Clyde Fitch's play, written for renowned stage actor Richard Mansfield, is a very romantic interpretation of incidents in the life of George (Beau) Brummel, the Regency dandy whose name has become a watchword for sartorial splendour and correctness, and is itself freely adapted for this film that showcases the unparallelled talent of John Barrymore in his prime as Brummel. With revenge in his heart, Brummel sets out to manipulate London society in a great game due to his, because of an untitled station, having lost his lover, played well by 18 year old Mary Astor with whom Barrymore began an affair during this filming, and he utilizes a close relationship with his sponsor, the Prince of Wales, the Regent (later King George IV), to advance his plan. Barrymore's control of his scenes is unmatched as he expresses the widest possible range of emotion and reaction with the smallest movement of eyes or mouth and, although there are opportunities aplenty for emoting, his utilization of a prolonged gaze into the eyes of a lover or foe speaks volumes. Barrymore is strongly assisted by a very able supporting cast, including Willard Louis as the Prince of Wales, Aleck B. Francis as Brummel's loyal manservant and, as the Duchess of York, the exquisite Irene Rich, whose rhythms and ability to focus upon her character's persona nicely complements Barrymore during their shared scenes. Harry Beaumont, as always, directs capably and is assisted enormously with his efforts by cinematographer David Abel, whose skill with large groups during complicated action was later markedly in evidence as he supervised the cameras during the best of the Astaire/Rogers films. Somewhat more than a cavil might be a desire for the scenario to have presented more of Brummel's full life rather than the lengthy treatment given to its denouement, and that lacking in accuracy, but certainly allowing Barrymore a good deal of dramatic opportunity that does not go shunned.
Review of Beau Brummel
