Directed by James Cruze and Erich von Stroheim (uncredited)
Written by Ben Hecht (adapted from the story by) and Hugh Herbert (dialogue)
Starring Erich von Stroheim, Betty Comson and Donald Douglas
Running time 1 hour and 32 minutes
Available on Blu-Ray from Kino Lorber

by Rosalie Kicks, Editor in Chief, Old Sport

“He talks to that dummy like it is another person…”

Sometimes I find it extremely difficult to associate with people. The act of communication or socialization creates a strain on every fiber of my being. Come to find out, after viewing The Great Gabbo I have apparently been going about the art of corresponding all wrong. What I really need is a dummy.

Essentially, this sharply dressed inanimate object would serve as a conduit and assist me with daily interactions. It would also ensure that my ideas and beliefs were expressed concisely, as it would have the ability to channel my thoughts and in turn interpret them to fellow human beings. This would leave me without the concern or hassle of actually speaking. It is quite mystifying that a movie presented this concept in the year 1929, yet here we are still using our own mouths to deliver messages.

Erich von Stroheim plays the idiosyncratic ventriloquist Gabbo. When the film opens, we meet his girlfriend and assistant, Mary (Betty Compson) who is seen brushing Otto’s, the dummy’s, hair. It is clear that Otto holds an appreciation for Mary, while Gabbo is dismissive and often brutish towards her. This inevitably leaves her no choice but to quit the act, taking Gabbo’s only sense of connection to a fellow living person.

Overall, there is not much going on in this story. However, the little that does is enough to keep you enthralled. Throughout the picture, one witnesses Gabbo spiral further and further into his delusion that Otto is truly conscious. Frankly, this misconception is only encouraged by spectators. Everywhere Gabbo travels he entertains, whether it be at a restaurant or on stage. One of the duo’s main talents is that Otto is speaking or singing, Gabbo himself is able to smoke, drink or eat, while Otto doesn’t miss a beat.

While watching The Great Gabbo, I could not help but recall my recent watch of the film Magic (1978) directed by Richard Attenborough. It is clear that Gabbo was a major influence on this production, even if it does manage to take the story to a darker place, a place that includes murderrrrr. Another difference that I noticed was the way in which Magic manages to show a person living with a mental illness much more openly. It gives the opportunity to observe Corky’s (Anthony Hopkins) breakdown and also the challenges he faces as it consumes him. I did not feel that I experienced this with Gabbo. I feel it is more shown in way to make the guy out to be an eccentric, than really stating the obvious: he needs a doctor.

I suppose it does not help that those interacting with Gabbo placate him by taking part in the fantasy that Otto is conscious. This is confirmed when Mary bases her return on only missing Otto and not Gabbo himself. She then makes her final exit proclaiming her love for Otto, and Otto alone. What I did find intriguing with the departure of Mary though is that it isn’t just Gabbo that notices, Otto does too. Which had me finding that I too, was playing into this made up world Gabbo created as I started to feel for Otto. When Otto says, “She combed my hair, painted my face, shined my shoes - now she is gone…”, my heart broke a bit for Gabbo. The lack of affection Gabbo receives from Mary causes him to become violent with Otto, only to quickly regret harming what was essentially the only person that has remained at his side.

This is not a must-watch film, but it is an intriguing story that with possibly a bit more plot development could have been an interesting character study. There is not many features on the disc, yet I am glad that Kino Lorber is offering this restoration as films such as this deserve to be uncovered.