The Washington Masquerade (1932)

Passed  |   |  Drama, Romance  |  9 July 1932 (USA)
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Ratings: 5.8/10 from 79 users  
Reviews: 7 user | 1 critic

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(continuty and dialogue), (in collaboration with), 3 more credits »
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Complete credited cast:
Jeff Keane
Karen Morley ...
Consuela Fairbanks
Diane Sinclair ...
Ruth Keane
Reginald Barlow ...
Senator Withers
William Collier Sr. ...
William Morris ...
Senator Hodge
Rafaela Ottiano ...
C. Henry Gordon ...
Senator Bitler (as Burton Churchill)
Henry Kolker ...


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Drama | Romance


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Release Date:

9 July 1932 (USA)  »

Also Known As:

Washington Whirlpool  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


(Turner library print)

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Henri Bernstein's play, "La griffe," opened in Paris, France, on 18 April 1906. It's translation and adaptation, "The Claw," by Edward Delaney Dunn and Louis Wolheim, opened on Broadway in New York City, New York, USA on 17 October 1921 and had 105 performances. Lionel Barrymore created his movie role in the play, which also included Ian Wolfe in the opening night cast. See more »


Hail to the Chief
(1810) (uncredited)
Written by James Sanderson
Played at the White House when the president descends the stairs
See more »

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User Reviews

Focus on those massive hands
17 March 2014 | by (United States) – See all my reviews

If you are watching the great Lionel Barrymore, then it is not possible for you to be wasting your time. "Washington Masquerade" can be considered a showcase for Barrymore, and he delivers a wide ranging performance for our entertainment.

However, I think the most fascinating way to take in this film is to focus on Barrymore's famously arthritic hands. Like a tic that cannot be controlled, these hands never stop moving, restlessly in continuous motion throughout this film. I do not know if this was a conscious decision on the director's part, but those enormous hands, with their lengthy fingers, keep moving, moving, and moving; now sweeping his hair back, now smoothing out his clothes, now grabbing on to his lapels, now wiping or covering his face and brow, the hands are the true stars of this film.

Brother John Barrymore may have been known as The Profile, but Lionel should be known as The Voice, the distinctive pitch and tone Lionel's alone. The final scene, in which he delivers a scorching speech to a committee of Congressmen, may be hokey and dated, but it's still an electric performance by the great one.

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