Beau Brummel

What can anyone say about this? Beautiful print, some fine acting by Barrymore -- wonderfully subtle for the period in the early sequences and quite appropriately over-the-top at the end. Given the uniformly over-the-top performances he was called on to make towards the end of his career, the well-preserved Barrymore silents -- this one, his fine, generous performance in THE BELOVED ROGUE, and the sheer electricity between him and Dolores Costello in WHEN A MAN LOVES show what a fine actor he is -- those turns and his wonderful comic work in MIDNIGHT.

I have been less than impressed in the past by some of the scores offered by the Young Composers but, although a bit shaky in the earlier sequences, this one settled right down and was quite good.

I had quite forgotten this was directed by Harry Beaumont, who became my favorite MGM B director -- even though, of course, MGM didn't make B movies.

"George Byron Brummel" (John Barrymore) is a soldier and not an especially significant one at that. He falls in love with the "Lady Margery" (Mary Astor) and though she reciprocates to an extent, she's not prepared to sacrifice her status to marry him so instead marries the "Lord Alvanley" (William Humphrey) and leaves her erstwhile paramour to the life of a bit of a libertine. The best way to achieve success at doing very little is to attach oneself to one even better at it, and so he engineers a meeting with the Prince of Wales (Willard Louis) and soon the pair are firm friends and "George" - now widely called "Beau" is holding court in a regal splendour all of his own. Gradually he acquires enemies at court and begins to over-play his hand. He racks up debts and philanders to the point where his royal patron starts to tire of his toy and, after a rather rash retaliatory comment to the Prince one day, "Beau" is abandoned to his multiple creditors, That causes him to flee to the relative safety of France, but clearly clearly his goose is starting to look cooked and he is increasingly reliant on the loyalty of his manservant "Mortimer" (Alec B. Francis) and on the charity of his few remaining friends in Britain. A potential reconciliation between the two seems possible when the now King George III visits France, but pride and rancour put paid to that and condemn poor old "Beau" to a decline that is anything but beautiful. Harry Beaumont takes his time with this drama and that helps develop the quite complex character of "Brummell". We see ambition and shallowness from Barrymore's performance, but we also see a shrewdness and a sort of perverse type of loyalty and humanity as he grows older and more considered. Astor delivers well too - she imbues her character with a combination of stoicism and emotion well. On the downside, though the Prince was reputedly quite a dandy character, I felt Louis rather overplayed that here at times. The two men still give us a decent dynamic when both are in full pomp, though. There's also a strong ensemble supporting cast that demonstrate well the foppishness of the court and the contrasting poverty endured by those who (not so) cheerily waved their flags and cheered. The last twenty minutes is poignant with some well executed special effects conveying the conclusion to us and those on screen to another place. As ever with lengthy silent films, you have to admire the musicians who read the contours of the film and accompany it so skilfully and here, we have some considerable artistry from the set designer and costumier too in the ultimate story of reaping what you sow!

BEAU BRUMMEL (A Warner Brothers Classic of the Screen, 1924), directed by Harry Beaumont, from the play and historical data by Clyde Finch, stars the legendary John Barrymore in one of his most prestigious films of the silent era. Mixing fact and fiction into the life of George Bryan Brummell (1778-1840), an English social arbiter, the opening inter-title sums it up best: "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 II. 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." For the plot summary, beginning in the year 1795, George Bryan Brummel (John Barrymore), British Army officer and captain of the Tenth Hussars, deeply loves Margery Werthaim (Mary Astor). Because her mother (Clarissa Selwynne), "ambitious, relentless," finds Brummel to be a young man of no importance, insists Marjory wed Lord Alvanloy (William Humphrey) instead. As she takes her daughter to get married, Alvanloy leaves Brummel in the garden in humiliation by throwing him a sixpence. Next scene: "Revenge was all he thought of now. He would use his charmed wit and personal appearance in a game against the society which has robbed him of his love."  For the years to follow, Brummel does just that. Through the guidance of the Prince of Wales (Willard Louis), Brummel makes his way through society, resigns from the Army, abandons his whig for a more natural hair, has an affair with Mrs. Snodgrass (Betty Brice), the landlord's (James Marcus), wife; and makes his indiscretions with the ladies of the court, particularly Lady Hester (Carmel Myers), wife of Lord Henry Stanhope (Richard Tucker), whom he finds terribly annoying; and Frederica Charlotte (Irene Rich), sister-in-law of the Prince of Wales, whom he claims to be a tender woman, all of whom he loves and leaves. Making many enemies and finding himself heavily in debt, he at first serves time in a jail in Calais, and later finds himself living in poverty. His only true friend during his declining years is his servant, Mortimer (Alec B. Francis), whom he dismisses from his employ for being too helpful. Falling out of love with everything, Brummel is approached by Marjory, only to lose her again as explained with these words: "Death kills but once, life kills many times." What further develops remains to be seen. 

At first glance, BEAU BRUMMEL comes across as an overlong (128 minutes) dull costume drama about doomed love (with portions closely resembling George Du Maurier's PETER IBBETSON), redeemed by sincere yet "ham" acting of John Barrymore, from a young dandy to aged old man (with a striking resemblance to the older appearance of his brother, Lionel), and the ever youthful Mary Astor, both of whom would be reunited in DON JUAN (Warners, 1926), and supporting Claudette Colbert in the sound comedy, MIDNIGHT (Paramount, 1939). Looking over and comprehending everything not absorbed the first time around, this can now classified as a rich atmospheric production with fine acting, by 1920s standards, and detailed period pieces of long, long ago. Although there's really no action involving sword play to stir up excitement, there's little suspense midway involving a duel a Bowling Green between Brummel and a jealous husband.

BEAU BRUMMEL, a fortunate survivor of the silent film era, is not as relatively known as others from that era. In the wake of home video, however, it was placed on video cassette during the late 1980s through various distributors, including Video Yesteryear and Grapevine Video, just to name a few, mostly with missing footage and poor quality visuals. It can also be acquired in the DVD format as well.

Cable television's Turner Classic Movies brought BEAU BRUMMEL back to life by having a restored copy for its January 29, 2008 presentation accompanied by new and exceptional orchestral score conducted by young film composer James Schafer of Rancho Cucamonga, California. Regardless of host Bob Osborne announcing BEAU BRUMMEL making its "world television premiere," in fact, has played on television before in April 1994 on the Nostalgia Channel as part of its Saturday night weekly presentation of "When Silents Were Golden." Aside from an already pre-recorded orchestral score from a 1930s reissue used for this feature, watching BEAU BRUMMEL or any silent movie for that matter, couldn't really be fully appreciated on the Nostalgia Channel due to its frequent commercial interruptions. Now that it has finally turned up on the commercial free TCM, BEAU BRUMMEL may have its chance of rediscovery to the delight of film enthusiasts wanting to compare this with its 1954 remake (with Brummel ending with two L's) starring Stewart Granger, Elizabeth Taylor and Peter Ustinov. (***)

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.

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.