A man involved in a crime (Nolan) kills his key witness by mistake and resigns himself to death. He changes his name so as not to harm his family. The law is not content with his ... See full summary »
Carl Bellairs and Lindsey Lane, his daughter, meet many years after he deserted her and her mother. They don't much like each other, but wind up working in the same nightclub. Bellairs ... See full summary »
Ernest B. Schoedsack
Helen and Ken are a pretty strange couple. She is a pathological liar, and he is a scrupulously honest (and therefore unsuccessful) lawyer. Helen starts a new job, and when her employer is ... See full summary »
Barrymore lampoons himself. A famous actor, given to drink, nearly destroys the show, but his leading lady returns to save it. Meanwhile a young girl tries to reform him. Written by
Ed Stephan <email@example.com>
John Barrymore did not memorize any of his lines for the film, but read them from a blackboard. He never missed a cue or muffed a speech, which is credited for bringing in the film 5 days ahead of schedule, thereby saving the studio an estimated $25,000. See more »
Oh Johnny, Oh Johnny, Oh!
Music by Abe Olman
Lyrics by Ed Rose
Sung by chorus during the opening credits
Played by studio orchestra during the closing credits and occasionally in the score See more »
This is an excellent comedy about an actor on his last legs hamming it up for his own amusement. I reject any of the evaluations here that rely on Mr. Barrymore's real life or condition at the time of making of this film. I don't see the logical connection. It's a funny movie, with Barrymore skillfully playing his part. I understand our English and arts departments in universities are infested with an irresistible need to analyze and judge everything not by what it is, but the conditions, times, politics, and philosophies of the people who produced them. If that makes sense to you, then you can't enjoy the Marx Brothers without bearing in mind Groucho's unhappy marriages, Chico's gambling mania, Zeppo's desire to leave performing and become a Hollywood agent, etc. Barrymore is a terrific comic actor in this film. Do you really care about his life off-screen to decide whether to enjoy it? Read about Barrymore all you want (including Ben Hecht's memoirs, A Child of the Century) and try to catch Christopher Plummer's one-man show, recently on PBS. But for heaven's sake, leave off the higher criticism or whatever the hell you call referencing stuff that's not in the work itself.
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