Don Juan (1926) User Reviews

The Great Profile As The Great Seducer

[bkoganbing · 8/10 · 30 March 2009]

Although John Barrymore was 44 when he played the role of Tirso DeMolina's famous libertine, the soft focus photography enabled to look years younger and really do a convincing job as the most famous seducer in fiction. In fact Barrymore plays two roles, the dashing cavalier Don Juan and his stern father who was cuckolded by his wife and imparted some cynical views on women to his young son in a prologue.

When the main action of the film gets going it takes place in Rome when the Borgias were running things. Cesare Borgia played by Warner Oland and his evil sister Lucretia who has Estelle Taylor, then Mrs. Jack Dempsey playing her part. They're quite a pair, cruel and sadistic, and they've got a cousin played by Montagu Love who rivals Don Juan in the seducing department.

Barrymore is ostensibly in Rome as a student, but he's way too busy with his female conquests for any academics. He and Love have their eyes on the same woman, Mary Astor, who is royalty herself, related to the Orsinis who the Borgias have kicked out of power. That rivalry is what fuels the plot of this film.

Director Alan Crosland was obviously influenced by Cecil B. DeMille in directing this film. The sumptuous sets and even more the scenes of debauchery could be found in many a DeMille spectacle. And we don't get DeMille's moralizing with the film either.

As for Barrymore he plays the part with the dash and verve of Douglas Fairbanks who later got to play Don Juan, but as a much older man in Faribanks's final film during the sound era. Note the dueling sequence with Love. Warner Brothers for whom this film was produced used some of the same bits in their sound version of The Adventures Of Don Juan with Errol Flynn.

There is also a nice bit by Willard Louis as Barrymore's lackey, Pedrillo. Sad that he would die the same year as this film came out. He was quite amusing in the role.

Still it's Barrymore's show and quite a show it is. Don Juan is a good chance to see a young John Barrymore at the zenith of his acting talent.

Well worth seeing

[tswrench · 7/10 · 19 March 2006]

I enjoyed this movie very much, especially because I recognized bits of it! My favorite movie of all time, _Start the Revolution Without Me_, has a brilliant opening sequence using snippets of old movies--and many of them, I discovered, are from this film.

But even without the especial glee of recognizing scenes, this is a thoroughly enjoyable film for those who appreciate swashbuckling costume drama. Or melodrama. There are terrific confrontations, fights, and an awesome chase scene on horseback. There is also oodles of passion and ca-noodling...and shapely John Barrymore showing off his shape in a costume that today's actors wouldn't be caught dead in, I bet.

David Jeffers for SIFFblog.com

[rdjeffers · 7/10 · 5 August 2006]

Monday August 7, 7:00pm The Paramount Theater

"Love lent my feet wings."

With triumphant stage productions of Richard III in 1920 and Hamlet in 1922 behind him, John Barrymore entered a period almost exclusively devoted to work in films. Beau Brummel in 1924 was followed by the first of two films based on Mellville's Moby Dick, The Sea Beast (1926). As he hit his stride and entered the most stable point in his turbulent career Barrymore appeared in his greatest silent role, Don Juan (1926). As an action hero, he invites comparison to the vastly superior Douglas Fairbanks. The strength of Barrymore's performance lies in the droll and devilish humor of Don Juan de Marana. As his father in the prologue, Don Jose (Barrymore) indulges his lust with a virtual harem of beautiful women, and the apple falls not so far from the tree! Don Juan is introduced in the most amusing scene, as he and his servant Pedrillo (Willard Louis) successfully juggle several pursuant beauties and cleverly deceive a jealous husband. The first family of crime, the infamous Borgias, appear in all their sinister decadence as Cesare (Warner Oland) and his poisonous sister Lucrezia (Estelle Taylor) recline in their palace before a beautifully realized bacchanalian feast. There are constant reminders of the pleasure they take in their devious evil doings (the arrival and handling of a Borgia invitation sent to Juan is quite amusing). The House of Borgia serves as support for the primary villain, Count Giano Donati (Montague Love), a lecherous monster determined to force himself on Adriana della Varnese (Mary Astor), the latest object of Juan's affections. Considered broad and wildly overdone, even in 1926, Don Juan is briskly paced, tinged with humor, sexual escapades and swashbuckling action. Barrymore was never more entertaining, until he spoke!

Viewers of this film should note the number of amorous dalliances in which Don Juan engages, and then consider the even more sorted story behind the scenes!

Don Juan was produced by Warner Brothers and the Vitaphone Corporation as, "...the first commercially released film featuring a recorded musical soundtrack." For the unheard of ticket price of ten dollars the audience was treated to several shorts, showcasing the sound- synchronized performance of music, song and spoken word followed by the feature. After the novelty shorts, the New York audience must have experienced something of a letdown as they listened to a tinny recorded version of what they had become accustomed to hearing as live accompaniment. Where the Vitaphone process paid off was in small and medium-sized markets that rarely used more than a single instrument for accompaniment. Hearing the New York Philharmonic in a one theater town must have seemed wonderful, and certainly furthered the illusion of refined exclusivity just as movies had created the illusion of live theater years before.

Fine silent in it's ownright

[zpzjones · 5 April 2006]

There's been a lot written about Don Juan in film books about the beginning of pre-recorded sound. First off to respond to an earlier poster who wanted to know how the soundtrack was recorded. It was recorded by the New York Philharmonic w/100 piece orchestra in a non-soundproof theater in New York. This theater unfortunately was situated near an overland subway track and vibration from passing subway trains just could not be tolerated. So the recording was done in the middle of the night when no trains were running. It was that simple.

It's amazing that this film not only survives intact but with it's actual pre-recorded scored track, the way 1926 audiences saw & heard it. No new score or modern re-recording of the original. This track is sort of an original sound film heirloom and we're lucky to have it today for posterity's sake. This is the way silent films should be seen music wise anyway. This was the original intention of pre-recorded sound to present to audiences, full orchestral music where they weren't able to listen to it. If you can forgive the primitive process of Vitaphone and appreciate the marvelous sync score for what it is, you can enjoy this sumptuous picture immensely. The 100 piece orchestra really makes it's presence felt. I'm sure the actual score could be re-recorded with modern technology and would be beautiful.

John Barrymore follows in the swashbuckling tradition of his then film contemporaries, Douglas Fairbanks & Rudolph Valentino. It's a great legendary figure for the Great Profile to play, and he and the cast seem to have the time of their lives acting through their scenes. Without giving spoiler away, I think the man sealed in the wall is one of the best scenes in the pic.

A curious thing about Don Juan's production. Warner Brothers then a fledgling newbie studio had just signed Barrymore to a three picture deal and wanted to get Don Juan into production as soon as possible after their winning success with Barrymore in Beau Brummel(1924). However Barrymore, who had some serious clout at the time, wanted to film what would become a bastardized though picturesque version of Moby Dick called The Sea Beast(1926). Thus Don Juan's production schedule got pushed back in order for the Sea Beast to come first. Fortunately for sound film history & Don Juan, this gave the four Warner Brothers time enough to experiment and increase their interest in Vitaphone. The idea then came up to release one of the new feature pictures with an orchestral score in the new Vitaphone process. Don Juan happened to be completed and ready for release in mid-1926 and it was chosen for Vitaphone. One tends to wonder if Sea Beast had been made after Don Juan, that it would have been the one chosen for Vitaphone and we might be listening to a totally different score. It really came down to what film was being released at the time the decision was made to go with Vitaphone.

Alan Crosland proved a very intuitive & inventive director and formed a great professional working relationship with the irrascible Barrymore. Under Crosland's direction Don Juan moves swiftly and is cut, photographed & edited to form a wonderful finished product. Director & Star made three or four long films together and Don Juan is Crosland's prelude to his better remembered though inferior Jazz Singer(1927). Don Juan is quite possibly Crosland's silent masterpiece IMHO.

The only inconsistency in the film is that Pedrillo, Don Juan's trusted assistant, disappears halfway through the film with no explanation. This because actor Willard Louis, who played Pedrillo, dropped dead before the production was finished. But enough of his scenes were completed to include him in the first half of the movie with continuity and without a stand in.

It was great of Turner to release this movie on video in the early 90s but with the recent release of Greed(1923) on DVD, it would be nice if a DVD of Don Juan could be fixed up with some bonus material explaining the making of as well as the historical significance of the movie. Such a film as this deserves that

Historically relevant popcorn movie

[MissSimonetta · 7/10 · 9 March 2014]

This is a fun film. It has a charismatic lead in John Barrymore, a deliciously evil villains in Estelle Taylor and Montagu Love, and a beautiful young Mary Astor as the ingénue who cures Don Juan of his skirt chasing ways. There's lots of ardent love scenes and swashbuckling action a la Douglas Fairbanks.

The sets and costumes are strange, a bizarre mix of 16th century fashion and art deco. The women sport kiss curls and cupid bow mouths. Modern viewers unused to a thing known as historical context will no doubt laugh at the heavily made up men (especially Don Juan's sidekick; he seems to be wearing more lipstick than Estelle Taylor.) All in all, a good time for silent film fans.

Seducer is changed by a good woman.

[lib-4 · 7/10 · 8 February 2000]

While researching a paper on erotic literature I found many references to Don Juan. This movie, though in black and white and silent did a good job portraying the man who learned disdain for women from his father. The music matched the moods and John Barrymore sure could scowl. The women were quite seductive, but being a movie from the 20's there is nothing graphic about the trysts Don Juan had with the culpable women. The side story of the evil Borgias added to the movie- with its lessons on right and wrong. His salvation in the end comes from meeting a woman who can't be corrupted.

The OG Playboy

[mmallon4 · 7/10 · 7 August 2020]

The opening credits of Don Juan self proclaim the film to be "A Warner Brothers Classic of the Screen". Well this self-gratification didn't aid the film over time as Don Juan has gone down in history more so for its technical achievements over artistic merit, being the first film with a synchronized pre-recorded soundtrack with additional sound effects using the Vitaphone sound-on-disc system (likewise some film fans might recognize Don Juan for footage used in the opening credits of Start the Revolution Without Me from 1970). As a result, viewers can watch the film with the same soundtrack as heard by audiences back in 1926 - not a new score or modern re-recording of the original. The synchronized sound effects themselves don't add much to the film, nor are they well synced although this was new technology in 1926 so I can't blame them.

Don Juan is, however, a good swashbuckling romp in John Barrymore's attempt to out-Fairbanks Fairbanks. Barrymore is a magnificent figure of a man, pausing every now and then to let everyone get a good look at his iconic profile. Contrary to the likes of Douglas Fairbanks or Errol Flynn, the titular character is less of an escapist fantasy but more of a tragedy in the classic tale of a man whose lust for women is his undoing; arousing from his own mother's infidelity and his father's response to such - there's more implied sex than you can shake a stick at. But this is still a romantic swashbuckler at the end of the day (reportedly with the highest kiss count in film history at a whopping 127), and the film ends with the most classic of romantic images, the man and woman riding off into the sunset, perhaps not as cliché or worn out in 1926?

In classic Cecil B DeMille style, Don Juan is a film of biblical morality but is never a preachy one at that. At the beginning of the film, Juan is courted by sultry women amongst displays of decadence when he is still a child. However in adulthood, Juan eventually comes to find redemption in Adriana della Varnese (Mary Astor) as the first woman he legitimately falls in love with and must rescue from the clutches of history's infamous, sadistic Borgia family. The wide-eyed Mary Astor is the face of innocence and virginal purity if there ever was one, as we even see her unconscious body laid down next to a statue of the Virgin Mary just to hammer the point home.

Among the film's supporting players includes Willard Louis as Juan's amusingly effeminate and theatrical attendant Pedrillo. It would make sense to have a gay attendant guide his many affairs when they arrive at Juan's residence and reassuring each one that she is "the love of his life". Don Juan also features Myrna Loy in one of her earliest screen appearances. There's no real meat to her role as Mai, Lady In Waiting as she part takes in background scheming, but it's great to see her at such an early stage in her career in a number of close-ups and lingering shots as well as many costume changes.

My one major downside to Don Juan is that I'm left wishing for more action, only getting some in the final 20 minutes with a sword duel and a Conte of Monte Cristo style prison escape. At least the film's money shot does not disappoint, Don Juan's dive on top of the stairs and onto his foe. It's filmed in one take with no editing trickery nor does a stunt double appear to be used.

Don Juan is an example of the excess and opulence present in many silent-era films from the grandiose sets to the never-ending wardrobe of costumes (even all the women still have contemporary 1920's makeup despite its 15th century setting). In the words of John Hammond - "We spared no expense". Watching these movies on a TV at home (or dare I say from a dodgy corner of the internet) really doesn't do them justice.

John Barrymore out-Fairbankses Doug Fairbanks in DON JUAN

[[e-mail] · 10/10 · 20 April 2006]

I appreciate the comments made so far on this film but most seem to judge this film in a vacuum and without any background on the silent film genre, a medium quite different from sound films. One commenter even criticized the film for being in black & white. Come now, that's rather silly.

DON JUAN belongs to the great tradition of silent film swashbucklers during the 1920s of which Douglas Fairbanks was the King (and who self-financed his films). Beginning in 1920, Fairbanks effectively switched gears from his modern dress satires of American foibles he made during 1916 to 1919, to literally recreating his boyhood daydreams of being an action hero of Days of Old. The public responded enthusiastically and Doug made a fortune. But his films reaffirmed a kind of rigid moral system and both his character and the heroine were invariably chaste. Clearly, other film makers who were a bit more daring sensed an opportunity to go further than Fairbanks had been willing to go and Warner Bros. struck while the iron was hot in 1926 with DON JUAN.

Compared to the Fairbanks films such as Three Musketeers (1921), Robin Hood (1922), Thief of Bagdad (1924), and Don Q, Son of Zorro (1925), which are to this day excellent films, DON JUAN seemed like a revelation with its sexually overt protagonist and equally overt female characters (when Lucretia Borgia first sees Don Juan, a close up shows her clearly eyeing his crotch!). In addition, John Barrymore (aided occasionally by a stunt double) provided a sufficient number of athletic stunts that would satisfy most Fairbanks fans. DON JUAN was and remains a most exhilarating film with a unique conclusion that combines a chain reaction of swashbuckling events.

I must take exception to the most recent commenter's claim that actor Willard Louis, who played Juan's servant Pedrillo, died mid-point in filming. Poor Mr. Louis indeed perished from typhoid fever but either after filming had been completed or at least after his work was completed. He appears throughout the film and his presence during the film's final moments would have been unnecessary. However, if the previous reviewer wanted to question Joseph Swickard's disappearance from the film (he played Mary Astor's father), I would agree that his sudden departure from the story was strange. However, Mr. Swickard lived and appeared in films for many more years so perhaps in DON JUAN he was merely the victim of the film editor who needed to tighten up the story. At any rate, it is a great film and the original Vitaphone music score interprets the action so well that all the young composers who are hired by Turner Classic Movies to provide new scores to silent films ought to be required to see - and hear - DON JUAN to fully comprehend the relationship between silent film and its musical accompaniment.

Just how DID they record the orchestra?

[patherto · 7/10 · 26 December 2004]

I enjoyed "Don Juan" as the first feature-length film with a soundtrack, but I just can't see how the sound could have been recorded simultaneously with the film. There's simply too many cuts, and the sound is too closely in sync, for it to be possible that the orchestra could play while filming was going on. It must have been dubbed afterward—and as a lover of early sound film I am wondering just how. Did they set up a projector at Carnegie Hall and record there? I know Warners had a studio in New York—was it big enough for a complete orchestra? I also noticed that, while the synchronization was quite good, they couldn't pull off the sword fight. For the most part the fight shows the two men separately slashing away, and only a few scenes show the fight as it would usually be done, with both actors in frame. An enjoyable film, a tad longer than it needed to be, and the hisssssss of the soundtrack gets on one's nerves after a while.

Not only film history, but also film magic!

[David-240 · 10/10 · 30 March 2000]

Yes, this was the first movie made with a synchronised music score (and some sound effects), but it is much more that that! It is wondrous and spectacular entertainment with brilliant performances and magical camerawork. Like all great silent films there are very few titles because the actors tell the story without words. And what actors they are! John Barrymore is dashing as Don Juan, but he also gives the man great emotional depth - and the scene where he transforms his face while masquerading as a villain reveals not just talent but genius! Remember how he turned from Jekyll to Hyde with no make-up in the 1920 film? He does a similar thing here.

But where would Don Juan be without beautiful women? And here we have three of the most beautiful women ever to grace the scene. Estelle Taylor as Lucrezia Borgia - beautiful but deadly. Mary Astor - bewitchingly young and charmingly innocent. Myrna Loy - exotic and evil, and exquisite!

And the camerawork is superlative. The sword fight and the horseback battle are two of the most excitingly filmed sequences I have ever seen. And the music score is excellent.

This is a wonderful movie.

And who was that incredible actor playing the jealous husband who goes mad? Never seen such brilliant mad acting!

You probably need a degree in hydraulic engineering . . .

[tadpole-596-918256 · 7/10 · 6 March 2014]

. . . to understand how DON JUAN's escape from a Borgia dungeon could have happened. Since I lack such a diploma, I cannot fathom how this scene is any more plausible than that James Bond flick in which half of Venice collapses into the canals toward the end due to an elevator malfunction. I also noticed that the original print I just watched lacks many of the "synchronized sound effects" with which Warners Bros. sound technicians later enhanced select snippets of DON JUAN for their "25 Years of Sound" celebratory documentary shorts. Apparently, these studio flunkies were so lacking in imagination that they could not conceive of a later generation that would be able to compare the original DON JUAN studio release to their fraudulent "spiffed up" version. As Pope Alex wrote, "What a tangled web we weave when first we endeavor to deceive." Of the three characters actor John Barrymore tackles in DON JUAN, I like his brief cameo as a stand-in for Borgia Family torturer Neri the best. He is convincing then; less so as a lover, and still less as a duelist.

John Barrymore at his swashbuckling best

[AlsExGal · 8/10 · 26 November 2009]

This is a good example of a silent adventure film with a talented star (John Barrymore) in a role to which he is perfectly suited. However, the primary reason it is remembered today is that this was the first feature film to use the Vitaphone system. In other words, it was the first film to have a synchronized sound track, even if all it did at the time was provide orchestral accompaniment and sound effects such as swords clashing. It's a shame that is what it is mainly remembered for, because the film is great entertainment. Barrymore not only entertains the audience with his athleticism, he gives great depth to the role of the wealthy cad who believes that woman gives man only three things - "life, disillusionment, and death" - until he meets a woman (Mary Astor) whose behavior challenges his lifelong beliefs.

Another interesting thing about this film is that two of the female stars are playing roles that seem unusual for them if you are familiar with their later work. Mary Astor, at age 20, is playing an innocent in this film. The finely chiseled features she developed as she got a little older had her playing good but hardened women or femme fatales. Myrna Loy plays the sneaky aid to Lucrezia Borgia, where she is best known as playing the heroine in her talking picture roles once she got to MGM.

The irony of this film is that by 1926 the camera work is able to help make the the sword fight and the horseback battle two very exciting sequences because the Vitaphone soundtrack was not tightly synchronized to the action on screen. Once the synchronized speech phase of sound on film began, such mobile action films as these would not be possible for awhile. Highly recommended, it's just too bad it is not available on DVD.

Aboslutely gorgeous...and that's about all.

[planktonrules · 5/10 · 4 September 2007]

Technically speaking, this is a wonderful film. It was one of the first films with a synchronized score created to accompany it (on a separate disk) and the cinematography and sets were amazing for 1926. As a result, it's quite beautiful to watch. Unfortunately, when it comes to the script and acting, the film leaves a lot to be desired. While it is not true that all silents featured overacting, this one featured many awful performances by today's standards--with overly melodramatic scenes again and again. Subtle this film sure ain't!

From a historical standpoint, the film is of dubious value. It's true that the Borgia family was indeed quite awful. The patriarch of the family, Pope Alexander VI, fathered several illegitimate children, gave his sons high positions in the Church and was quite the amoral schemer. However, while these "peccadilloes" are many and widely accepted as true as were the awful schemes of his son, Caesar, the real-life Lucretia may not have been the evil poisoning slut you saw in the film--this is open to much debate among historians. But I suppose that it does make for some entertaining moments--too bad Alexander VI never was seen in the film--he would have provided the film some much needed excitement.

As for Don Juan, he was unfortunately a fictional character. Oddly, while this film is set in one of the Italian states in the late 15th century, the film THE ADVENTURES OF DON JUAN (with Errol Flynn) was set over a hundred years later! However, considering that Flynn and the star of this film, John Barrymore, were best friends, womanizers and serious alcoholics, it seems very fitting that both took on this same role.

Don Juan won

[DUKEEVERTS · 11 November 2002]

In my most humble of opinions, this is one of the greatest silent movies ever made. The story line, the sets, (the set designer deserves special credit) the photography, the rapid pace and hesitation when called for, everything combined made for and hour and a half of pure enjoyment. And it was so enjoyable to see one our great talents at his best. There will never be another John Barrymore. And in this film there was something not too often seen in silent film. There was just not movement, there was ACTING. GREAT ACTING. And wait for the chase scene. Absolutely terrific effects. I recommend this film to anyone who is a real fan of films, silent or sound. And as an added thought, there was that beautiful musical score played so dramatically by the New York Philharmonic.

Close Enough for Classic Barrymore

[wes-connors · 8/10 · 1 September 2007]

John Barrymore stars as "Don Juan", who (as young lad, Philippe De Lacy) is taught by his father (Mr. Barrymore, also as Dad Jose) how to handle women - Love 'Em and Leave 'Em! Learning his lesson well, Barrymore spends much of his time with various women. Willard Louis (as Juan's pal Pedrillo) is especially useful in fending off husbands and other strangers, and doesn't seem too interested in competing with Barrymore for female attention! All goes well until Barrymore is smitten with Mary Astor (as Adriana della Varnese); something about Ms. Astor makes Don Juan want to change his lifestyle, and stick with one woman. But, the reigning Borgias stand in his way - and, Estelle Taylor (as Lucrezia) wants Barrymore, while Montagu Love (as Donati) claims Astor...

Notable for Barrymore's turn as Juan, but better for its soundtrack - the original synchronized sound effects and score are as originally utilized in 1926; and, it works much better than musical soundtracks composed a century later. Barrymore's best scene involves his impersonating a dungeon torturer, nearer the end of the film. Some parts of the story are difficult to understand; for example: What happens to Pedrillo? Why does Juan accuse a certain husband of killing his wife? Perhaps to put him in a later escape scene? which is also difficult to comprehend. Some of the actors read their lines so well, title cards are not needed; however, the acting is not always great. Still, there is enough of everything in "Don Juan" to make it a classic.

******** Don Juan (8/6/26) Alan Crosland ~ John Barrymore, Mary Astor, Montagu Love

It's really a "formula western" in disguise. Worth a look for Barrymore.

[fisherforrest · 8/10 · 9 July 2006]

Although it may not be too obvious because of all the legendary Roman trappings, this is actually a fancy formula western (Western Europe, that is). The rake-hell gunslinger, uh, swordsman, is changed by the love of a good woman into a law-and-order fighter, who then foils the land-grabbing, or something-grabbing, villains. He then rides off into the sunrise (!)with the lady. Of course, the villains being of the Borgia persuasion, his foiling may be only temporary, but we'll never know, will we. Vigorous sword fighting, not convincingly staged if you know much about fencing, but exciting if you can suspend your disbelief, is part of the mix that makes this an entertaining film. Also, there are lots of lovely ladies and some vigorous scenery chewing as well. When all's said, though, a look at John Barrymore in his mid-prime is the main reason to view DON JUAN. As for this being an important film in the "dawn of sound" process of 1926-1927, that is due to the existence of "sound on disc" to provide the music and sound-effects. First-run theatres of the period usually did the same thing with an orchestra or organ, and a piano equipped with sound-effects "traps". The "sound on disc" made it cheap enough for even small neighbourhood theatres to have sound.

Dated, but still worth watching!

[JohnHowardReid · 8/10 · 29 December 2017]

Myrna Loy commenced in the chorus in M-G-M's "Pretty Ladies" (1925), but soon graduated to featured roles in Warner Bros "B" efforts, while continuing to grace unbilled or small roles in "A" productions such as the magnificent "Don Juan" (1926) (formerly available on a superb VHS tape) in which she plays Lucrezia Borgia's maid.

"Don Juan", of course, was the prestige movie that ushered in the sound era for motion pictures. While there was no spoken dialogue, the whole film was accompanied by a rousing pre-recorded orchestral score, plus effective sound effects.

John Barrymore - here in his prime - played the title character with such panache, he overwhelmed most of the cast - including not only Myrna Loy, but just about everyone else.

There were, however, just five exceptions. The five who stood up to Barrymore and were not overwhelmed in his presence, were Mary Astor's lovely heroine, Estelle Taylor's treacherous Lucrezia, Warner Oland's Cesare Borgia and Montague Love's villainous Count Donati.

Exemplary

[irearly · 8 August 2006]

Just saw this at The Paramount Theater in Seattle with Dennis James at the organ. This is an excellent example of what Hollywood was doing so well at the time. The costumes and sets were outstanding, the cast was incredible—Mary Astor was truly archetypal, ethereal and believable as the swooning heroine, Barrymore at his best as a swashbuckling ladies man. This is both a complex story of the "Don Juan" syndrome and a story of suffering and redemption. Several incredible sequences including the horse-mounted sword fighting between Barrymore and a horde of pursuing soldiers at the climax. After which Juan and Adriana head "east" (into the rising sun?) for the safety of Don Juan's native Spain. Don't let others dissuade you, if you get the chance see this movie!

A Fascinating Adventure

[vickio1125 · 8/10 · 3 July 2006]

Previous commenters have noted John Barrymore's great acting skills, and the abundance of beautiful women -- and the Costumes!! Stunning women's gowns for the many principals, surprisingly racy outfits for the various dancers and debauchees, and the fashions for the men were mostly kept within the same historical time period. All of this makes for a costuming fan's dream come true. Although I have one tiny gripe: if they were determined to put Barrymore in skintight hose and short jackets, they really should have given the man more, well, support. Rather distracting, esp. during the action sequences, and it made him look rather effete in the love scenes. A small quibble when the overall movie is so astonishing.

Wotta cast-- but at the wrong speed.

[AnnieLola · 9/10 · 26 June 2023]

It's obvious that converting this filmed-as-silent opus to synchronized-score-& effects was an afterthought. The synched sound required a constant speed, and 24 frames per second was the new sound standard. Unfortunately, the picture was shot at a slower silent rate, and the speeded-up sound presentation has jerky and unnatural movement that detracts from the artistry and grace of this handsome production and makes the drama less effective. Many of us have become so accustomed to seeing silent films run at the wrong speed that "Don Juan" can be taken in stride, but I for one find it almost unwatchable. Don Jose's death, and the climactic swordfight with Count Donati later on are positively grotesque at this speed. Fortunately, as with many silents available on YouTube, one can adjust the speed to 75% and the music doesn't really suffer by it.

Sound is Coming! Sound is Coming!

[bsmith5552 · 8/10 · 21 January 2014]

"Don Juan" has historical significance in that it was the first feature to utilize Warner Bros. "Vitaphone" process wherein a synchronized sound track was used. It consisted of orchestral accompaniment and sound effects. Besides that, it is a pretty good swash buckler giving star John Barrymore a duel role.

Barrymore plays Don Jose de Marina and his son Don Juan. In the opening scenes the elder Don Jose catches his wife (Jane Winton) with her lover and casts her from his castle. He sours on all future relationships with women and councils his son as he dies to do like wise.

Fast forward about 20 years and we find the young Don Juan in Rome loving and leaving several ladies (most of whom are married). Then one day he meets the virginal Adriana Della Varnese (Mary Astor) and is smitten by her. We learn that the infamous Borgias, Lucrezia (Estelle Taylor) and her brother Cesare (Warner Oland) rule Rome. Their right hand Count Giano Donati (Montague Love) also has designs on the fair Adriana.

The Borgias force Adriana to agree to marry Donati in order to save her father (Joseph Swickard) from execution. Don Juan believes that Adriana is doing so willingly and seeks comfort in a love/mistrust relationship with Lucretzia. Needless to say, things get sorted out culminating with an exciting duel between Don Juan and Donati.

Barrymore who looked to be in great shape complete with his skin tight leotards, surprised me with his prowess with a sword. He gives a performance worthy of Douglas Fairbanks that other master swash buckler of the silents. It was no stretch for him to play the womanizing playboy, a role he essayed in real life.

Barrymore displays his versatility in the scene in the torture chamber where he impersonates the torture master. He contorts his face, much like he did in "Dr. Jekyll and Mr. Hyde" (1920), to render himself unrecognizable to the Borgias and the fair Adriana.

Mary Astor and Myna Loy, who plays Lucretzia's hand Maiden were just starting out and were only in their early 20s at the time. Hedda Hopper also appears briefly.

Unfortunately, Wasrner Bros. chose to tack on a typical Hollywood ending with the hero and heroine riding off into a painted backdrop sunset. It kinda of spoils what had been a good movie.

Warner Bros. would release the first synchronized talking picture the following year with Al Jolson's "The Jazz Singer" and the rest, as they say, is history.

John Barrymore's Don Juan not quite as dashing as Flynn...

[Doylenf · 5/10 · 16 October 2007]

This is another example of an early sound film that is worth viewing just to get a sense of how advanced film was in the mid-20s with the ability to synchronize a musical score to film. Otherwise, it's not quite up to what we expect of entertainment in a story about DON JUAN and his exploits, which was done years later (in tongue-in-cheek style) with the dashing Errol Flynn in THE ADVENTUES OF DON JUAN.

The performances are what one would expect during this transition period from silent film to sound--the acting is stilted, stage bound and overly theatrical. I was never a great admirer of JOHN BARRYMORE as an actor and his performance here left me feeling there was room for a lot of improvement in his screen technique. MARY ASTOR, although young and demure enough, never makes a strong impression as the dewy-eyed leading lady.

The prologue seems to set the tone for the rest of the story. It unfolds like a Greek tragedy with Don Juan's father entombing a man he catches having an adulterous affair with his wife. When a woman in his court later stabs him fatally, he tells his son to take his revenge on women by adopting a love 'em and leave 'em attitude.

Then the main story begins and the tone becomes playful. Unfortunately, nothing in the story proper has any particular twist on the Don Juan story, at least at the start where the Vitaphone Orchestra busily chronicles his amorous dalliances with three women in a playfully amusing way. But as the story progresses, the constant tempo of background music begins to get on the nerves, never ceasing to stop emphasizing the heavily persistent score.

After a good forty-five minutes, I was beginning to resent the background score as much as the paltry scenario which only begins to shift gears when it gets to the Borgias and their involvement with Don Juan.

A very youthful looking MONTAGU LOVE sporting a mustache, looks much like Nelson Eddy in his heyday, and MYRNA LOY has a small role as a handmaiden of the court.

Summing up: Overall, it's a rather dull version of the Don Juan legend, interesting only as a film of historic value because of its transition via Vitaphone to a sound background score.

Silent titles and film technique makes it still a product of the silent period. The story itself is uninspired by the Don Juan legend and, unfortunately, Barrymore is more effete than robust in his manner of portraying the great lover.

The Great Lover

[lugonian · 8/10 · 16 September 2019]

DON JUAN (Warner Brothers Classic of the Screen, 1926), directed by Alan Crosland, with screenplay by Bess Meredith, stars John Barrymore in one of his most notable performances of the silent screen era. Other than being a swashbuckling adventure inspired by Lord Byron, DON JUAN has the distinction of being the first feature film with Vitaphone recorded musical accompaniment by the New York Philharmonica Orchestra. Virtually a silent production, DON JUAN also includes sound effects (door knocking, swashbuckling sword hitting) but no spoken dialogue that would occur later in other experimental films as THE JAZZ SINGER (1927) leading to the dawn of sound.

Opening title: "The tale they tell of Don Juan, immortal lover and the doubter of women, is bold with life and color -- a merry, insolent tale slashed with intrigue -- yet its beginning is as gray as the old Spanish castle of Juan's earliest memories" PROLOGUE: SPAIN - Don Jose De Marana (John Barrymore), with a wife, Donna Isobel (Jane Winton) and son, Don Juan (Yvonne Day), leaves his family on a proposed mission, but in reality, suspecting his wife's infidelity, intents on sneaking back to the Marana Castle and surprise her. After receiving the signal, Don Jose returns and learns the truth - thus ordering servants to seal her lover, Leandro (John Roche) inside the room surrounded by stone blocks, and casting his wife out of his life forever. Years later, Don Jose, having raised his boy (Philippe De Lacy) alone, has had numerous affairs with various young ladies. This all ends by he being stabbed by a jealous mistress. Before dying, Don Jose warns his son to take all from women and yield at nothing. STORY: "ROME - The mighty Vatican towering heavenward above a seethe of corruption," leads to introduction of basic characters, including Cesar Borgia (Warner Oland) and his sister, Lucrenzia (Estelle Taylor), the inspiration of his vicious crimes. They invite Orsinis Duke De La Varness (Josef Swickard), his daughter, Adriana (Mary Astor) and Don Juan (John Barrymore), a young Spanish grandee graduate of the University of Pisa, to their ball gathering. Accompanied by Pedrillo (Willard Louis), his faithful servant, Don Juan, having romanced many young women, takes an interest in Adriana, the woman responsible for his change of opinion of women engraved to him by his embittered father. Because of her forced marriage to Count Giano Donati (Montagu Love) to save her father from execution, Don Juan mistakes her father's devotion to his betrayal, returning his distrust of women, followed by Don Juan's arrest for an accused death of one of his married mistresses, and Adrianna held prisoner at the tower of the Borgia palace for refusing to go on with her promised marriage to Donati.

For its time, DON JUAN was an important project (clocked at 114 minutes) with lavish sets and period costumes along with a huge cast consisting of Helene Costello (Rena); June Marlowe (Trusia); Phillis Haver (Imperia); Hedda Hopper (Marchesia Rionaldo); and future film star, Myrna Loy (Maia). While DON JUAN could have been played by Douglas Fairbanks or Rudolph Valentino, John Barrymore makes his Don Juan portrayal his own. Fairbanks did get to play the aging lover in THE PRIVATE LIFE OF DON JUAN (London Films, 1934) while Errol Flynn, another famous swashbuckler, assumed the role in THE ADVENTURES OF DON JUAN (Warner Brothers, 1948). Both are not scene-by-scene retelling to the Barrymore classic. In spite the story set in another century with ladies in 1920s headdress, many of the performers appear in heavy make-up and lip-stick, even the actors right down to child performer DeLacy. The most famous sequence includes the well-staged swashbuckling scenes between Barrymore and Montagu Love, but its the Vitaphone scoring that helps make this silent edition of DON JUAN fast-paced and enjoyable. Take notice how much Barrymore resembles his Mr. Hyde facial expression lifted from his earlier DR. JEKYLL AND MR. HYDE (1920) during his disguise sequence pretending to be Nehri (played briefly by Gustav Von Seyffertitz).

DON JUAN began broadcast on cable television on Turner Network Television (TNT) starting with its Silent Night (December 24, 1989) Christmas Eve Silent movie presentations along with BEN-HUR (1925) and THE WIND (1928) on the schedule. This was later followed by regular showings on Turner Classic Movies. DON JUAN was also available on video cassette as part of its Legendary Silents series, and years later, on DVD. Regardless of its age and campy presentations, DON JUAN continues to become one of the classics of the silent screen. (***)

A Sizzling Silent Classic!

[OutsideHollywoodLand · 28 September 2011]

Released in 1927, this silent classic stars the iconic John Barrymore as the legendary lover and Mary Astor as the lithe and lovely Adriana. Set against the power struggles and intrigue of the House of Borgia's, Don Juan romps about, setting all female hearts aflutter. With his faithful servant, Pedrillo, keeping a tight daily schedule, Don Juan manages to fit in a handful of willing lovers throughout the day.

The film opens on the Don as a young boy, who witnesses his mother's infidelity and his father's wrath. This episode in Don Juan's early life causes him to view women with little trust, and he seems hell bent in proving to himself that all women are easily won with the right pick-up line.

Of course, the virtuous Adriana finally cracks the Don's crusty exterior and he becomes a believer in true love - but not without a stirring fight scene, poisonings, and 191 kisses! A fine supporting cast of Warner Oland, Estelle Taylor, Montagu Love, Myrna Loy, and Willard Louis, together with the experienced direction of Alan Crosland (The Jazz Singer) makes Don Juan a great viewing treat for all cinefile fans.

Known as the "Great Profile", John Barrymore's famous face gets displayed to its greatest advantage in one of his most popular film roles. The Barrymore name is part of a family dynasty reaching back four generations, to include stage and film stars such as Lionel, Ethel, and current film star Drew Barrymore.

(John's last words on his deathbed) "Die? I should say not, dear fellow. No Barrymore would allow such a conventional thing to happen to him." Mary Astor's Oscar-winning career spanned almost fifty years of silent and talking films. Perhaps best known today for her work as Brigid O'Shaughnessy in John Huston's The Maltese Falcon with Humphrey Bogart and her Academy Award role in The Great Lie, her Adriana opposite Don Juan was the coveted screen pairing of the decade.

Mary was never a romantic when it came to her career, however. Of it, she said, "There are five stages in the life of an actor: Who's Mary Astor? Get me Mary Astor. Get me a Mary Astor Type. Get me a young Mary Astor. Who's Mary Astor?" Luckily, we have Don Juan to fully appreciate her, yet again, via late night screenings.