February 15th . . .
John Barrymore – ‘The Great Profile’ and grandfather to Drew Barrymore – was born this day in 1882, too late for what could have been a phenomenal career in motion pictures. As it was, he was still plenty successful.
The youngest son of stage matinee idol Maurice Barrymore and American actress Georgia Drew, and brother of fellow thespians Ethel and Lionel, John Barrymore was one of the most charismatic men ever to grace (and disgrace) the theater footlights. His Hamlet and Richard III are the stuff of legend, as is his tempestuous, anecdote-laden private life. He walked through most of his film roles as the character of ‘John Barrymore’, a concocted persona of flamboyance, impeccable diction, dry wit, and a profile that the camera adored – at least in his early years.
His silent film roles – like in ‘Don Juan’ (1926) and 'Dr. Jekyll and Mr. Hyde’ (1920) – capture his astonishing beauty. But by the time talkies arrived, Barrymore was already over 50, and his once magnificent physique and memory were beginning to show the inevitable ravages of a self-indulgent life of women, parties and booze. Lots and lots of booze.
Still, he managed to conjure a few brilliant performances on film before he literally drank himself to death in 1942. His Mercutio in ‘Romeo and Juliet’ (1936) may be overage but is still robust and full of mischief, and his doomed jewel thief who falls in love with Greata Garbo in ‘Grand Hotel’ is gallant and touching. But the film that best captures Barrymore’s hammy brilliance – and ingratiating gift for self-parody – is Howard Hawks’ 1934 screwball classic ‘Twentieth Century.’ Barrymore plays Oscar Jaffe, a pretentious and manipulative theater director who discovers and mentors unknown actress Mildred Plotnik (Carole Lombard), and changes her name to Lily Garland. She becomes a huge star and leaves the egomaniacal Oscar to go to Hollywood; his career tanks. When they meet again on a cross-country train, Oscar maneuvers to get her name on an exclusive contract. Barrymore simultaneously makes fun of the acting profession (playing a character who has been acting for so long he’s no longer capable of distinguishing acting from reality) while honoring it. Barrymore is nearly matched by the delightful Lombard as the feisty diva.
Here’s a true rarity: a short clip of Barrymore as Richard III. Click here to see it . . .
John Barrymore – ‘The Great Profile’ and grandfather to Drew Barrymore – was born this day in 1882, too late for what could have been a phenomenal career in motion pictures. As it was, he was still plenty successful.
The youngest son of stage matinee idol Maurice Barrymore and American actress Georgia Drew, and brother of fellow thespians Ethel and Lionel, John Barrymore was one of the most charismatic men ever to grace (and disgrace) the theater footlights. His Hamlet and Richard III are the stuff of legend, as is his tempestuous, anecdote-laden private life. He walked through most of his film roles as the character of ‘John Barrymore’, a concocted persona of flamboyance, impeccable diction, dry wit, and a profile that the camera adored – at least in his early years.
His silent film roles – like in ‘Don Juan’ (1926) and 'Dr. Jekyll and Mr. Hyde’ (1920) – capture his astonishing beauty. But by the time talkies arrived, Barrymore was already over 50, and his once magnificent physique and memory were beginning to show the inevitable ravages of a self-indulgent life of women, parties and booze. Lots and lots of booze.
Still, he managed to conjure a few brilliant performances on film before he literally drank himself to death in 1942. His Mercutio in ‘Romeo and Juliet’ (1936) may be overage but is still robust and full of mischief, and his doomed jewel thief who falls in love with Greata Garbo in ‘Grand Hotel’ is gallant and touching. But the film that best captures Barrymore’s hammy brilliance – and ingratiating gift for self-parody – is Howard Hawks’ 1934 screwball classic ‘Twentieth Century.’ Barrymore plays Oscar Jaffe, a pretentious and manipulative theater director who discovers and mentors unknown actress Mildred Plotnik (Carole Lombard), and changes her name to Lily Garland. She becomes a huge star and leaves the egomaniacal Oscar to go to Hollywood; his career tanks. When they meet again on a cross-country train, Oscar maneuvers to get her name on an exclusive contract. Barrymore simultaneously makes fun of the acting profession (playing a character who has been acting for so long he’s no longer capable of distinguishing acting from reality) while honoring it. Barrymore is nearly matched by the delightful Lombard as the feisty diva.
Here’s a true rarity: a short clip of Barrymore as Richard III. Click here to see it . . .
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