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A Bill of Divorcement (1932)

Passed  |   |  Drama  |  30 September 1932 (USA)
6.6
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Ratings: 6.6/10 from 921 users  
Reviews: 28 user | 9 critic

A man, Hilary Fairfield returns home after fifteen years in a mental asylum. However, he finds things are not the way they were when he left.

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(screen play), (screen play), 1 more credit »
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Title: A Bill of Divorcement (1932)

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Father's return from the insane asylum spells calamity for the Fairfield family.

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Cast

Complete credited cast:
...
...
Margaret
David Manners ...
Kit
...
Sidney
Paul Cavanagh ...
Gray
Henry Stephenson ...
Gayle Evers ...
Elizabeth Patterson ...
Hester
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Storyline

After spending fifteen years in an asylum, Hilary Fairfield escapes from the institution after regaining his sanity. He finds that things at home are different than when he left them. His wife has divorced him and is already planning her next marriage, and his daughter has grown up throughout the years and is planning to marry as well. Written by Pablo Garcia

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

30 September 1932 (USA)  »

Also Known As:

Doble sacrificio  »

Box Office

Budget:

$300,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Photophone System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The car that Katharine Hepburn drives in the film was purchased by Jay Leno in 1997. See more »

Goofs

'Katharine Hepburn' is misspelled in the credits as 'Katherine Hepburn'. See more »

Quotes

Sydney Fairfield: It's in our blood, isn't it?
See more »

Crazy Credits

Sydney Fairfield is the name of Katharine Hepburn's character in the film, but ner name is spelled Sidney in the credits. See more »

Connections

Referenced in The Making of a Legend: Gone with the Wind (1988) See more »

Soundtracks

God Bless the Master of This House
(uncredited)
Music traditional ("God Rest Ye Merry Gentlemen")
Lyricist unknown
Sung by carollers on Christmas Eve
See more »

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User Reviews

 
A rather stagy melodrama that is still worth your time
20 April 2012 | by (United States) – See all my reviews

This somewhat stagy early talkie is noteworthy for several reasons. First, it is Katharine Hepburn's screen debut, and it is interesting to see that even at 24 she is the prototype of the confident woman that she played in all of her films. Hepburn likely made quite a first impression on audiences with her lean athletic look versus that of typical film heroines of that era that still had that combination china doll and ex-flapper look that was so popular in the 20's. Likewise, just as it is the beginning of Hepburn's career, it is nearing the end of John Barrymore's. By the end of the decade alcoholism and, by some reports, early onset Alzheimer's disease, cause the end of his career. Also, it is interesting to see society's attitudes towards divorce and mental illness in the early 1930's.

Meg Fairfield (Billie Burke) has waited fifteen years while her husband Hilary (John Barrymore) is in a mental institution before finally obtaining a divorce. Shortly before her remarriage, Hilary "comes to himself" and returns home. To complicate matters further, their daughter Sydney (Katharine Hepburn) believes her father has been insane due to shell-shock. However, she soon learns that there is actually insanity in the family and wonders if either she will go insane herself or if her children will. The family doctor also hardly has a good bedside manner in dealing with the situation, saying that "who shall be sacrificed the lame or the whole?" and mentioning that Hilary's child, Sydney, shouldn't even have been born. Startling today, but probably a pretty typical attitude 75 years ago. One of the players puts it best when they mention that people always grieve the dead, but wonder how their reaction would change if the dead were suddenly alive again, which is basically Hilary's situation. Insane he could be mourned for what he once was, recovered he is just in the way. In spite of the usually able direction of George Cukor, this movie comes across as over-the-top melodramatic. However, given its place in Hepburn's film career, it is definitely worth viewing.


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