Watch Beau Brummel For Free

Why so much hype?

A brilliant film that helped define a genre

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Director: HARRY BEAUMONT. Screenplay: Dorothy Farnum. Based the 1916 play by Clyde Fitch. Photography: David Abel. Film editor: Howard Bretherton. Art directors: Esdras Hartley, Lewis Geib. Assistant director: Frank Strayer. Art titles: V. Vance. Copyright 14 March 1924 by Warner Brothers. New York opening at the Strand: 30 March 1924. 10 reels. 9,900 feet. 128 minutes. COMMENT: This is actually Willard Louis' film. He plays the Prince of Wales with total finesse, whereas Barrymore is forced to play most of his role in whiteface, which doesn't really suit him, despite director Harry Beaumont's willingness to indulge him with countless shots of his "great profile". It's not until the end of the movie that Barrymore gets a chance to really show off his acting skills, whereas Willard Louis plays his princely caricature as if to the manner born. And it's good to see super-lovely Mary Astor who makes both a charming and believable heroine here. The movie is fortunately available on a superb 10/10 DVD from Warner Archive, as well as a totally unwatchable Televista pressing. A pity all Warner Archive offerings don't always come up to this same impeccable standard. Across to Singapore (1928), for example, would rate only 6/10 in my book due to extensive nitrate decomposition.

This film is a great showcase for John Barrymore's talents. He gets to play the spurned romantic, the comic rogue who is always laughing at everyone else, the beaten man in decline still hanging on to his dignity, and finally an insane aged man completely unaware of reality.Brummel starts out as a young man in love with Lady Margery (Mary Astor). The feeling is mutual, but Margery's mother is ambitious and insists that Margery marry the wealthy Lord Alvanley. She considers Brummel not good enough for her daughter. To soothe his grief, Brummel plunges down the path of a self-destructive and hedonistic lifestyle, indulging in the finest food, drink, clothing, and women, but nothing can kill the sting of his losing Lady Margery. Alec B. Francis, as Brummel's gentleman's gentleman Mortimer, actually has a role equal in importance to Mary Astor's role, and he shines in it. Early in the film Mortimer corrects a visitor when he refers to Brummel as his master. Instead, Brummel is his life. He stays with Brummel when he can no longer pay him, and even after he is wrongfully discharged and he returns to England, he continues to send money for Brummel's upkeep. This is a long film for a silent at over two hours in length, but it doesn't drag at all.Let me just say whether or not you enjoy this film may depend on what version you watch. There are a lot of low-priced public domain knock-offs of this film that are in really bad shape. The Warner Archive version has the score written by one of the winner's of Turner Classic Movies' Young Composer contests and, although not restored, is in pretty good shape. That is the version I would recommend.

BEAU BRUMMEL (A Warner Brothers Classic of the Screen, 1924), directed by Harry Beaumont, from the play and historical data by Clyde Finch, stars the legendary John Barrymore in one of his most prestigious films of the silent era. Mixing fact and fiction into the life of George Bryan Brummell (1778-1840), an English social arbiter, the opening inter-title sums it up best: "Nowhere in all history can be found a more amazing character than George Bryan Brummel, the friend of princes, the arbiter of fashion and the social ruler of England during the reign of George II. And nowhere in all fiction can be found more romance than was crowded into the life of this penniless commoner, whose natural charm and studied insolence made him the greatest dandy of all time - the immortal Beau Brummel." For the plot summary, beginning in the year 1795, George Bryan Brummel (John Barrymore), British Army officer and captain of the Tenth Hussars, deeply loves Margery Werthaim (Mary Astor). Because her mother (Clarissa Selwynne), "ambitious, relentless," finds Brummel to be a young man of no importance, insists Marjory wed Lord Alvanloy (William Humphrey) instead. As she takes her daughter to get married, Alvanloy leaves Brummel in the garden in humiliation by throwing him a sixpence. Next scene: "Revenge was all he thought of now. He would use his charmed wit and personal appearance in a game against the society which has robbed him of his love."  For the years to follow, Brummel does just that. Through the guidance of the Prince of Wales (Willard Louis), Brummel makes his way through society, resigns from the Army, abandons his whig for a more natural hair, has an affair with Mrs. Snodgrass (Betty Brice), the landlord's (James Marcus), wife; and makes his indiscretions with the ladies of the court, particularly Lady Hester (Carmel Myers), wife of Lord Henry Stanhope (Richard Tucker), whom he finds terribly annoying; and Frederica Charlotte (Irene Rich), sister-in-law of the Prince of Wales, whom he claims to be a tender woman, all of whom he loves and leaves. Making many enemies and finding himself heavily in debt, he at first serves time in a jail in Calais, and later finds himself living in poverty. His only true friend during his declining years is his servant, Mortimer (Alec B. Francis), whom he dismisses from his employ for being too helpful. Falling out of love with everything, Brummel is approached by Marjory, only to lose her again as explained with these words: "Death kills but once, life kills many times." What further develops remains to be seen.  At first glance, BEAU BRUMMEL comes across as an overlong (128 minutes) dull costume drama about doomed love (with portions closely resembling George Du Maurier's PETER IBBETSON), redeemed by sincere yet "ham" acting of John Barrymore, from a young dandy to aged old man (with a striking resemblance to the older appearance of his brother, Lionel), and the ever youthful Mary Astor, both of whom would be reunited in DON JUAN (Warners, 1926), and supporting Claudette Colbert in the sound comedy, MIDNIGHT (Paramount, 1939). Looking over and comprehending everything not absorbed the first time around, this can now classified as a rich atmospheric production with fine acting, by 1920s standards, and detailed period pieces of long, long ago. Although there's really no action involving sword play to stir up excitement, there's little suspense midway involving a duel a Bowling Green between Brummel and a jealous husband.BEAU BRUMMEL, a fortunate survivor of the silent film era, is not as relatively known as others from that era. In the wake of home video, however, it was placed on video cassette during the late 1980s through various distributors, including Video Yesteryear and Grapevine Video, just to name a few, mostly with missing footage and poor quality visuals. It can also be acquired in the DVD format as well.Cable television's Turner Classic Movies brought BEAU BRUMMEL back to life by having a restored copy for its January 29, 2008 presentation accompanied by new and exceptional orchestral score conducted by young film composer James Schafer of Rancho Cucamonga, California. Regardless of host Bob Osborne announcing BEAU BRUMMEL making its "world television premiere," in fact, has played on television before in April 1994 on the Nostalgia Channel as part of its Saturday night weekly presentation of "When Silents Were Golden." Aside from an already pre-recorded orchestral score from a 1930s reissue used for this feature, watching BEAU BRUMMEL or any silent movie for that matter, couldn't really be fully appreciated on the Nostalgia Channel due to its frequent commercial interruptions. Now that it has finally turned up on the commercial free TCM, BEAU BRUMMEL may have its chance of rediscovery to the delight of film enthusiasts wanting to compare this with its 1954 remake (with Brummel ending with two L's) starring Stewart Granger, Elizabeth Taylor and Peter Ustinov. (***)

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.