User Reviews

Thelma Todd, noted for agreeable performances as comedienne in a good many feature films and shorts, is effective here in an essentially serious dramatic role, acting as linchpin about which a complex life or death decision must be made. A mainstay of the Monogram Pictures catalogue for years, the film was eventually lost, a print being latterly rediscovered as part of a privately owned collection held in southern Arizona, where the sere ambient had caused some nitrate decomposition in addition to other problems. It was, however, for the most part successfully restored and, now a public domain commodity, has been reissued. Opening action takes place in New York City where surgeon Robert Cromwell (Lyle Talbot) is being tried for murder, charged with wilfully causing the death of a patient following a developmental operation to excise an intracranial tumour, a procedure that Doctor Cromwell believes was, in reality, a success, although the state's medical board's opinion differs from his, and additionally with the court's finding of innocence, as it subsequently revokes Cromwell's medical licence due to the incident and its attendant publicity. As means of escaping from his subsequent torment, Cromwell accepts a proposal from his flying instructor, Donald Evans (Frank Hawks), to accompany the pilot through Canadian skies to Japan, but a fresh and drastic difficulty is to be part of Cromwell's lot, as the aircraft slams down in Alaska, killing Evans and leaving the unlucky doctor critically wounded in a frozen wilderness. Rescued by a trapper making his rounds, Cromwell is taken to a close on trading post, Armstrong's, where he delightedly accedes to the ministrations of the post owner's fiancée, "Klondike" (Todd), whose affection is soon gained by this ruggedly handsome surgeon on the lam, to the distinct displeasure of her future husband, wheel chair restricted Jim Armstrong (Jason Robards) himself. Cromwell's agreeable stay at the post is sharply altered because an invalid Armstrong is afflicted, in true Hollywood fashion, with precisely the same disease that indirectly propelled the discredited doctor from the United States, and smitten Klondike and Robert agree that he shall perform an identical operation upon Armstrong to that which led to Robert's loss of honour, a dissection that, if successfully completed, will clearly bring about the end of romance between these newly-minted lovers. Generally considered during the time of its original showings as somewhat above Monogram's routine programmer stock-in-trade, the work for its initial reissue is given proper consideration, a satisfactory print being a result. Notwithstanding this, an Alpha Home Entertainment version is characterized by woefully poor sound quality, much of the dialogue scarcely comprehensible. Both Talbot and Todd are well-established and consistently creative ad libbers, and they play well together here, while the supporting cast is a cut above the standard for most "B" films, with one highlight an appearance of famed aviator Hawks, who during one of his scenes describes in some detail injuries he suffered in a greatly publicized air crash. All in all, then, KLONDIKE must be considered a largely studio-bound potboiler, but remains quite good fun nonetheless.

Solid little Monogram drama with very original story and denouement. Lyle Talbot, who would appear in anything, even a notorious Edward Wood picture, stars with considerable intelligence and sincerity. Hard-working Thelma Todd has a serious role and both leads are appealing together. Henry B. Walthall (another veteran who didn't know how to retire) supports, as does Gabby Hayes and Jason Robards Sr.

The start is a little shaky, with some awkward staging, but after it gets into its stride I can say that this has much to recommend it. The attitude of Klondike's cast, and its out-of-the-rut story, is what makes it all work.

Some of the scene writing or plot development feels a tad brusque or direct at some points, or maybe even an invention of Movie Magic. A couple small moments here or there are weirdly playful in how they present. Worst is that at an indeterminate point somewhere between the halfway and two-thirds marks the plot development is downright inchoate, as a change in characters' self-identification and moods truly comes from out of nowhere. These touches are unfortunate, not least when they seem to especially break from what the film is otherwise building; of course, this is how it goes with many movies from any era, though sometimes it seems like the 30s faced particular difficulties - above all in the first few years following the advent of talkies. On the other hand, the strength of the title nonetheless grows over time, and there are other examples of scenes that are pulled off with gratifying nuance or tactfulness. While 'Klondike' isn't necessarily anything super special, I think it's reasonably solid, and more than not a splendid way to spend an hour.

I don't think screenwriter Tristram Tupper entirely figured out what he was trying to say, or at least he had difficulty expressing it through this medium. The tale dallies with notions of public opinion and distrust of advances in medical science in addition to interpersonal difficulties, and somewhat seems to waver indecisively. Despite any inelegance that may present, however, overall Tupper has written a compelling story about an ambitious but disgraced doctor, and an unlikely concatenation of circumstances leading to a climax I admit I didn't anticipate. Even if the telling gets stuck a little bit in the details, in the broad strokes all facets of the writing are quite strong - dialogue, characters, scenes, the overarching saga. Filmmaker Phil Rosen demonstrates fine capability as a director, and 'Klondike' is otherwise duly well done from a technical standpoint. There are maybe some instances of roughness in the editing, though in fairness this may be a fault less of Carl Pierson's contribution and more of troubles with surviving prints or other outside factors.

The production design and art direction are rather fetching, and I also appreciate the costume design, and the hair and makeup work. The acting is nothing specifically remarkable, perhaps, yet by and large I think the cast give good performances commensurate with the general essence of the feature. Chief stars Lyle Talbot and Thelma Todd especially come off well, and Jason Robards Sr., but the supporting cast is just as swell. It's noteworthy that this is the last appearance of silent film star Priscilla Dean; though distinctly improved over her "fish out of water" portrayal in 1931's 'The law of the sea,' it still seems here as though she was sadly struggling with the new cinematic paradigm, unsure how to comport herself. She's a regrettable outlier, however, and though nothing in 'Klondike' is exceptional or revelatory, ultimately this is a pretty good time.

It's safe to say that I had mixed expectations before I sat to watch; though not true across the board, I sometimes feel like the 30s were an especial mixed bag for the film industry. Yet even if it's nothing to demand viewership, or to go out of your way to see, at length I'm pleased to say that 'Klondike' is suitably well done, and earnestly entertaining. Sure, there are other pictures that should be of a higher priority for anyone, but if you're looking for something relatively light but still engrossing and enjoyable, this is a great way to spend a quick hour.