One of the most surprising omissions in Oscar history is the lack of a Best Actor nomination for John Barrymore, notorious ham of the late 30's and early 40's who in the early 30's was one of Hollywood's greatest actors. 1932 proved to be his best year, with this film, "Grand Hotel", "A Bill of Divorcement" and "Rasputin and the Empress" (among others). And with such classics as "Dinner at Eight", "Topaze" and "Twentieth Century" coming up, he was entering his best period in the movies. But alcohol and romantic intrigue sent him spiraling down quickly. Fortunately, we have his work from his heyday to enjoy today.
As a New York City defense attorney with enormous popularity who decides to become a District Attorney in order to get his name out there in the political arena for Governor, Barrymore sets up a "lady of ill repute" (Helen Twelvetrees) after helping her out of a solicitation charge (by slipping her a wedding ring!). But to further his career, he marries the sophisticated Jill Esmond instead. His old chum (William Boyd) is a constant thorn in his side, so when Boyd commits murder (with Twelvetrees as a witness), Barrymore is determined to get Boyd the noose.
Subtly portraying this man of mixed and conflicting emotions, Barrymore is understated even with some ridiculous plot elements. Twelvetrees, one of the busiest actresses in movies before the code, wins sympathy not through pathos or feeling sorry for herself, but by being determined to rise above whatever obstacles threaten to tear her down. Other than an overly hammy performance by Mary Duncan as a woman on trial for murder, everybody is excellent. But it is Barrymore and Twelvetrees who shine and make this film a pre-code gem.
As a New York City defense attorney with enormous popularity who decides to become a District Attorney in order to get his name out there in the political arena for Governor, Barrymore sets up a "lady of ill repute" (Helen Twelvetrees) after helping her out of a solicitation charge (by slipping her a wedding ring!). But to further his career, he marries the sophisticated Jill Esmond instead. His old chum (William Boyd) is a constant thorn in his side, so when Boyd commits murder (with Twelvetrees as a witness), Barrymore is determined to get Boyd the noose.
Subtly portraying this man of mixed and conflicting emotions, Barrymore is understated even with some ridiculous plot elements. Twelvetrees, one of the busiest actresses in movies before the code, wins sympathy not through pathos or feeling sorry for herself, but by being determined to rise above whatever obstacles threaten to tear her down. Other than an overly hammy performance by Mary Duncan as a woman on trial for murder, everybody is excellent. But it is Barrymore and Twelvetrees who shine and make this film a pre-code gem.