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.