Actor John Barrymore

John Sidney Barrymore (né Blyth; February 15, 1882 – May 29, 1942) was an American actor on stage, screen and radio. A member of the Drew and Barrymore theatrical families, he initially tried to avoid the stage, and briefly attempted a career as an artist, but appeared on stage together with his father Maurice in 1900, and then his sister Ethel the following year. He began his career in 1903 and first gained attention as a stage actor in light comedy, then high drama, culminating in productions of Justice (1916), Richard III (1920) and Hamlet (1922); his portrayal of Hamlet led to him being called the "greatest living American tragedian".

After a success as Hamlet in London in 1925, Barrymore left the stage for 14 years and instead focused entirely on films. In the silent film era, he was well received in such pictures as Dr. Jekyll and Mr. Hyde (1920), Sherlock Holmes (1922) and The Sea Beast (1926). During this period, he gained his nickname, the Great Profile. His stage-trained voice proved an asset when sound films were introduced, and three of his works, Grand Hotel (1932), Twentieth Century (1934) and Midnight (1939) have been inducted into the National Film Registry.

Barrymore's personal life has been the subject of much attention before and since his death. He struggled with alcohol abuse from the age of 14, was married and divorced four times, and declared bankruptcy later in life. Much of his later work involved self-parody and the portrayal of drunken has-beens. His obituary in The Washington Post observed that "with the passing of the years – and as his private life became more public – he became, despite his genius in the theater, a tabloid character." Although film historians have opined that Barrymore's "contribution to the art of cinematic acting began to fade" after the mid-1930s, Barrymore's biographer, Martin Norden, considers him to be "perhaps the most influential and idolized actor of his day.”

Early Motion Pictures and Theatrical Triumphs 1913-1924

In late 1913, Barrymore made his first confirmed feature film, the romantic comedy An American Citizen, with Adolph Zukor's Famous Players Film Company. When the film was released in January 1914, Barrymore "delighted movie audiences with an inimitable light touch that made a conventional romance 'joyous'," writes Peters. A reviewer for The Oregon Daily Journal thought that Barrymore gave a "portrayal of unusual quality". The success of the picture led to further film work, including The Man from Mexico (1914), Are You a Mason?, The Dictator and The Incorrigible Dukane (all 1915). Except for The Incorrigible Dukane, all of these early films are presumed lost.

Despite the film work and the higher fees he earned from it, Barrymore continued to seek stage work, and in January 1914 he played the lead in The Yellow Ticket at New York's Eltinge Theatre. The role marked a departure from the light comedy of his previous performances, a result of Sheldon urging him to turn towards more dramatic parts. The Yellow Ticket was not the breakthrough that Barrymore wanted. A few months before the outbreak of World War One, he took a vacation to Italy with Sheldon to enjoy a temporary break from his worsening marriage. He returned from Italy and accepted another serious stage role, that of an ex-convict in Kick In, at New York's Longacre Theatre. The play was a success, and Barrymore received praise from the critics; The New York Times reviewer thought that in a play that had "uncommonly able and sincere playing", Barrymore acted his role with "intelligence and vigor and impart[ed] to it a deal of charm".

Barrymore spent the second half of 1915 making three films, including The Red Widow, which he called "the worst film I ever made" in his 1926 autobiography. In April 1916, he starred in John Galsworthy's prison drama Justice, again at the instigation of Sheldon. The play was a critical success, and The New York Times thought the audience saw "Barrymore play as he had never played before, and so, by his work as the wretched prisoner in Justice, step forward into a new position on the American stage." The critic went on to say that Barrymore gave "an extraordinary performance in every detail of appearance and manner, in every note of deep feeling ... a superb performance.”

From early 1916, Barrymore had been living apart from Katherine, and she sued for divorce in November 1916. By the time the divorce was finalized in December 1917, he had taken the lead role in the film Raffles, the Amateur Cracksman. He had also tried to enlist in the U.S. Army following the country's entry into World War I, but Army doctors revealed that he had varicose veins, and he was not accepted for military service. For over a year beginning in April 1917, he appeared together with Lionel in a stage version of George du Maurier's 1891 novel Peter Ibbetson. The play and the two Barrymores were warmly regarded by the critics. Around this time, Barrymore began a relationship with a married mother of two, Blanche Oelrichs, a suffragist from an elite Rhode Island family with what Peters calls "anarchistic self-confidence". Oelrichs also published poetry under the name Michael Strange. While their relationship began in secret, it became more open after Oelrichs' husband was commissioned into the army and then posted to France.

Both Oelrichs and Sheldon urged Barrymore to take on his next role, Fedya Vasilyevich Protasov, in Leo Tolstoy's play Redemption at the Plymouth Theatre. The critic for The New York Times felt that, although Barrymore's performance was "marred by vocal monotony", overall the performance was "a distinct step forward in Mr. Barrymore's artistic development ... There is probably not another actor on our stage who has a temperament so fine and spiritual, an art so flexible and sure." In 1918, Barrymore starred in the romantic comedy film On the Quiet; the Iowa City Press-Citizen considered the film superior to the original Broadway performance.

In 1919, Barrymore portrayed a struggling lawyer in the film adaptation of the Broadway show Here Comes the Bride, which he followed with The Test of Honor. The latter film marked his first straight dramatic role on screen after years of performing in comedy dramas. Later that year, when Barrymore again appeared on stage with Lionel in Sem Benelli's historical drama The Jest, audience members "agree[d] that the American stage had never witnessed finer acting", according to Peters. Alexander Woollcott, writing in The New York Times, thought that "John and Lionel Barrymore hold spellbound each breathless audience", and he commented that Barrymore "contributes to that appeal by every step, every hand, every posture of a body grown unexpectedly eloquent in recent years". In November, Barrymore began filming Dr. Jekyll and Mr. Hyde, playing the dual leading role, and the film was released in theaters the following year. Wid's Daily thought that "it is the star's picture from the very outset, and it is the star that makes it", going on to say that Barrymore's portrayal was "a thing of fine shadows and violent emotions". The Washington Post was in agreement, and considered the performance to be "a masterpiece", and "a remarkable piece of work". The film was so successful that the US Navy used stills of Barrymore in its recruiting posters.

After planning for over a year – largely in secret – Barrymore played his first Shakespeare part, the title role in Richard III. Conscious of the criticism of his vocal range, he underwent training with Margaret Carrington, the voice and diction trainer, to ensure he sounded right for the part, and the pair worked together daily for up to six hours a day for six weeks. After the debut in March 1920, the critics were effusive in their praise. The Washington Herald observed that the audience were "held by the sheer power of Barrymore's performance", which was "remarkable for ... [the actor's] unexpected vocal richness", while Woollcott, in The New York Times, thought the performance "marked a measurable advance in the gradual process of bringing [Barrymore's] technical fluency abreast with his winged imagination and his real genius for the theatre,”

Although a commercial and critical success, the play closed after 31 performances when Barrymore collapsed, suffering a nervous breakdown. Since appearing in Redemption he had worked ceaselessly, appearing on stage in the evenings, while planning or rehearsing the next production during the day, and by the time he appeared as Richard, he was spending his daytimes filming Dr. Jekyll and Mr. Hyde. He spent six weeks recuperating under the ministrations of his father's friend, wrestler William Muldoon, who ran a sanitarium. During the summer of 1920, Oelrichs became pregnant with Barrymore's child, and a quick divorce was arranged with her husband, which left her and Barrymore free to marry in August that year; a daughter, Diana Barrymore, followed in March 1921. Soon after the birth, he began rehearsals for Clair de Lune, which his wife had adapted from Victor Hugo's 1869 novel The Man Who Laughs. Barrymore persuaded Ethel to play the role of the Queen – it was the first time the two had appeared on stage together in over a decade. The play was a critical flop, although the presence of the siblings ensured that it ran for over 60 performances.

In 1921, Barrymore portrayed a wealthy Frenchman in New York in the film The Lotus Eater, with Colleen Moore. In September, Barrymore and Oelrichs went to Europe on holiday; cracks were appearing in their relationship, and she fell in love with a poet during their extended stay in Venice. In October, Oelrichs returned to New York and Barrymore traveled to London to film the exterior scenes for his latest movie, Sherlock Holmes, in which he played the title role. He then returned to New York to work on the film's interior scenes in January 1922. Barrymore became involved in the pre-production work for the film and provided designs for Moriarty's lair. The film was released later that year and was generally thought "a little dull and ponderous, with too many intertitles", although James W. Dean of The Evening News of Harrisburg opined that "the personality of Barrymore is the film's transcendent quality.”

Barrymore decided next to star in Hamlet on stage, with Arthur Hopkins directing. They spent six months preparing, cutting over 1,250 lines from the text as they did so, and Barrymore opted to play Hamlet as "a man's man", according to Norden. Barrymore later described his Hamlet as a "normal, healthy, lusty young fellow who simply got into a mess that was too thick for him ... he was a great fencer, an athlete, a man who led an active, healthy life. How can you make a sickly half-wit out of a man like that?" Barrymore again used Carrington as a vocal coach; rehearsals started in October, and the play opened on November 16. The production was a box-office success, and the critics were lavish in their praise. Woollcott, writing for the New York Herald, opined that it was "an evening that will be memorable in the history of the American theater". while John Corbin, the drama critic for The New York Times, agreed, writing that "in all likelihood we have a new and a lasting Hamlet". The reviewer for Brooklyn Life stated that Barrymore had "doubtless won the right to be called the greatest living American tragedian". In 1963, Orson Welles said that Barrymore was the best Hamlet he had seen, describing the character as "not so much princely – he was a man of genius who happened to be a prince, and he was tender, and virile, and witty, and dangerous."

Barrymore and Hopkins decided to end the run at 101 performances, just breaking the record of one hundred by Edwin Booth, before the play closed in February 1923. In November and December that year, a three-week run of the play was staged at the Manhattan Opera House, followed by a brief tour that closed at the end of January 1924.

Films with the Major Studios 1924-1932

News of Barrymore's success in Hamlet piqued the interest of Warner Bros., which signed him as the lead in the 1924 film Beau Brummel. Unhappy in his marriage, Barrymore – aged 40 at the time – sought solace elsewhere and had an affair with his 17-year-old co-star Mary Astor during filming. Although the film was not an unqualified success, the cast, including Barrymore, was generally praised. Around this time, Barrymore acquired the nickname "the Great Profile", as posters and photographs of him tended to favor the left-hand side. He later said: "The right side of my face looks like a fried egg. The left side has features that are to be found in almost any normal anthropological specimen, and those are the apples I try to keep on top of the barrel.”

In February 1925, Barrymore staged Hamlet in London at the Haymarket Theatre, which the Manchester Guardian later said had "the most memorable first night for years". The reviews were positive, and "although none of the London critics found Barrymore superior to [Henry] Irving and [Johnston] Forbes-Robertson, many were favorable in their comparisons". Among the audience members was the 20-year-old actor John Gielgud, who wrote in his program "Barrymore is romantic in appearance and naturally gifted with grace, looks and a capacity to wear period clothes, which makes his brilliantly intellectual performance classical without being unduly severe, and he has tenderness, remoteness, and neurosis all placed with great delicacy and used with immense effectiveness and admirable judgment". Looking back in the 1970s, he said: "The handsome middle-aged stars of the Edwardian theatre romanticised the part. Even John Barrymore, whose Hamlet I admired very much, cut the play outrageously so that he could, for instance, play the closet scene all out for sentiment with the emphasis on the 'Oedipus complex' – sobbing on Gertrude's bosom. Yet Barrymore ... had a wonderful edge and a demonic sense of humour."

At the end of this run of Hamlet, Barrymore traveled to Paris, where Oelrichs had stayed during his residence in London, but the reunion was not a happy one and the couple argued frequently. When he returned to America, she remained in Paris, and the couple drew up a separation agreement that provided Oelrichs with $18,000 a year and stated that neither could sue for divorce on the grounds of adultery. While he had been in London, Warner Bros and Barrymore entered into a contact for three further films at a salary of $76,250 per picture. He later claimed that his motivation for moving from stage to films was the "lack of repetition—the continual playing of a part, which is so ruinous to an actor, is entirely eliminated.”

Barrymore's first film under the contract was The Sea Beast (1926), loosely based on the 1851 novel Moby-Dick, in which he played Captain Ahab Ceeley. This was one of the biggest money-makers of the year for Warner Bros. Although Barrymore wanted Astor to play the female lead, she was unavailable, and Dolores Costello was cast in her place. He later said that "I fell in love with her instantly. This time I knew I was right", and the couple began an affair. Costello's father was angered by the relationship, but his complaints were ignored by both Costello and her mother: Costello's parents separated and were divorced as a result. The film was well received by critics, and Mordaunt Hall, the film critic of The New York Times, praised the "energy, earnestness and virility" Barrymore displayed in the role of Ceeley.

As filming finished on The Sea Beast, work began on Don Juan, the first feature-length film with synchronized Vitaphone sound effects and a musical soundtrack. Although Barrymore wanted to play opposite Costello again, Jack L. Warner, the film's producer, signed Astor. After completing his Warner Bros. contract with When a Man Loves, with Costello, Barrymore joined United Artists (UA) under a three-film deal. For the next three years, according to Morrison, he "enjoyed unprecedented prosperity and spent lavishly". Nevertheless, he received some harsh reviews. Critic and essayist Stark Young wrote in The New Republic that Barrymore's films were "rotten, vulgar, empty, in bad taste, dishonest, noisome with a silly and unwholesome exhibitionism, and odious with a kind of stale and degenerate studio adolescence. Their appeal is cheap, cynical and specious".

In 1927, Barrymore planned to revive Hamlet at the Hollywood Bowl, but in August he canceled the production, without explanation, and began filming the third of the UA pictures, Eternal Love, for which he was paid $150,000. In February 1928, Barrymore obtained a quiet divorce from Oelrichs; she eagerly agreed to the separation, as she was in a relationship with a lawyer, Harrison Tweed, whom she later married. Barrymore and Costello married in November that year; their daughter, Dolores, was born in April 1930 and a son, John Drew Barrymore, followed in June 1932. Barrymore purchased and converted an estate in the Hollywood Hills into 16 different buildings with 55 rooms, gardens, skeet ranges, swimming pools, fountains and a totem pole.

By the late 1920s, sound films had become common, following the 1927 sensation, The Jazz Singer. Actors with trained voices were in demand by the studios, and Barrymore was offered a five-film deal with Warner Bros. at $150,000 per picture, and a share of the profits. Before he began this contract, he played his first speaking role on film: a one-off section in The Show of Shows (1929), playing Richard, Duke of Gloucester in Henry VI, Part 3. His first two films under contract were General Crack and The Man from Blankley's, each of which were modestly successful. As he had been frustrated at the inability of making The Sea Beast as a sound film, Barrymore returned to Moby Dick as the source for a 1930 film of the same name. Peters thinks little of the film, describing it as "a seesaw between the cosmic and the comic, a travesty of Melville as well as a silly film all on its own".

The following year, Barrymore played the title role of a manipulative voice coach in Svengali, opposite Marian Marsh. Martin Dickstein, the critic for the Brooklyn Daily Eagle, wrote that Barrymore "registers a personal triumph in the role", calling his performance "brilliant ... one of the best of his movie career". Later in 1931, he played a crippled puppeteer, who tries to fulfill his frustrated ambitions by manipulating the life of a young male ballet dancer and the dancer's lover (also Marsh) in The Mad Genius; the film was a commercial failure. With disappointing box office returns from their five-film deal, Warner Bros. decided not to offer Barrymore a contract renewal. Instead, Barrymore signed a non-exclusive contract with Metro-Goldwyn-Mayer (MGM) and took a $25,000 salary cut per film.

Grand Hotel, 1932

Barrymore's first film for MGM was the 1932 mystery Arsène Lupin, in which he co-starred with his brother Lionel. In The New York Times, Hall called Barrymore's performance "admirable" and wrote that "it is a pleasure to see [him] again in something in a lighter vein." The same year, Barrymore starred as jewel thief Baron Felix von Geigern together with Greta Garbo in the 1932 film Grand Hotel, in which Lionel also appeared. Critical opinion of Barrymore's acting was divided; John Gilbert's biographer Eve Golden refers to Barrymore as seeming "more like ... [Garbo's] affectionate father than her lover", while George Blaisdell of International Photographer praised the dialogue and wrote that a viewer would be "deeply impressed with the rarity in screen drama on which he is looking." Grand Hotel won the Academy Award for Best Picture and was one of the highest-grossing films of the year. It was later added to the National Film Registry.

https://en.wikipedia.org/wiki/John_Barrymore