La loi ordonne

Made when the Studios were Mostly, well, Studio Bound and Early Talkies were, well, a lot of Talk, this one had the Pleasure of an Actor who could Really Talk. John Barrymore had been doing it ever since Pictures Moved.

Coupled with a Heavy Stage Experience, He became one of the most Respected Actors of His Era. Although Surprisingly never Nominated for an Academy Award (He famously said they were afraid I would show up drunk and embarrass them and myself).

This Film also had the Advantage of a Pre-Code Freedom to Exercise some later to be Forbidden Behavior like Premarital Sex, and other Innuendos. But it is Barrymore's Charisma and Naturalism that Endears this Courtroom and Political Drama, also Helped by a Strong Supporting Cast.

It is Less Ham than usual for 'The Profile" and the Movie has a lot of Long Dialog Scenes that are Fascinating to Watch. This makes for a somewhat Stilted but Compelling Drama that is an Actor's Showcase and Barrymore Effortlessly Delivers.

Although there was nothing explicitly sexual in the dialog of State'a Attorney this film definitely belongs in the 'Before the Code' category of films. It was only in post World War II America that you could have a hero with all the frailties of John Barrymore and I'm not talking about Barrymore's drinking.

Helen Twelvetrees plays the usual wronged innocent who comes to top flight criminal attorney Barrymore when he's slumming in night court. He takes her case and then takes up with her and she convinces him to go over to the other side and start prosecuting the people he previously defended like top mobster William Boyd. He and Boyd have considerable history going back to when they were kids.

The Code would end heroes like John Barrymore's character. In his quest for power and respectability he dumps Twelvetrees with whom he was living without benefit of clergy and takes up with quirky Jill Esmond who is rich and her old man Oscar Apfel is powerful. The union does not last long, but no movie hero once the Code was in place would either live with a woman without being married to her or dump said woman strictly for his own ambitions.

Early sound Barrymore and he had not given in to dissipation as he would in his last years. It's an old fashioned acting style but still worthy of giving a look to and enjoying. It was a follow up for Jack possibly in response to brother Lionel playing a lawyer and winning an Oscar for a dramatic courtroom climax in A Free Soul. He also has a climatic courtroom scene, and while not as dramatic it was affective indeed for the junior Barrymore brother.

... from RKO and director George Archainbaud in which John Barrymore stars as high-powered attorney Tom Cardigan. When he grows weary of defending hoods like his chief client Valentine Powers (William "Stage" Boyd), he accepts an offer to become a state prosecutor.

Barrymore's drinking problems off-screen seem to be bleeding on-screen, as his character spends at least half the film somewhat soused. He's still very good, though, and very sharp in the climactic courtroom scenes. Jill Esmond, best known today for being Laurence Olivier's first wife, doesn't impress much as a flighty lover. Helen Twelvetrees comes across much better as a former streetwalker getting her life straight thanks to Barrymore. I'm not usually too fond of Boyd, but he's better here, or at least his inherent unlikeability comes in handy playing a heel.

According to IMDb, John Barrymore's character in "State's Attorney" was based on a real attorney, dapper William J. Fallon. How close the character is to Fallon, I have no idea--though I strongly suspect that Fallon's story and this one are very, very different. This is because there are LOTS of hysterics in this one--so many that you just cannot believe the film has any semblance to real life.

The film begins with Barrymore playing Attorney Tom Cardigan. Cardigan seems to be perpetually inebriated--a role to which Barrymore was well suited. However, despite his drinking*, he is an expert attorney who always seems to win. So, he's a valuable asset to mobsters and other low-lifes who need him to help them beat the rap. In the process of doing his job, he meets a woman (Helen Twelvetrees) and they fall in love. While the film never comes out and says it, it's strongly implied that she becomes his mistress.

Surprisingly, his mobster friend has an idea--make Cardigan the State's Attorney where he can be even more helpful to the mob. However, it soon becomes apparent that Cardigan means to do this job well--and not use it as a revolving door for criminals. Cardigan now is interested more in becoming the next governor as opposed to becoming a rich, satisfied lawyer. What's next? See the film.

Because it's a film about lawyers, it's not surprising there are several courtroom scenes. However, to me this was the low point of the film as too often the proceedings became ridiculously melodramatic and shrill. Folks on the witness stand begin screaming their guilt, women break down and cry and, ultimately, Cardigan makes speeches instead of defends or prosecutes. It's a shame, as Barrymore was a fine actor but these scenes tend to bring down the overall quality of the movie. Fair but it sure should have been a lot better.

The reissue title seems deliberately prophetic, as hot-shot lawyer Barrymore's perpetual drunkenness is obvious throughout this late star vehicle for Barrymore, who throughout usually has his left profile to the camera while his perpetually moving eyes and eyebrows reveal that he's not taking his outrageous antics in Court entirely seriously.

As usual the law is portrayed cynically, and along with the opulent bachelor pad he shares with Helen Twelvetress heightens the pre-Code amorality of the piece.