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The Bad Lord Byron (1949)

Seriously ill on a military campaign in Greece, Lord Byron dreams of being judged, upon his death, as either a poet and soldier or as a seducer and libertine. Amongst the witnesses called ... See full summary »

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Cast

Cast overview, first billed only:
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Sonia Holm ...
Raymond Lovell ...
Leslie Dwyer ...
Fletcher
Denis O'Dea ...
Prosecuting Counsel
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Lady Melbourne
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Pietro Gamba
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Count Guiccioli
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Austrian Officer
Cyril Chamberlain ...
Defending Counsel
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Mr. Hopton
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Count Gamba
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Storyline

Seriously ill on a military campaign in Greece, Lord Byron dreams of being judged, upon his death, as either a poet and soldier or as a seducer and libertine. Amongst the witnesses called are his free-thinking mistress, Lady Caroline Lamb, and his more conventional wife, Annabella. Written by Jeremy Perkins <jwp@aber.ac.uk>

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18 April 1949 (UK)  »

Also Known As:

Kvinnorna kring Byron  »

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1.37 : 1
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Trivia

In the scenes showing Byron's London club, the poet's own dining table and chairs are shown. See more »

Connections

Referenced in Terence Young: Bond Vivant (2000) See more »

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User Reviews

 
Lord Byron on trial for his life on his deathbed
24 March 2018 | by See all my reviews

Dennis Price had some difficult times himself for his sexual inclinations and should have been the right actor to put Lord Byron on screen, but he is not. He is too gentlemanly and undramatic. The demonic traits of Byron are missing entirely. Dennis Price is a perfectr actor in every way but not enough for Byron. Perhaps the script is more to blame, which is poorly written - there are so many vitally significant parts of Byron's life missing here entirely, for instance is there no word of Shelley throughout the film, which is a catastrophic blunder, since the friendship between those too greatest poets of their time perhaps was the most important and at least most dramatic and significant part of their lives.

Among the ladies, Joan Greenwood is the best, while Byron's sister and wife are lost in the balls and the intrigues. Mai Zetterling as the Countess Guiccioli also makes a rather insipid impression with no real passion but sentimentality. On the whole, the film is bogged down in mostly sentimental nonsense bereaving it of life, interest and any trace of drama, which is a pity, since so much could have been made out of Byron's highly dramatic life.

The film begins when he lies dying, and in his delirium he stands trial for his life concerning his regrets about his ladies. No verdict is pronounced, but the juury of the audience will get the message.

Sorry, it could have been better.


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