expect to see playing a gangster but he actually does a very good job and makes the character quite memorable with his humor and style of toughness. Fans of Humphrey Bogart will know that he and Kay Francis would remake this four years later in the bizarre KING OF THE UNDERWORLD. Bogart has another connection to this film as his first wife, Mayo Methot, plays the gangster's mole here. While this film is a lot smarter than many of the dramas from the studio, it also contain enough gunplay to please fans of their gangster pictures. The ending has one machine gun after another making for quite a big bang to go out on.

1930's stars Paul Muni and Ann Dvorak star in this small town drama from Warner Brothers. Doctor Cardwell (Muni) had lost his wife in a car accident, and because he felt responsible, it has affected his practice, and his state of mind. and when rough tough crime boss Red Bastian comes to him for help, Cardwell has some decisions to make. Mayo Metho is in here as Red's moll... she was Humphrey Bogart's wife for a time; didn't end well for her.. she died of alcoholism at 47. only made 28 films, acc to imdb. the awesome Grady Sutton is in here as (uncredited) grocery store clerk. Sutton made "Flying Trapeze" with WC Fields the same year, and would go on to make a bunch more with him. good career move! this one has the usual bank robbery, the getaways, and even a couple boy meets girl, boy chases girl stories. unfortunately, Doc wants to be the good guy, but keeps getting in deeper with the wrong sort of folks. no big surprises, but it's pretty good. Muni only made 30 films, and this was early on in his career.

Muni was just biding his time between "important" roles when Warners made a deal with him to do this little crime melodrama, after which they would let him do one of his pet projects. So here he is as the man whose constant reading of books causes the townspeople to label him "Dr. Socrates," a name that seems to fit the soft-spoken, easy going doctor that Muni plays in a minor key.

Instead of overwhelming the screen in his usual manner, he lets BARTON MacLANE give a vivid, scene-stealing performance as Big Red, a criminal wounded in a bank holdup who needs the doc's care and promises to send him more customers if he'll put a lid on treating him, instead of reporting him to the police. Fortunately, MacLane has some of the best lines in the script and ends up being the most interesting character in the whole story.

ANN DVORAK is young and pretty as the hitch-hiking woman who accepts a ride from MacLane's gang and ends up being suspected of being a gang member when the gang pulls a bank robbery and she's seen fleeing from the scene. When she's hurt, she ends up in Muni's care and the rest of the story is rather predictable but entertaining.

As the N.Y. Times said: "A pleasant enough melodrama" about a doctor who unwittingly gets mixed up with the mob. It's a trifle with a better than average script and some nice performances from the Warner contract players.

With Paul Muni in the lead, I was expecting something out of the ordinary. However, Dr. Socrates is ordinary. It is a run-of-the-mill 1930's crime drama with Muni's range wasted in a part better suited to Chester Morris or Ricardo Cortez. Barton MacLane and Mayo Methot, on the other hand, are perfect playing parts similar to what they played throughout their entire careers. It's watchable, but not special.

This is the kind of "crime" doctor movie Hollywood churned out by the truckload in the mid-30's. Muni is badly miscast in the lead, but rest of cast more than makes up for it. MacLane steals film as Red, the main gangster. Ann Dvorak and Mayo Methot are excellent as are the redoubtable Henry O'Neill and Owin Howlin. Some good pithy dialogue makes this well-meaning time capsule worth a look.

Paul Muni is called "Dr. Socrates" in this 1935 film, mainly because of his love of books. Here Muni is a struggling young doctor, Dr. Lee Cardwell, who becomes involved with gangsters after helping a hitchhiker (Ann Dvorak) who was in their getaway car when the thugs committed a robbery. However, many people think she's part of the gang, and Cardwell works to protect and defend her.

This was Muni's first film with William Dieterle, who directed Muni is his great films to follow, including The Story of Louis Pasteur, Juarez, and The Life of Emile Zola. Muni is good as Dr. S, but he has formidable competition in Barton MacLane, who plays Red Bastian, the main criminal who is a sort of John Dillinger type. In the film, he's wounded and forces Dr. Cardwell to treat him.

This film was rewritten and redone in 1939 as "King of the Underworld" with Kay Francis and Humphrey Bogart, before his big stardom.

Good cast, nice ending.

I don't know how Paul Muni got roped into a B-picture when he was one of the brightest stars of the 1930s, but if you're on a quest to watch all the wonderful Paul Muni performances in the world, feel free to skip Dr. Socrates.

Paul plays a doctor who treats a gangster, Barton MacLane, and becomes involved in his life. Before you start thinking it's the original to Analyze This, it's not. Barton may be a scary gangster who takes a liking to the meek doctor who stands up to him, and he may think a generous payment means the doctor should be at his beck and call, but this movie isn't a comedy. It's a low-budget, low-quality gangster movie that isn't about gangsters. No one's character is very interesting, and Paul isn't given any scenes that show off his fantastic acting chops.

DOCTOR SOCRATES (Warner Brothers, 1935), directed by William Dieterle, taken from a story by W.R. Burnett, stars Paul Muni in another one of his lesser known films of this period. Returning him to crime melodrama, Muni doesn't play a hooded gangster as he did in SCARFACE (United Artists, 1932), but a small town doctor (sporting mustache) who innocently becomes involved in treating gangsters. It also marked Muni's second and final role opposite Ann Dvorak, his co-star from his now classic SCARFACE.

Set in Big Bend (Ohio), "the biggest little city in Wayne County," the story opens with its residents discussing the latest crime caper committed by noted gangster, "Red" Bastian, from their local newspaper. Lee Caldwell (Paul Muni) is introduced as a new medical doctor from Chicago who is not well-liked by its residents, especially its long-time town doctor, Ginder (Robert Barrat) who labels Caldwell "Doctor Socrates" for his love for Greek philosophy and his reading of "The Republic of Plato." Returning home from the drug store, Caldwell, accompanied by his elderly housekeeper, "Ma" Ganson (Helen Lowell), finds he has visitors, fellow doctor friends from Chicago, McLinty (Samuel S. Hinds) and Dick Burton (John Eldredge). They each feel Caldwell, a brilliant surgeon, is wasting his time in this small town and want him to come back with them. (Caldwell's background is revealed as one trying to forget his past and death of his fiancee due to an automobile accident for which he takes responsibility). Regardless of being heavily in debt, Caldwell is set on staying in Big Bend. Before heading for bed, Caldwell answers a knock on the door, visitors being "Red" Bastian (Barton MacLane) and his gun moll, "Muggsy" (Mayo Methot), who come for treatment of Bastian's gunshot wound. Caldwell treats the wound at a point of a gun. Though he refuses a fee, Bastian leaves him a $100 and goes on his way. The next day, Bastian and his mob, driving down the road, pick up Josephine "Jo" Gray (Ann Dvorak), a hitchhiker on her way to California, with intentions of having her dropped off in Carsonville. Jo never makes it to her destination as Bastian and his mob stop to rob a bank in Big Bend. She makes her escape only to get a gunshot wound in the process. Caldwell comes to her aid and takes her to his home for treatment. He refuses to have her leave with the police while under his care, especially since she is believed to be part of Bastian gang. Caldwell becomes romantically interested in Jo, with plans of possible marriage. After reading about Jo in the newspaper, Bastian abducts her from the kindly doctor. Caldwell faces further complications when he is accused of being connected with Bastian when the $100 bill he used to pay his debts turns out to be one of the bills in connection with one of the bank robberies. Others in the cast include: Hobart Cavanaugh (Floyd Stevens, the druggist); Henry O'Neill (Greer); Grace Stafford (Caroline Suggs, the troubled girl); Olin Howland (Catlett); Marc Lawrence and Grady Sutton, among others.

Though not as famous as other crime capers featuring Edward G. Robinson or James Cagney, Paul Muni is acceptable as a good doctor of a small but gossipy town who falls victim to aiding gangsters. Barton MacLane, who seems to be type-cast in playing mob bosses as he did opposite James Cagney and Ann Dvorak in 'G' MEN (1935), performs his same task here as well. William Dieterle, would later direct Muni in his more prestigious productions of THE STORY OF LOUIS PASTEUR (1936) and THE LIFE OF EMILE ZOLA (1937), keeps the pace moving during its 74 minutes. Look for a little inside humor of Paul Muni reading a book about Louis Pasteur in one scene - possibly a little hint to his next movie project to follow. Remade as KING OF THE UNDERWORLD (Warners, 1939) starring Humphrey Bogart (gangster) and Kay Francis (lady doctor), the remake also casts John Eldredge (who appears in one scene in DOCTOR SOCRATES) as Francis' doctor husband, with James Stephenson in the male counterpart to the Dvorak hitchhiking role.

Never distributed on video cassette, both DOCTOR SOCRATES and its remake, KING OF THE UNDERWORLD, often appear on cable television's Turner Classic Movies for evaluation or comparison purposes. (***)

If you're a fan of Paul Muni, as I am, you'll want to see this film as an example of one of his last films before he made it with "Louis Pasteur". Yet even though he went on to bigger and more successful films, his earlier work in "Fugitive from a Chain Gang" is my favorite Muni film.

Ann Dvorak, Robert Barrat and Barton Maclane are along for the ride, but they all made better films. It's interesting to watch Mayo Methot (Humphrey Bogart's future wife who gave them the name "Battling Bogarts) playing the gangster's moll.

Despite the low budget and the obvious production limitations, William Dieterle manages to keep it moving along. This is the first of the Muni/Dieterle films which included Pasteur, Zola, Juarez.

Apart from the historical interest, the film doesn't stand the test of time. There are dozens of films from this period which are far better.

Dr. Lee Cardwell (Paul Muni) is in a huge funk. After losing his girlfriend while he was performing surgery on her, he's been depressed and out of work. Life for him in a new small town isn't very satisfying either, as all the locals see Dr. Ginder. However, over time, folks start seeing Cardwell and among these new patients is a real doozy....the wanted criminal Red Bastian! Now it is NOT because Cardwell wanted to treat the guy...but given a choice of refusing and dying or treating him, Cardwell chose the obvious path. The problem now is that Bastian LIKES and trusts Cardwell, and it's likely he'll be back to provide him more business whether he wants it or not!

The biggest reason to watch this film is for Barton MacLane. His Red Bastian performance is great...and he was wonderful in thug roles. Additionally, the script is clever and the ending well worth seeing...well worth seeing.

Of course, a movie starring Paul Muni is always interesting, worth the watch for any movie buff. And here William Dieterle - Paul Muni's fetish film maker - is another reason not to miss it. Solid Warner Bros. Production, no one can deny it. But, concerning me, I will never see it again. Never. Paul Muni's character is so predictable, a character that we have seen many times before ; same scheme I mean. I don't even speak of the lousy ending. I am ready to watch I WAS A FUGITIVE FROM A CHAIN GANG - also starring Paul Muni - dozens of times, instead of this feature. The main flaw for me is the topic. Good doctor vs villains gangsters...Not for me any more. I am just over aged.