Beau Brummel

"Nowhere in all history can be found a more amazing character than George Bryan Brummel, the friend of Princes, the arbiter of fashion and the social ruler of England during the reign of George III. And nowhere in all fiction can be found more romance than was crowded into the life of this penniless commoner, whose natural charm and studied insolence made him the greatest dandy of all time - the immortal 'Beau' Brummel," asserts the this film's illustrative opening. And John Barrymore is well-suited for the leading role...

We begin in 1795, when dapper officer Barrymore gathers with the greatest personages in England for a wedding. The bride is his beautiful young lover Mary Astor (as Margery). Unfortunately, the groom is not Barrymore. Pressured by family to dismiss her true love and submit to an arranged marriage, Ms. Astor weds foppishly fat Willard Louis because Barrymore is a poor commoner and Mr. Louis is a Prince in line to be King. For revenge, Barrymore decides to infiltrate British high society with scandal...

"Beau Brummel" suffers from a threadbare plot, but boasts rich production values. Hollywood offered Barrymore greater access to life's pleasures and he returned the favor with moments of relentless overacting; considering the weaknesses in this story, it helps the film. Much admired, Barrymore won the Rudolph Valentino Medal as 1924's "Best Actor" for his "Beau Brummel" characterization. And the film went to the Top 5 in annual lists compiled by the New York Times, Film Daily, and Motion Picture Magazine.

****** Beau Brummel (3/30/24) Harry Beaumont ~ John Barrymore, Mary Astor, Willard Louis, Alec B. Francis

Beau Brummel (1924)

*** (out of 4)

Warner wanted to make a name for themselves so they went all out with this lavish production that features a terrific performance from John Barrymore. He plays the title character, a poor man who has the woman (Mary Astor) he loves taken away from him because of his low standing in society. Heart-broken, Beau sets out to use his charm and wit to get back at the society who ruined his life. Have you ever watched a big-budget movie and wonder where all the money went to as it's obviously not showing on screen? Well, that's certainly not the case here as one can't help but be impressed with the magnitude of this film. The sets, costumes and production values are all extremely high and this helps keep the film moving even when the story isn't doing much. I think the biggest flaw with the movie is its 128-minute running time, which leads to some dead space here and there. The story itself isn't all that ground-breaking even for this era so I'm guessing the main reason for the longer running time was just to give the film a more "epic" feel. With that said, this is still a very impressive movie. As I said earlier, the massive sets are extremely impressive and one can't help but get caught up in their sheer beauty. The images of the costumes alone makes one really focus in. Just take a look at a sequence towards the end when a large number of soldiers are marching. One does wonder what all these extras in these lavish costumes cost the studio. Those familiar with Astor are probably more aware of her sound films so seeing her here, at 18-years-old, was a pretty big eye-opener just because I wasn't use to see her look so young. She is pretty good in the role and handles working next to Barrymore and never gets tramped by him. Willard Louis is extremely good as the Prince of Wales who is the one Beau really goes after in the film. Carmel Myers, Richard Tucker and William Humphrey turn in fine work as well. Alec B. Francis plays the long-time servant and is wonderful. As for Barrymore, he's pure magic here. A lot of people are going to call the performance hammy or stage-bound, which might be fair but from all the movies I've seen of his this one here gave the closest feel of what it might have been like watching him on the stage. He really nails every inch of this character whether it's the poor boy at the start, the rich jerk or the eventual fallen and broken man. Barrymore is clearly having a great time playing all of these different styles and he's especially effective in the final scenes, which I won't spoil. The scene can be called melodrama but it's melodrama at its highest peak thanks to Barrymore. He alone makes this film worth checking out.

It's interesting how much 'wit' can be found even in a film without spoken words. "Beau Brummel" is playful, a little naughty, and at times quite sad. The acting here is notably restrained and natural for a silent film. with John Barrymore leading the way in an excellent performance as Gordon Byron 'Beau' Brummel.

Brummel was a real person, even though the film acknowledges up front that his escapades have been largely fictionalized by legend. In this reality, Brummel was an 18th century army officer and dandy, who, despite his lack of wealth or noble blood, partied with the elite, romancing the women, befriending the men, and being a style and trend setter. What gives this a sense of drama to go with the playful social satire is the fact that Beau is denied the one woman he really loves, so his other successes are all a bit hollow. Also, in the end Brummel has little other than his smarts and charm to stand on, which keeps him always one insolent move from falling into poverty and disrepute.

There are weak spots. The photography and direction aren't particularly imaginative, with a very stagy feel to the blocking and camera angles. Most of the film is shot in head on, eye level medium 2-shots. The sets also often look a bit more like something designed for the stage than for the 360 degree vision of film. But if this isn't a great film, it's a good, clever, enjoyable one, and a chance to see Barrymore, said by many to be the finest actor of his time, as a comparatively young leading man.

This silent version of "Beau Brummel" (there was one in 1913) stars the great John Barrymore in the title role, and he manages without speaking to give us a clear, layered view of this vain social climber. Also starring are Mary Astor, Carmel Myers, and Irene Rich as three of the women in his life. Mary Astor was nearly unrecognizable - low, long eyebrows (they all seemed to have them) and different teeth, and 18 years old! Though in black and white, the sumptuousness of the costumes and the beauty of the sets, as well as the prevailing atmosphere, are all evident. Brummel resigns his commission so that he can literally hang out with the Prince of Wales, who becomes George IV. When he falls out of favor, he also falls on hard times. The woman he loses to her marriage into a wealthy family, Lady Alvanley, remains a loyal friend as does his butler Mortimer.

Barrymore's acting, particularly in his last scenes, is brilliant. Thankfully he went into talkies so we would have a chance to hear his beautiful speaking voice.

Superior to the MGM color version starring Stewart Granger.

Clyde Fitch's play, written for renowned stage actor Richard Mansfield, is a very romantic interpretation of incidents in the life of George (Beau) Brummel, the Regency dandy whose name has become a watchword for sartorial splendour and correctness, and is itself freely adapted for this film that showcases the unparallelled talent of John Barrymore in his prime as Brummel. With revenge in his heart, Brummel sets out to manipulate London society in a great game due to his, because of an untitled station, having lost his lover, played well by 18 year old Mary Astor with whom Barrymore began an affair during this filming, and he utilizes a close relationship with his sponsor, the Prince of Wales, the Regent (later King George IV), to advance his plan. Barrymore's control of his scenes is unmatched as he expresses the widest possible range of emotion and reaction with the smallest movement of eyes or mouth and, although there are opportunities aplenty for emoting, his utilization of a prolonged gaze into the eyes of a lover or foe speaks volumes. Barrymore is strongly assisted by a very able supporting cast, including Willard Louis as the Prince of Wales, Aleck B. Francis as Brummel's loyal manservant and, as the Duchess of York, the exquisite Irene Rich, whose rhythms and ability to focus upon her character's persona nicely complements Barrymore during their shared scenes. Harry Beaumont, as always, directs capably and is assisted enormously with his efforts by cinematographer David Abel, whose skill with large groups during complicated action was later markedly in evidence as he supervised the cameras during the best of the Astaire/Rogers films. Somewhat more than a cavil might be a desire for the scenario to have presented more of Brummel's full life rather than the lengthy treatment given to its denouement, and that lacking in accuracy, but certainly allowing Barrymore a good deal of dramatic opportunity that does not go shunned.