Grand Hotel 1932 - Garbo 'wants to be alone'

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IMDB rating: 7,7

Director: Edmund Goulding
Main Cast: Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone, Jean Hersholt

"Based on Vicki Baum's novel, Grand Hotel is the prototype for the all-star ensemble film and an excellent example of the rich and glamorous escapist entertainment, often from MGM, that took on enhanced prominence during the Depression. Produced by Irving Thalberg using top-end ingredients and state-of-the-art technology, it is yet another example of MGM's dominance during the 1930s for this type of film. The plot exists merely as a device to get star faces on the screen, particularly that of Greta Garbo. Though only moderately respected by the critics, Grand Hotel has proven itself of enduring influence, both for Garbo's performance and for creating star-heavy blockbusters that peaked in the 1950s with Around the World in 80 Days. Grand Hotel won Best Picture at the 1932 Academy Awards." - www.allmovie.com

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Night flight 1933 - An all star cast aviation spectacle

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IMDB rating: 6,4

Director: Clarence Brown
Main Cast: John Barrymore, Helen Hayes, Clark Gable, Lionel Barrymore, Robert Montgomery, Myrna Loy, William Gargan, C. Henry Gordon, Leslie Fenton, Irving Pichel

"This long-forgotten, long-unavailable MGM aviation drama (produced under the aegis of David O. Selznick) is an adaptation of flier-turned-belletrist Antoine de Saint-Exupery's slim 1931 novel of the same name, which dramatizes the adventures of the South American night mail aviation service in the early years of the 20th century. The studio enlisted a top-drawer cast for this one, including Clark Gable, Robert Montgomery, Myrna Loy, brothers John and Lionel Barrymore (in their final onscreen appearance together), and Helen Hayes. Selznick and his brass were obviously hoping to produce another hit on par with Wings or Grand Hotel, and thus pinned empyrean hopes on the novella. To say that the adaptation didn't live up to their box office expectations would be an understatement, and probably explains the obscurity into which the picture sank. But all told, this film represents a happy, eminently enjoyable surprise. Scriptwriter Oliver H.P. Garret builds the drama around a plot contrivance not found in the original text - the attempts of the said pilots to deliver a precious vaccine to the infantile paralysis unit at the City Hospital in Rio de Janeiro, before one child in particular expires. De Saint-Exupery purists may scoff, but this ingenious narrative addition works beautifully - it functions as the hook necessary to sustain suspense in the audience's mind and maintain an involving through-line. All of the actors do stellar work here, particularly Gable and Montgomery (both cast as noble pilots), who give the picture the star power and the dramatic weight that it needs. A number of scenes feel stilted and overly theatrical, and others threaten to interrupt the film's momentum just a bit, but for the most part, what's onscreen is both involving and exciting. The film doesn't recreate de Saint-Exupery's majestic scenic tableaux - how could it? - and director Clarence Brown relies too heavily on 'wipes' to segue from one aerial shot to another. But the film compensates with special effects that feel downright revolutionary for the period in question, and that anticipate Howard Hawks's Only Angels Have Wings - including gorgeous, convincing shots of aircraft during nocturnal voyages (done with miniatures) and a magnificent storm sequence, set in the Andes and lifted directly from the text. Of greatest curiosity are the period images of such cities as Rio de Janeiro, Brazil and Santiago, Chile, presented as sterile-white, WASP-staffed utopian communities with nothing but the most luxurious surroundings. Why the absence of Hispanic citizens, and why the careful resistance to any signs of local squalor? (It may simply be a reflection on the nativism of the era that produced this film). The movie suffers just a bit from one of the most risible final shots of any film in memory (with 'ghost pilots' emerging from the sea and soaring up to the heavens); until then it's an engrossing entertainment and does justice to its source material." - www.allmovie.com

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Rasputin and the empress 1932 - The three fabulous Barrymores together

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IMDB rating: 6,7

Director: Richard Boleslawski
Main Cast: John Barrymore, Ethel Barrymore, Lionel Barrymore, Ralph Morgan, Diana Wynyard

"It's hard to separate fact and fancy from the many accounts of what happened on the set when all three of the fabulous Barrymores - Ethel, John and Lionel - appeared together for the only time in Rasputin and the Empress. As for the end result, John offers the subtlest (!) performance as Russian Prince Paul Chegodieff; Lionel throws all caution to the four winds in the role of 'Mad Monk' Rasputin; and Ethel comes off as rather artificial as Empress Alexandra (Ethel was more appealing in her character roles of the 1940s and 1950s). When seen today, Rasputin and the Empress seems rather choppy in spots, with isolated lines of dialogue and sometimes whole scenes completely missing. This is due to a million-dollar lawsuit brought against MGM by Prince Yusupov, the man who really engineered Rasputin's assassination. The Prince wasn't offended by being depicted as a murderer, but he was distressed when MGM suggested that his wife had been raped by Rasputin. As a result, Rasputin and the Empress was withdrawn from distribution, and all prints were later bowdlerized when released to television. Also as a result, all future Hollywood films were obliged to carry the 'Any resemblance to actual persons, living or dead, is purely coincidental' disclaimer." - www.allmovie.com

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A bill of divorcement 1932 - Katharine Hepburn's auspicious film debut

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IMDB rating: 6,6

Director: George Cukor
Main Cast: John Barrymore, Katharine Hepburn, Billie Burke, David Manners

"Katharine Hepburn made her auspicious film debut in the otherwise undistinguished A Bill of Divorcement, based on a play by Clemence Dane. Even now, many decades later, there's still a raw freshness and energy to Hepburn's performance that is hard to resist. It's true that her work here is not particularly polished; there are moments when she clearly pushes too hard, and others when she sacrifices truth for effect. But there's a spirit and energy radiating from the actress that make the viewer forgive her these and other little sins, and she is so spot on in most of the sequences that there's no need to make excuses for this early performance. What's surprising is John Barrymore's performance, which was lauded at the time but has been overshadowed by Hepburn's through the years. The celebrated but uneven actor gives an exceptional performance, informed with telling detail and carefully nuanced, and there is a rare and essential rapport between him and Hepburn which goes a long way to smoothing over many of the rough patches of the dated and sometimes melodramatic screenplay. Also a surprise is Billie Burke, who gives her character an underlying melancholy and guilt, and who handles her dramatic scenes quite well. Divorcement doesn't stand up well as drama, and George Cukor's direction is often rudimentary, but it's a great showcase for its stars." - www.allmovie.com

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Arsene Lupin 1932 - The first screen pairing of the Barrymore brothers

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IMDB rating: 7,0

Director: Jack Conway
Main Cast: John Barrymore, Lionel Barrymore, Karen Morley, John Miljan, Tully Marshall

"John Barrymore plays a burglar and his brother Lionel Barrymore is the detective trying to catch him in this cleverly cast drama. An upscale thief who works under the name of Arsene Lupin is making the rounds of the homes of the wealthy and privileged, and Detective Guerchard (Lionel Barrymore) is determined to track him down. What he doesn't know is that the suave and sophisticated Duke of Charmerace (John Barrymore) is actually the man behind the robberies. Will Guerchard find out the thief's true identity before he can execute a daring theft from the Louvre Museum? Karen Morely co-stars as Sonia, the Duke's love interest.
When it debuted in 1932, the big news about Arsene Lupin was that it was the first screen pairing of the legendary Barrymore brothers. Modern audiences, who have had the chance to see them in several of their subsequent screen teamings, won't approach Arsene with the same sense of anticipation, but they'll likely find themselves quite entertained with the result, especially if they are fans of Raffles-type 'gentleman thief' stories. The screenplay of Arsene is solid, setting up the situations with skill and making sure that all of the parts are in their proper places. The writers do a fine job of keeping the audience guessing as to the identity of the title character until more than halfway into the film and it is only in the climax that the viewer is really certain that his guess is right. Jack Conway directs efficiently, with an eye on atmosphere and tension but also making sure that the appropriate light moments are given equal play. And he is very careful to spotlight 'the big show': the scenes in which John Barrymore and Lionel Barrymore share the screen and perform their own special brand of dramatic dueling. They're in beautiful form, sparring delightfully off of each other and giving their fans plenty to relish. All in all, Arsene is a treat for fans of light mystery entertainment." - www.allmovie.com

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(Arsene Lupin Double Feature: Arsene Lupin 1932 & Arsene Lupin Returns 1938)

Svengali 1931 - Under John Barrymore's spell

IMDB link: http://www.imdb.com/title/tt0022454/?ref_=nv_sr_2
IMDB rating: 7,0

Director: Archie Mayo
Main Cast: John Barrymore, Marian Marsh, Donald Crisp

"The George du Maurier novel Trilby, about a hypnotist who controls a female musician, was originally filmed as Trilby, a 1920s silent. In the 1931 talkie, the emphasis shifts from the music student to the teacher, Svengali. John Barrymore gives a scenery-chewing performance as Svengali, who is originally seen tutoring Honori (Carmel Myers). Trilby (Marian Marsh) is making her living as a nude model, but she wants to use her musical talents to earn money and hopes to settle down with Billee (Bramwell Fletcher). Unfortunately, his upper-class family simply wouldn't approve. Svengali falls for Trilby and starts teaching her music while manipulating her hypnotically. Eventually, she becomes so dependent on him that she can't perform outside of his presence. This film became so well-known that the word 'Svengali' became incorporated into the English language, meaning 'someone who, with evil intent, tries to persuade another to do what is desired'.
Two components contribute to make Svengali a classic: John Barrymore's performance and the famous surrealistic sets (Trilby's art-deco-bedroom!). Barrymore's acting diverts from some stiff direction. At first he looks like a crude caricature with his tog, make-up and thick german accent (when Alec Guinness played Fagan in a similar way, he caused a scandal because it looked anti-semitic), but soon his eye-twinkling charm enchant the viewer and near the end his performance becomes nearly soul-stirring. Critics had not one good word for Marion Marsh, but the central premise - singing arias under hypnosis - is impossible to play, because a singer needs temperament, which a puppet has not.
An interesting story: Barrymore's fourth wife fell so completely in love with him after watching Svengali, that she chased him by train, plane and even via radio-address until he finally said 'yes'.
A British version of the film was released in 1955."

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Romeo and Juliet 1936 - Stars who could overcome their ages

IMDB link: http://www.imdb.com/title/tt0028203/?ref_=nv_sr_4
IMDB rating: 6,8

Director: George Cukor
Main Cast: Leslie Howard, Norma Shearer, John Barrymore, Edna May Oliver, Basil Rathbone, C. Aubrey Smith

"William Shakespeare's Romeo and Juliet, the classic story of two doomed lovers from rival clans, was a favorite subject of filmmakers throughout the 20th century, with more than a dozen different feature versions. One of the best was MGM's big-budget, glossy production of 1936, overseen by George Cukor, one of Hollywood's most respected directors. It was a pet project of producer Irving Thalberg, who cast his wife, Norma Shearer, as Juliet. Shearer, then 32, was too old for the part, as was 43-year-old Leslie Howard as Romeo (just two years later, he would play a crusty middle-aged professor in Pygmalion). Fredric March, Robert Donat, and Robert Montgomery reportedly all turned down the starring role before it was offered to Howard. But Howard and Shearer used mesmerizing acting to try to overcome the age problem, and Shearer was nominated for an Oscar, as was Basil Rathbone as Tybalt. John Barrymore also steals scenes with a riveting performance as Mercutio. Romeo and Juliet was also nominated for an Oscar as Best Picture, losing to The Great Ziegfeld." - http://www.allmovie.com/movie/romeo-and-juliet-v42026/

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Twentieth century 1934 - The movie which invented screwball comedy

IMDB link: http://www.imdb.com/title/tt0025919/
IMDB rating: 7,9

Director: Howard Hawks
Main Cast: John Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns

"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.
Poking fun at his master thespian image, Barrymore's hammy Broadway impresario Oscar alternately threatens to shut 'the Iron Door' on his associates or kill himself to get his way, but ultra-spirited Lombard as shopgirl-Mildred-turned-diva-Lily proves his equal in acting chops and screen strength. With most of the action confined to the eponymous train, Oscar's machinations to get the estranged Lily to star in his next show rise in hysterical pitch as the quarters get increasingly close, culminating in another Oscar death spectacle for an audience of passengers. Swiftly paced by Hawks, the rapid-fire jokes and arguments never let up, setting the standard for the genre's speed and humor. With equally superb supporting performances from Walter Connolly and Roscoe Karns, Twentieth Century became a box office hit, turning Lombard into a star comedienne and joining It Happened One Night (1934) as the prototype for the screwball genre." - http://www.allmovie.com/movie/twentieth-century-v51294

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Counsellor at law 1933 - One of the best lawyer films of the 30's

IMDB link: http://www.imdb.com/title/tt0023911/
IMDB rating: 7,7

Director: William Wyler
Main Cast: John Barrymore, Bebe Daniels, Doris Kenyon, Isabel Jewell, Melvyn Douglas, Thelma Todd

"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. Barrymore gives a crackling performance as a dynamic Manhattan lawyer who's worked his way to the top, yet still has the hunger of an immigrant Jew who came over in steerage. Seemingly master of all he surveys - his offices are in the Empire State Building! - he suddenly finds himself facing disbarment, and ditching by the elegant WASP wife (Doris Kenyon) who's always wished he would practice law 'like a gentleman'.
Such a stagy stratagem (Elmer Rice adapting his own play) usually spells static filmmaking, but Wyler (who signaled his readiness to take a big step up in class with this expertly directed movie) brings off a cinematic tour de force, an energetic direction with tensile camerawork, sharp performances, and brilliant set design (Charles D. Hall) that gets great visual excitement out of all the doors, glass walls, and skyscraper windows."

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Dinner at eight 1933 - A movie with romance, glamour, wit, charm and intrigue

IMDB link: http://www.imdb.com/title/tt0023948/
IMDB rating: 7,9

Director: George Cukor
Main Cast: Marie Dressler, John Barrymore, Wallace Beery, Jean Harlow, Lionel Barrymore, Billie Burke, Madge Evans

"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.
Dinner at Eight is, above all else, about changes: changes in society where graceful old money is about to be supplanted by the new and crass; changes in the motion picture business where talkies turn silent stars into alcoholic has-beens; and changes in industry, where, according to Jean Harlow's brassy Kitty Packard, 'machines are taking the place of every profession'. After which observation, of course, Marie Dressler, as the grand Mrs. Patrick Campbell-like stage diva, delivers one of the screen's most memorable closing lines, 'That my dear', she intones, giving the bleach blonde the once-over, 'is something you never need to worry about!' It is a delicious moment in a film positively giddy with such bon mots and brimming with performances as fresh today as they were in 1933. Were Dressler, Harlow, Billie Burke, or the Barrymore brothers ever better? Although director George Cukor and producer David O. Selznick deserved much of the credit, they were, of course, heavily indebted to a sparkling screenplay penned by Frances Marion, Herman J. Mankiewicz, and Donald Ogden Stewart. It is to the credit of all these talented professionals that Dinner at Eight manages to amuse and delight even the jaded audiences of today, in contrast, perhaps, to its equally famous predecessor, the rather overstuffed and decidedly dated Grand Hotel (1932)." - http://www.allmovie.com/movie/dinner-at-eight-v13816

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