July 18, 2025

Keep it in the family was never better exemplified in a film than here with no less than three of the Barrymore clan taking on one of these historical stories that is ideal for folks with a fertile imagination. Ralph Morgan is the Czar who is married to Alexandra (Ethel) and with whom he has but the one son. The young Czarevitch (Tad Alexander) is suspected of being an haemophiliac and devoid of help from the best that medical science can provide… read the rest.

Keep it in the family was never better exemplified in a film than here with no less than three of the Barrymore clan taking on one of these historical stories that is ideal for folks with a fertile imagination. Ralph Morgan is the Czar who is married to Alexandra (Ethel) and with whom he has but the one son. The young Czarevitch (Tad Alexander) is suspected of being an haemophiliac and devoid of help from the best that medical science can provide at the start of the twentieth century, they turn their minds to the religious. That’s because the enigmatic priest Rasputin (Lionel) has obtained far more than an audience from the empress. He has convinced her that it’s faith in God that will cure their son, and that faith can only be imparted by his own good offices. Despairing and somewhat gullible, she and her weak-willed husband gradually indulge this man to the expense of those they have known and trusted for many a year - not least the devoted Prince “Chegodieff” (John) who sees through the ambitious charade of the monk, but whose protestations fall on deaf imperial ears. Moreover, with the population becoming increasingly agitated by Russia’s failures in the Great War, the Romanov position after three hundred years on the throne has rarely looked more precarious. All the courtiers can pray for is that Rasputin will overstep the mark to such an extent that the empress will finally realise what they have long-suspected. Thing is, is that ever going to happen and, more importantly, will it happen in time to save the dynasty? The supporting cast are all on good form here, but it’s a combination of some dark and dingy photography and an eerily spooky effort from Lionel Barrymore that really seals the deal here. His faux-charm, unkempt appearance and his mad-eyed zealousness work really well as he convinces right from the start. The conclusion is a bit rushed, but the production is sumptuous, the frequently potent dialogue sparingly delivered and it does well to sustain a degree of menace throughout.

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