John Barrymore Movies
Like his brother Lionel and his sister Ethel, American actor John Barrymore had early intentions to break away from the family theatrical tradition and become an artist, in the "demonic" style of Gustav Doré. But acting won out; thanks to his natural flair and good looks, Barrymore was a matinee idol within a few seasons after his 1903 stage debut. His best-known Broadway role for many years was as an inebriated wireless operator in the Dick Davis farce The Dictator. On stage and in silent films (including a 1915 version of The Dictator), John was most at home in comedies. His one chance for greatness occurred in 1922, when he played Hamlet; even British audiences hailed Barrymore's performance as one of the best, if not the best, interpretation of the melancholy Dane. Eventually, Barrymore abandoned the theatre altogether for the movies, where he was often cast more for his looks than his talent. Perhaps in revenge against Hollywood "flesh peddlers," Barrymore loved to play roles that required physical distortion, grotesque makeup, or all-out "mad" scenes; to him, his Dr. Jeckyll and Mr. Hyde (1920) was infinitely more satisfying than Don Juan (1926). When talkies came in, Barrymore's days as a romantic lead had passed, but his exquisite voice and superb bearing guaranteed him stronger film roles than he'd had in silents; still, for every Grand Hotel (1932), there were the gloriously hammy excesses of Moby Dick (1930) and Svengali (1931). Unfortunately, throughout his life, Barrymore was plagued by his taste for alcohol, and his personal problems began catching up with him in the mid-1930s. From Romeo and Juliet(1936) onward, the actor's memory had become so befuddled that he had to recite his lines from cue cards, and from The Great Profile (1940) onward, virtually the only parts he'd get were those in which he lampooned his screen image and his offstage shenanigans. In 1939, at the behest of his latest wife Elaine Barrie, Barrymore returned to the stage in My Dear Children, a second-rate play that evolved into a freak show as Barrymore's performance deteriorated and he began profanely ad-libbing, and behaving outrageously during the play's run. Sadly, the more Barrymore debased himself in public, the more the public ate it up, and My Dear Children was a hit, as were his humiliatingly hilarious appearances on Rudy Vallee's radio show. To paraphrase his old friend and drinking companion Gene Fowler, Barrymore had gone over Niagara Falls in a barrel; we are lucky indeed that he left a gallery of brilliant film portrayals before the fall. ~ Hal Erickson, Rovi- 1997
Though many fans will always fondly recall Judy Garland's wonderful portrayal of young Dorothy in The Wizard of Oz, Garland herself was apparently most proud of the role she played in A Star Is Born. In this film, which opened in 1954, Garland portrayed an actress who sees her career blossom as her husband's declines. This video features clips from the film's glamorous premiere held on September 29, 1954, at Hollywood's Pantages Theatre. Viewers will see a vast array of other stars arriving at this event that foreshadowed Garland's Academy Award nomination for this role. An added segment features Garland and Ken Murray, who was well-known for his "Hollywood Home Movies." ~ Elizabeth Smith, Rovi
- 1983
Directed by Philip Martell, music director of such horror films as Snake Woman (1961) and Die, Monster, Die! (1964), this documentary recounts the history of horror movies, with footage and scenes from major horror films such as Nosferatu and The Horror of Dracula. Highlights include footage of various actors, including such horror masters as Boris Karloff, Bela Lugosi, and Vincent Price, as well as performances by or interviews with José Ferrer, Dana Andrews, Pat Boone, John Carradine, Herman Cohen, Roger Corman, Archie Duncan, Valentine Dyall, Rouben Mamoulian, Dennis Price, and Gloria Stuart. ~ Steve Blackburn, Rovi
This represents MGM's 1976 sequel to its enormously successful compilation film That's Entertainment (1974). In lieu of the multi-narrator device of the first film, director Gene Kelly chooses to limit the hosting chores to two people: himself, and his friendly rival Fred Astaire. Another departure from the first film was the decision to include comedy and dramatic highlights from MGM's past, with such stars as Greta Garbo (seen in a montage of "I want to be alone"s), Greer Garson, Katharine Hepburn, Cary Grant, Jean Harlow, Wallace Beery, Marie Dressler, Red Skelton, the Marx Brothers, and Laurel and Hardy (though the last-named team's vignettes are culled from Hal Roach productions which were merely released by MGM). Be sure and catch That's Entertainment from the beginning for Saul Bass' opening credits, incorporating a variety of title-sequence styles: waves crashing on the shore, pages turning in a book, and a J. Arthur Rank-style gong. ~ Hal Erickson, Rovi
- Starring:
- Fred Astaire, Gene Kelly, (more)
A producer devises an elaborate gala premiere for his latest anti-Nazi propaganda epic, The Earth in Flames. It is slated to open in Washington, D.C. and he has his press agents working overtime to produce an enormous hoopla of secrecy and publicity stunts. They come up with the plan of hiring a trio of "spies" who are to send disturbing threats just before the showing to put the audience on edge. Unfortunately, three real agents are trying to exchange the print of the new film with a pro-Nazi propaganda film. These fellows try hard, but they prove to be bungling idiots of espionage and their botched attempts provide most of the fun. ~ Sandra Brennan, Rovi
- Starring:
- John Barrymore, Frances Farmer, (more)
- 1941
The much-maligned Playmates callously offers the appalling spectacle of a thoroughly dissolute John Barrymore in his final screen performance, but the film isn't quite as bad as it's supposed to be. Barrymore plays himself, a washed-up ham actor up to his ears in debts. When the IRS demands payment for back taxes, Barrymore's press agent Pete Lindsey (Peter Lynd Hayes) and manager Lulu Monohan (Patsy Kelly) suggest a sure-fire moneymaking scheme: the venerable thespian will transform bucolic bandleader Kay Kyser (also playing himself) into a Shakespearean actor, in exchange for a fat radio contract. Neither Kyser nor Barrymore are keen on this set-up, but while Kyser is willing to go through with the plan, Barrymore seeks various devious methods of wriggling out of the committment. Barrymore goes so far as to sic his peppery girlfriend Carmen del Toro (Lupe Velez) on poor Kyser, hoping to dissuade the bandleader from showing up at the climactic Long Island Shakespeare Festival peformance. When this fails, Barrymore spikes Kyser's throat spray with alum, only to be rendered speechless himself when the spray bottles are switched. Suffice to say that all ends happily, with Kay Kyser and his aggregation (Ginny Simms, Harry Babbitt, Ish Kabibble et. al.) performing a rather pleasant "swing" version of Romeo and Juliet. Admittedly, it's rather hard to watch Playmates knowing that John Barrymore had once been regarded as the greatest actor of his generation. Even so, a few bright moments shrine through, notably a poignant scene in which Barrymore briefly recaptures the old magic by reciting a few passages from Hamlet's soliloquy. ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, Lupe Velez, (more)
- 1940
Dispensing with the melodramatic excesses of Universal's previous "Invisible Man" films, 1941's The Invisible Woman aims strictly for laughs. Virginia Bruce stars as Kitty Carroll, an outspoken department store model fired from her job by tyrannical Mr. Growley (Charles Lane). Intrigued by an ad in the personal columns requesting the services of an "adventurous woman", Kitty offers her services to eccentric scientist Professor Gibbs (John Barrymore, doing a dead-on impression of his brother Lionel). Much to the dismay of his timorous butler George (Charles Ruggles), his housekeeper Mrs. Jackson (Margaret Hamilton), and his nephew-financier Richard Russell (John Howard), Gibbs has been experimenting with an invisibility formula, and Kitty turns out to be a most willing guinea pig. Cloaked in her new invisibility, our heroine gets even with her old nemesis Growley and sets out for new escapades, while Gibbs and his entourage anxiously search for the girl lest harm befall her. The whole affair ends up in the Mexican refuge of gangster Blackie (Oscar Homolka), who hopes to use Gibbs' formula for his own nefarious purposes. Given the fact that Blackie is saddled with such moronic henchmen as Bill (Ed Brophy) and Frankie (Shemp Howard), he doesn't stand a chance against the resourceful Kitty, who thoughtfully permits the nonplussed Richard into thinking that he's rescuing her. Shakespeare it isn't, but The Invisible Woman is consistently funny and inventive, enhanced by Universal's usual excellent special effects. Future leading lady Maria Montez shows up as one of the models in the early scenes, along with former Warner Bros. star Anne Nagel. ~ Hal Erickson, Rovi
- Starring:
- Virginia Bruce, John Barrymore, (more)
- 1940
John Barrymore provides an embarrassing spectacle in the semi-autobiographical role of a ham actor. Constantly in debt and always half-loaded, Barrymore accepts a role in an important play, which he nearly ruins by his intemperate antics. Anne Baxter plays a sincere young woman who tries to pull Barrymore back together. He makes a triumphant comeback, but there's always the chance that he'll be back to his old tricks before long. Tastelessly exploiting the real-life relationship between John Barrymore and Elaine Barrie, The Great Profile is supposed to be a comedy. Ha ha. ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, Mary Beth Hughes, (more)
Paramount's screwball comedy Midnight is the first collaboration between director Mitchell Leisen and screenwriting duo Charles Brackett and Billy Wilder. The film merges Brackett and Wilder's early emphasis on repartee and masquerade with ex-costume designer Leisen's flair for high style and sophistication. American Eve Peabody (Claudette Colbert), a wily ex-showgirl, must impersonate Hungarian royalty in order to infiltrate the Parisian jet set. Midnight begins during a midnight rainstorm as Eve arrives penniless at Paris' Gare de L'Est, owning only the gold lamé gown on her back. She attracts the attention of Hungarian cab driver, Tibor Czerny (Don Ameche), but walks out on their budding romance; Eve will no longer make the mistake of dating for love rather than money. Instead, she finds shelter from the downpour by crashing a socialite's late-night soirée using a pawnticket and a pseudonym, the Baroness Czerny (the cab driver's surname). There, Eve meets aristocrat Georges Flammarion (John Barrymore), who entices her with a place in society if she agrees to remain disguised as the Baroness and seduce his wife's playboy lover. Meanwhile, Tibor Czerny has not given up his search for Eve. When he locates her whereabouts and discovers the fact that she is using his name, Tibor also travels to the Flammarion estate -- to win back Eve, and to pose as her husband, the Baron. What ensues is quintessential screwball comedy, full of deception, love, quadruple entendre, and outright farce. Midnight remains Leisen's most heralded directorial effort, as well as one of Brackett and Wilder's earliest successes. ~ Aubry Anne D'Arminio, Rovi
- Starring:
- Claudette Colbert, Don Ameche, (more)
- 1939
Originally designed for exhibition at the 1939 World's Fair, Land of Liberty is a 137-minute compendium of filmclips from past American historical epics. The project was sponsored by the Motion Picture Producers & Distributors of America, Inc. and supervised by Cecil B. DeMille, who also edited the film with the assistance of his crack Paramount production staff. The narration was written by old DeMille hands Jeannie MacPherson and Jesse Lasky Jr. and spoken by a talented team of uncredited announcers (one of whom sounded suspiciously like old C. B. himself). Clips from such Hollywood productions as America (1924), Abraham Lincoln (1930), Alexander Hamilton (1931), Show Boat (1936), Man of Conquest (1939) and DeMille's own The Plainsman (1936), The Buccaneer (1938) and Union Pacific (1939) are woven together into a chronological continuity, tracing American history from the Revolutionary War to the "present," which is largely represented by newsreel footage of President Roosevelt, the TVA project, and other current personalities and events. In later years, Land of Liberty was redistributed on the classroom circuit, with new footage added from historical dramas of the 1940s and 1950s. ~ Hal Erickson, Rovi
M.G.M.'s opulent costume drama Marie Antoinette marked a return to the screen after a two-year absence for reigning Queen of M.G.M. Norma Shearer. Shearer plays the title role of an Austrian princess who is married off to Louis Auguste (Robert Morley), the Dauphin of France. Marie, by becoming the Dauphine, finds herself plopped smack in the middle of French palace intrigue between Louis's father King Louis XV (John Barrymore) and his scheming cousin, the Duke of Orleans (Joseph Schildkraut). With Louis unable to consummate his marriage to Marie, she takes to holding elaborate parties and gambling her fortune away. In a casino, she meets the handsome Count Axel de Fersen (Tyrone Power) and they have an affair. But when Louis XV dies and Louis becomes King Louis XVI, Fersen takes his leave, telling her that he could carry on an affair with a dauphine but not the Queen of France. Marie vows to be a great queen and remain loyal to her king. But the Duke of Orleans is plotting against Louis XVI, financing the revolutionary radicals. When the monarchy is overthrown, Louis and Marie are thrown into prison, awaiting execution. But when word gets back to Fersen, he travels back to France in an attempt to rescue Marie. ~ Paul Brenner, Rovi
- Starring:
- Norma Shearer, Tyrone Power, (more)
- 1938
Herman Bahr's German play The Yellow Nightingale from 1907 became Paramount's 1938 entry in the then-popular operetta cycle. Gladys Swarthout, formerly of the Met, stars as Ilona Boros, a peasant girl with a magnificent voice who becomes a pawn in the rivalry between opera tenor Tony Kovach (John Boles) and his business manager Zoltan Jason (John Barrymore). Both men are infatuated with the beautiful, but cold, Countess Foldessy (Claire Dodd), and Tony plans to make Ilona a star so that Jason will be attracted to her instead. The scheme backfires, of course, and soon both men are fighting over Ilona, the outraged countess left to instead pursue Jason's butler, Von Hemisch (Curt Bois). In between the comedy, Swarthout, Boles, and company perform such well-known selections as "Because," from the opera Jocelyn; "Habanera," from Carmen; "La Ci Darem la Nano," from Don Giovanni; and Ralph Rainger and Leo Robin's "Tonight We Love." ~ Hans J. Wollstein, Rovi
- Starring:
- Gladys Swarthout, John Boles, (more)
Though John Barrymore is top-billed in Bulldog Drummond's Peril, the aging matinee idol is consigned to the supporting role of Inspector Nielsen. Drummond is portrayed by John Howard; once more, he is on the verge of marrying the ever-patient Phyllis Clavering (Louise Campbell). And yet again, the ceremony is interrupted by a late-breaking crime. The villains this time are trying to steal synthetic diamonds. Bulldog Drummond's Peril was the 5th in Paramount's B-picture "Drummond" series. ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, John Howard, (more)
- 1938
This tuneful campus comedy features aging star John Barrymore as a sly, blustery Southern governor with his eye on the Senate (aka Louisiana's Huey Long). He sees opportunity knocking when he learns how desperate his constituents have become to build their miserable state college football team into winners. He figures that if the team wins, so will he. To this end, he surreptitiously recruits a number of burly professional wrestlers to pose as football players. Unfortunately his chief opponent is running a similar racket with a rival university. When the governor's trickery is revealed on the eve of the big game, things look bleak until a quick-thinking coed shows up to save the day. The story is also titled Hold That Girl. ~ Sandra Brennan, Rovi
- Starring:
- John Barrymore, George Murphy, (more)
- 1938
The visual wizardry in this period action picture about Alaskan fishermen won a special honorary Oscar in the years before special effects got its own category. Henry Fonda stars as Jim Kimmerlee, a salmon fisherman in Alaska who has become at odds with a childhood friend, Tyler Dawson (George Raft). While Jim attempts to make an honest living, Tyler, whose frustrated dreams of buying his own schooner don't look to be realized anytime soon, has signed on with a Russian crew that steals the catch from others' nets. While the rivalry between the two one-time pals heats up, Jim begins romancing Dian Turlan (Louise Platt), the daughter of a local newspaperman and renowned tippler, Windy Turlon (John Barrymore). Spawn of the North (1938) was remade as Alaska Seas (1954). ~ Karl Williams, Rovi
- Starring:
- George Raft, Henry Fonda, (more)
- 1938
Ageing, alcohol-benumbed John Barrymore had one last great performance left in him before his death in 1942, and The Great Man Votes was the ideal vehicle for that performance. Barrymore plays a widowed, once-distinguished professor, lately reduced to being a night watchman. He tries to stay off the "hard stuff" for the sake of his two small children, Virginia Weidler and Peter Holden, but his lack of responsibility nearly loses him the custody of both kids. Meanwhile, scheming politico Donald MacBride discovers that his winning the upcoming mayoral election hinges upon one single vote--and guess whose vote that is? With "VIP" status suddenly thrust upon him, Barrymore regains his children, his former status in life, and (as a last-minute plot twist reveals) his self respect. Director Garson Kanin was so anxious to extract a good performance from John Barrymore that he ordered everyone on the set to treat the fading matinee idol with deference and respect. Unaccustomed to such treatment in his later years, Barrymore looked around the set and bellowed, "Which Barrymore do you think I am, Lionel?" Despite his precarious physical condition and his reputation for temperamental outbursts, Barrymore was the soul of cooperation on the set. His fiery temper flared only once, when child actor Virginia Weidler calculatedly attempted to steal a scene from him. Though appalled at the spectacle of The Great Profile profanely chewing out the tiny Weidler, Kanin admitted in retrospect that Barrymore was absolutely right: the kid was intruding on one of the star's soliloquies, and nobody did that to John Barrymore. ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, Peter Holden, (more)
- 1937
Carole Lombard stars as Helen Bartlett, a compulsive liar who always tips the audience to an oncoming whopper by sticking her tongue in her cheek. Helen is married to a Kenneth Bartlett, a scrupulously honest lawyer whose integrity has always held him back professionally. Hoping to help Kenneth get ahead, Helen confesses to a murder she obviously didn't commit, confident that he'll get her off and make his reputation. But things don't go exactly as planned, thanks largely to a mysterious eccentric named Charley (John Barrymore), who assures the heroine over and over that she'll "fry." Once considered a prime example of screwball comedy, True Confession is now regarded by film buffs as one of Carole Lombard's worst pictures: it wasn't much better when remade by Betty Hutton in 1946 as Cross My Heart. ~ Hal Erickson, Rovi
- Starring:
- Carole Lombard, Fred MacMurray, (more)
- 1937
In the second of Paramount's "Bulldog Drummond" thrillers, Hugh "Bulldog" Drummond (John Howard) is finally about to marry longtime fiancée Phyllis Clavering (Louise Campbell) when the girl is kidnapped. The hijackers, Mikhail Valdin (J. Carroll Naish) and his sister, Erena Soldanis (Helen Freeman), are wanted for the murder of an American millionaire, and Scotland Yard Inspector Neilson (John Barrymore) warns Bulldog that he may be next. But the intrepid hero pays no heed and is soon off on a dangerous journey that culminates at the Mere, a supposed haunted house. Bulldog Drummond Comes Back was based on H.C. "Sapper" McNeile's 1928 novel The Female of the Species, who, an opening credit warns, is "more deadly than the male." ~ Hans J. Wollstein, Rovi
- Starring:
- John Barrymore, John Howard, (more)
In the fourth of Paramount's "Bulldog Drummond" action-thrillers, the intrepid adventurer (John Howard) makes the grizzly discovery of a severed hand. Even more startling, attached to the wayward limb is a case filled with hextonite, a new and highly explosive substance desired by the enemy in general and one Draven Nogais (Frank Puglia) in particular. With his faithful servant, Tenny (E.E. Clive), fiancée Phyllis Clavering (Louise Campbell), and friend Algy Longworth (Reginald Denny) along for the ride, Captain Drummond trails the villain on board a train leaving Victoria Station for Paris. At first, the wily Nogais manages to elude his pursuers by disguising himself as a woman, but his plans to escape with the explosives are halted on the ferryboat to France. Despite the relative brevity of his role as Scotland Yard inspector Neilson, John Barrymore earned star billing in this series entry, which was based on H.C. "Sapper" McNeile's 1932 novel The Return of Bulldog Drummond. ~ Hans J. Wollstein, Rovi
- Starring:
- John Barrymore, Louise Campbell, (more)
- 1937
A remake of 1932's Guilty as Hell, Night Club Scandal also borrows a page from 1934's Murder at the Vanities by depicting the "friendly adversary" relationship between a reporter (Lynne Overman) and a cop (Charles Bickford). Top-billed John Barrymore plays a respectable doctor married to a nightclub singer (Evelyn Brent), who murders his wife and frames the victim's lover for the crime. Overman and Bickford spot holes in Barrymore's story, bringing him to justice by Reel Seven. The murder plot is standard stuff, but the main attraction of Night Club Scandal is the aggressively masculine love/hate byplay between tipsy Lynne Overman and flint-eyed Charles Bickford. The best moment occurs at the end, when the wide-eyed ingenue (Louise Campbell) doesn't marry the fellow the audience expects her to! ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, Lynne Overman, (more)
- 1937
The third of MGM's profitable Jeanette MacDonald/Nelson Eddy songfests, Maytime opens in the early 20th century, with a young girl arguing with her boyfriend over her wishes to become an opera singer. The girl's neighbor, a lonely old woman whom we gradually recognize as a convincingly "aged" Jeanette MacDonald, tells the girl of her own career in opera. The old lady was once the radiant young diva Marcia Mornay. In 1868 she was the toast of Europe, thanks to the tutelage of her voice instructor Nikolai Nazarov (John Barrymore). He proposes marriage, and Marcia accepts, more out of gratitude than love. In a euphoric pre-nuptial state, Marcia finds herself on Paris' Left Bank, where she meets handsome café crooner Paul Allison (Nelson Eddy). They meet again at a lavish Maytime festival, falling in love (to the accompaniment of Sigmund Romberg's most dazzling duets) in the process. Sadly, Marcia returns to Nazarov, while Paul goes off to America to lick his wounds. Seven years later, Marcia, making her New York debut in a fictional opera based on the works of Tchaikovsky, finds that the leading baritone is none other than Paul. Unable to envision life without her new love, Marcia begs Nazarov for a divorce. He smiles slyly and promises to give her her freedom-whereupon he heads to Paul's apartment and kills the poor fellow. The flashback done, Marcia advises her pretty young neighbor that one can never have both love and a career. Out of tragedy grows the happy ending, in which the spirit of the now-deceased Marcia is reunited with Paul in a blossom-filled Hereafter. On paper, Maytime may seem to be the ultimate in Hoke, but even in recent revival showings the film never fails to cast its spell over an audience. ~ Hal Erickson, Rovi
- Starring:
- Jeanette MacDonald, Nelson Eddy, (more)
Director George Cukor and producer Irving G. Thalberg's adaptation of Romeo and Juliet, a lavish production of Shakespeare's tale about two star-crossed lovers, is extremely well-produced and acted. In fact, it is so well-done, that it is easy to forget that Leslie Howard and Norma Shearer are too old to be playing the title characters. ~ Stephen Thomas Erlewine, Rovi
- Starring:
- Norma Shearer, Leslie Howard, (more)
Flamboyant, egomaniacal theatrical impresario Oscar Jaffe (John Barrymore) transforms chorus girl Mildred Plotka (Carole Lombard) into leading lady Lily Garland, the toast of Broadway. Once she's ascended to stardom, Mildred/Lily cannot abide Jaffe's obsessive control of her life and career. When he hires a private detective (Edgar Kennedy) to keep tabs on her, it's the last straw. Lily whisks herself off to Hollywood, where she quickly becomes a top movie star. Months pass: without his "creation" to star in his productions, Jaffe goes bankrupt. With his faithful stooges O'Malley (Roscoe Karns) and Webb (Walter Connolly) in tow, Jaffe boards the Twentieth Century Limited, one step ahead of his creditors. By an incredible coincidence, Lily is also on the Twentieth Century, accompanied by her stuffy fiance George Smith (Ralph Forbes). With near-maniacal glee, Jaffe undertakes the herculean task of signing Lily to star in his upcoming spectacular staging of "The Passion Play". Now the laughs, which have been erupting at safe intervals for the past 45 minutes, really begin to cascade, with Oscar, Lily, and a wide variety of eccentrics chasing each other around the Twentieth Century as it speeds its way from Chicago to New York. Based on the Broadway play by Ben Hecht and Charles MacArthur, Twentieth Century is "screwball comedy" at its screwiest. Director Howard Hawks once claimed that he was the first to treat his romantic leads like comedians: whether he was or not, it is true than Barrymore and Lombard deliver two of the funniest performances of the 1930s. Nearly 50 years after the release of Twentieth Century, the property was revived as a Broadway musical, On the 20th Century, starring Kevin Kline and Madeline Kahn. ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, Carole Lombard, (more)
- 1934
John Barrymore is the Long Lost Father in this lightweight seriocomedy. Barrymore is felicitously cast as Carl Bellairs, who is unexpectedly reunited with Lindsay Lane (Helen Chandler), the daughter he deserted years earlier. Not surprisingly, Lindsay wants nothing to do with her prodigal dad, even though both are employed by nightclub owner Tony Gelding (Alan Mowbray). Despite Lindsay's icy hostility, Bellairs rescues her when she is falsely accused of theft. The bittersweet ending is somehow appropriate to this impeccably tailored star vehicle. Scripted by Dwight Taylor, Long Lost Father is a rare foray into sophisticated comedy by King Kong director Ernest B. Schoesdack. ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, Helen Chandler, (more)
Based on the Broadway hit by George S. Kaufman and Edna Ferber, Dinner at Eight is a near-flawless comedy/drama with an all-star cast at the peak of their talents. Social butterfly Mrs. Oliver Jordan (Billie Burke) arranges a dinner party that will benefit the busines of her husband (Lionel Barrymore). Among the invited are a crooked executive (Wallace Beery), who is in the process of ruining Jordan; his wife (Jean Harlow), who is carrying on an affair with a doctor (Edmund Lowe); a fading matinee idol (John Barrymore), who has squandered his fortune on liquor and is romantically involved with the Jordan daughter (Madge Evans); and a venerable stage actress (Marie Dressler), who since losing all her money has become a "professional guest." Nothing goes as planned, due to various suicides, double-crosses, compromises, fatal illness, and servant problems. But dinner is served precisely at eight. The script by Herman Mankiewicz, Frances Marion, and Donald Ogden Stewart is a virtual enclyopedia of witty lines and scenes, right down to the unforgettable closing gag. ~ Hal Erickson, Rovi
- Starring:
- Marie Dressler, John Barrymore, (more)
Adapted from the play by Elmer Rice, Counsellor-at-Law is the story of a successful Jewish lawyer George Simon (John Barrymore) who finds it's lonely at the top. Simon's wife (Doris Kenyon) and children look down upon him because of his humble upbringings, while his mother reprimands him for turning his back on his heritage. Simon is threatened with disbarment when a rival digs up a big wormy can of legal wrongdoing in Simon's past, but this is only the beginning of the end. When the beleaguered lawyer discovers that his wife has been unfaithful, he looks out the window of his Empire State Building office and contemplates suicide. Simon is brought to his senses by his faithful secretary (Bebe Daniels), who has loved him all along. Filled with vivid character vignettes and blessed with energetic direction by William Wyler, Counsellor-at-Law is one of the best "lawyer" films of the 1930s. ~ Hal Erickson, Rovi
- Starring:
- John Barrymore, Bebe Daniels, (more)
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