John Barrymore (1882-1942)
- Richard Barthelmess, The Dawn Patrol, 1930. Howard Hawks, The Grey Fox,wanted the silent icon. He had never made a talkie and to continue his humiliation of the star,MGM’s LB Mayer would only release him if was not paid.
- Frederic March, Dr Jekyll and Mr Hyde, 1930. Having made a major comeback in the 1919 version, Barrymore was invited to repeat the titular double-act. He was probably the first to say: Been there, done it, got the make-up.
- John Gilbert, Queen Christina, 1933. The Great Profile was out. So were Leslie Howard, Laurence Olivier, Franchot Tone. Garbo knew who she wanted as her lover. He said of his famous profile: “The right side of my face looks like a fried egg. The left side has features… found in almost any normal anthropological specimen, and those are the apples I try to keep on top of the barrel.”
- Ricardo Cortez, Hat, Coat and Glove, 1934. The New York Times review stated Barrymore declined the leading role. Rubbish! The Barrymore vehicle crashed into his alcoholism. He could no longer remember his lines and was dumped after three days - of getting nothing on film. Great break for Cortez. MRS B, Dolores Costello, was preparing to declare him mentally incompetent, when he shot off to UK and India. From his next gig, Dinner At Eight, onwards, he used cue cards… years before Brando!
- Otto Kreuger, Vanessa: Her Love Story, 1934. Poor Helen Hayes’ insane husband went from two Barrymores (John and Lionel), Charles Laughton and Frank Morgan to Kreuger.
- Charles Boyer, Break of Hearts, 1935. Pandro Berman - the Irving Thalberg of RKO (!) - wanted to re-unite The Great Profile and Katharine Hepburn from her debut, A Bill of Divorcement, 1934. However, as Kate’s agent, lover and nearly second husband Leland Hayward suggested: “Jack must have read the script... a marathon talk with cigarettes.” Francis Lederer took over until Hepburn had him fired. In 1934, Barrymore earned $75,000 and spent $260,000.
- - Lionel Barrymore, Camille, 1935. Robert Taylor’s lovestruck Armand was having a Barrymore for his father. Fine but which one? One MGM story is that John was due as Monsieur Duval, contracted pneumonia and Lionel took over. Then again, John had first been cast as Baron de Varville, but…
- Henry Daniell, Camille, 1935. …the titular Greta Garbo complained of alcoholic John’s appalling body odour and Daniell entered the baronetcy. “It was observed,” said his daughter Allyson, “that, unlike Barrymore, Daddy didn't smell.” Cukor’s story of seeing him about playing Camille’s protector wound up in 1936’s A Star Is Born (and his own 1954 re-make). “Jack had put himself into some kind of home in Culver City to stop drinking... Jack came in, with a sort of aide called Kelly. He took us into a gloomy sitting room and said: Can we sit here, Kelly? Nobody's going to come through and disturb us by pretending he’s Napoleon?”
- Ian Hunter, That Certain Woman, 1936. Change of Lloyd Rogers, the guy wanting to leave his wife and marry Bette Davis. That says it all! New Republic critic Stark Young said much more, calling Barrymore’s films “rotten, vulgar, empty, in bad taste, dishonest, noisome with a silly and unwholesome exhibitionism, and odious with a kind of stale and degenerate studio adolescence. Their appeal is cheap, cynical and specious.
- Douglas Fairbanks Jr, Joy of Living, 1937. Or Joy of Loving i when Hollywood Reporter reported that Barrymore was “set” for the carefree guy teaching Irene Dunne’s big Broadway star to, well, have some fun in life.
- Charles Coburn, Unexpected Uncle, 1940. After thoughts about a titular Charles Laughton opposite Ginger Rogers, RKO considered The Profile for the decidedly non-Profile type role. Coburn ruled!
- Raymond Massey, Reap The Wild Wind, 1941. All hands on deck - and fathoms below - for a boisterous CB DeMille adventure classic… with a last minute change of villainous King Cutler.
- Monty Woolley, The Man Who Came To Dinner, 1941. Bette Davis asked head brother Jack Warner to buy the play for her and John Barrymore. Tragically, he was unable to remember his lines anymore. Tests of Robert Benchley and Laird Cregar were respectively deemed “too mild-mannered” and “overblown and extravagant,” by producer Hal Wallis. (Probably why Charles Coburn refused to test). Director William Keighley also saw Charles Laughton and Fredric March before asking the Broadway play’s star to reprise the titular Sheridan Whiteside. This did not delight Davis. “For me it was not a happy film to make… I guess I never got over my disappointment in not working with the great John Barrymore.”
- Joseph Schildkraut, The Cheaters, 1944. “One of the major mistakes of my life,” bemoaned Schildkraut about signing a Republic Pictures contract for financial security and John Barrrymore’s discarded role. The Austrian-born actor’s better decisions included The Life of Emile Zola, 1936, The Shop Around The Corner, 1939 and playing Anne’s father in The Diary of Anne Frank. 1958.
- Ronald Colman, The Paradine Case, 1947. Producer David Selznick's choice in 1933... for what Barrymore called Hollywoodus in Latrina.
- Errol Flynn, That Forsyte Woman, 1949. This time, or rather in 1934, producer David Selznick planned it as The Barrymore Saga.... John was a great boozehound with Errol Flynn, who played him in Too Much Too Soon, the 1958 biopic of his daughter, Diana.