Le roman de Manon

In an old French cathedral town, during the reign of Louis XV, devoted churchman John Barrymore (as Chevalier Fabien des Grieux) is studying to become a Priest. One May morning, virginal Dolores Costello (as Manon Lescaut) arrives at the musty convent, like "a flower freshly plucked from the countryside"; when Mr. Barrymore sees Ms. Costello, the seeds of romance are firmly planted. Meanwhile, Costello's scheming brother Warner Oland (as André Lescaux) decides to prostitute sister Costello. Barrymore overhears Mr. Oland's plotting, and whisks Costello off to Paris. Eventually, Costello feels the lure of jewels and pretty clothes; and, Barrymore is torn between lust and the Lord.

Sheer nonsense, but extremely well-produced - firstly, Alan Crosland's "When a Man Loves" is another great opportunity to see star lovers Barrymore and Costello (who would soon marry off-screen). Oland and the man he sells Costello to, Sam de Grasse (as Monsieur Guillot de Morfontaine), head up a delightful supporting cast. Look out for a hilariously over-painted Bertram Grassby (as Le Duc de Richelieu), Tom Santschi sneeringly captaining the convict boat, and pretty prisoner Myrna Loy. The convict ship trip ending, with its swelling Vitaphone soundtrack, and Barrymore going ballistic... all fantastic. Barrymore's performance becomes amazing. Don't desert the ship - keep watching until the exciting ending payoff.

******** When a Man Loves (2/3/27) Alan Crosland ~ John Barrymore, Dolores Costello, Warner Oland

Director Alan Crosland and star John Barrymore attempt to recapture the the success of their previous effort, THE BELOVED ROGUE, with this story of debauchery and all-conquering love in the ancien regime, from the novel MANON LESCAUT. It was a popular story, made into a couple of ballets and an opera by Puccini. But despite the sumptuous sets and stuntwork, it lacks the essential verve and generosity of Barrymore's performance in the earlier movie -- but this movie is not about him. The star of the picture is Dolores Costello, who would marry Barrymore a year later. The modern moviegoer should be able to recognize her easily enough. Their grand daughter, Drew Barrymore, has her eyes.

At first it seemed to me that Barrymore was too old for the role -- a young man studying for the priesthood in his forties? But the very real chemistry of the two stars more than makes up for that.

I must admit I've only seen one clip, of this rumored to be picturesque silent, on an old HBO documentary on the 1920s. That was in the early 1980s. This film treatment on the much filmed Manon Lescaut romance story is known to exist. It is not a lost film yet it is almost never seen even though it would presumably be owned by Turner Classics being a Warner Bros. silent. This was the film in which Ethel Barrymore upon seeing commented that her brother John Barrymore basically threw his part away in order for Dolores Costello, then Barrymore's girlfriend and soon to be wife, to standout and shine. Costello was then concurrently starring in Warner's "Old San Francisco"(1927), which had a Vitaphone pre-recorded soundtrack. WAML was John Barrymore's third and final film in a three picture deal with Warner Brothers and it followed the better know Don Juan. WAML had a Vitaphone pre-recorded soundtrack with musical score & sound effects, the same as Don Juan. Vitaphone was the pioneer system where the music, sound effects, speech etc. was recorded on an LP type of wax disc rather than the later standard of film. Byron Haskin, WAML's Cinematographer, said in an interview that this was a wonderful story to photograph and was superior to Don Juan photographically in many respects IHHO. Incidentally director Alan Crosland seemed to be involved with all things Vitaphone & Warner Brothers at this time. He was not only the director of WAML but the aforementioned Old San Francisco & Don Juan as well as the talking film breakthrough The Jazz Singer. Maybe one day Turner Classics will surprise everyone and resurrect WAML, a late silent/major studio obscurity. Perhaps some kind of restoration is in order and that includes the original pre-recorded soundtrack if it exists. I'm sure it's as gorgeous as Don Juan's soundtrack.

"This medal, sent by the Bishop himself, will protect you against temptations of the flesh."

Haha, that sure lasted a long time. This is an epic period drama, 1927 style, (very loosely) based on the 18th century novel Manon Lescaut, and stars John Barrymore and Dolores Costello. It's got about everything you might want in such a film - romance, costumes, swashbuckling, and general adventure. It's 111 minutes long which can sometimes be painful in a silent film given the era's slower pace, but this one moved along pretty well and had many entertaining scenes.

Early on, the pure-hearted characters (the young people who fall for each other at first sight, Barrymore and Costello) seem to be contrasted with people wise to the ways of the world (a scheming brother, lecherous Comte, and even a winking maid, Marcelle Corday). However, these "pure" characters enjoy a blissful carnal relationship despite not being married, something that wouldn't have been possible under the Production Code seven years later. Barrymore's character is also good at cheating at cards, kills a man, and leads an insurrection. Between these things and his tender moments with Costello, like the one where he steams up the screen by slowly leaning down to kiss her, we get an interesting, three-dimensional person. Costello's character is not really afforded that same luxury, existing mostly to be lusted over by a string of powerful men, including the Comte, the King, and even the captain of convict ship. Barrymore fends off the men trying to assail her as they come, channeling Douglas Fairbanks at times. The pair's chemistry is undeniable, and they would marry in real life a year later (hey, these are Drew Barrymore's grandparents we're watching here).

What made the film for me were the scenes with unsavory characters, like when Barrymore enters the subterranean den of iniquity (and then orders a glass of milk for the cat). While the court of Louis XV and the gambling salon filled with powdered wigs and polite society appear very different, the leers and knowing glances in those places were nice parallels to the earlier scene. We also get saucy prostitutes being rounded up with for deportation to that far-away colony called Louisiana, and a cage full of prisoners who Barrymore incites like a deranged monkey. There is a darkness to its ending too, at least for those aboard the ship, where we see women being thrown over the shoulders of a fearsome bunch of marauding criminals (apparently Myrna Loy was one of those aboard!). Overall, it's a tad melodramatic but the energy at the end and the fun I had along the way had me rounding my review score up.

Another commenter wondered whether Turner Classics would resurrect this film. I was lucky enough to see that happen this weekend on their Sunday silents. The film is a beautifully done piece; the scenery, costuming and makeup is amazing. The characterizations are darling. John Barrymore does seem to play down his role somewhat, but overall the acting is very well done. The whole movie makes me want to read the French story upon which it is based, as much because of what the movie does say as because of what it doesn't. The subject matter is a fascinating look at what is acceptable in society both of the time the story was written and the time the movie was made. A worthwhile film if you can catch it!