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DVD Review: A Bill of Divorcement (1932), Katharine Hepburn’s film debut

A Bill of Divorcement

Directed by George Cukor. Cast: John Barrymore, Katharine Hepburn, Billie Burke, David Manners, Paul Cavanaugh, Elizabeth Patterson. Released September 30, 1932. Running time: 70 minutes.

This RKO pre-code drama produced by David O. Selznick is perhaps best known for being Katharine Hepburn’s film debut. Hepburn made quite a sensation in “A Bill of Divorcement” resulting in a film career that lasted for half a century. Although it is really John Barrymore’s film, and he offers an amazing tour-de-force performance, the impact Hepburn makes in her first film gives “A Bill of Divorcement” a historical significance beyond its aesthetic value.

The story deals with a wealthy English family whose paternal figure escapes from a mental institution after fifteen years. When he does, he especially connects with his daughter (Hepburn) whose behavior shows us that she has inherited some of her father’s disability.

Barrymore and Hepburn’s scenes together truly resonate, including their first meeting. Hepburn’s subtle glint of understanding and recognition, and Barrymore’s edgily ecstatic reaction to seeing her for the first time, is a veritable study in nuanced screen acting. She rejects her fiancée in order to care for her father, and the two of them engage in a relationship that is loving, understanding, and frustrating. Hepburn’s madness is subdued beneath angry outbursts, causing the Barrymore character to exclaim, “You get wild all of a sudden – that’s what I do.” Barrymore presents his character’s madness as quirkier and more challenging, twitching through his dialog.

Billie Burke plays Barrymore’s estranged wife and Hepburn’s mother, making her first film appearance in over ten years, not including a cameo as herself in 1929’s “Glorifying the American Girl.” So little known for her screen work at the time, Burke was promoted in this movie’s publicity as the widow of Florenz Ziegfeld, who died during the filming of this movie. Burke left the production to attend his funeral, and returned afterward.

David Manners, who had scored in “Dracula” (1931), was borrowed to play Hepburn’s fiancé after director Cukor turned down Cary Grant, who auditioned for the part. Interestingly, Peg Entwistle was considered for the role Hepburn played. Peg is most noted for having jumped to her death from the Hollywood sign twelve days prior to the release of this film, and two days after the release of her only movie, “Thirteen Women.” Paul Cavanaugh sturdily anchors his difficult role as Burke’s new husband -- ahe divorced Barrymore while he was in the asylum, but he does not realize it.

Perhaps John Barrymore’s florid gestures and wild eyed reactions may appear to be overdone by today’s standards, but, in fact, it effectively represents the madness of the character. Prone to sudden outbursts where he exhibits fury, and just as abruptly calms down. He insists he is well, repeatedly, in nearly every conversation, while his actions display otherwise. During his performance, Barrymore was said to advise Hepburn to turn her face more toward the camera in their scenes together, so the audience could see her face. The trades reported that newcomer Hepburn stole many scenes from the veteran actor, because he allowed her to do so.

Selznick and Cukor did some of their best work together. A year later when he went to MGM to produce “Dinner at Eight,” he convinced the studio to hire Cukor away from RKO to direct. Cukor would helm many future vehicles with Hepburn, but Selznick was against hiring her for “A Bill of Divorcement.” Mellowing in later years, the producer would look back and consider this one of his best films. He was correct.

KINO’s blu ray of “A Bill of Divorcement” is beautifully restored with sharp images showing good contrast. In medium shots, we can see a detail so marginal as the water glistening Barrymore’s eyes. And at 70 minutes, there is no padding. There are also no special features. But this fine pre-code drama certainly worthy of anyone’s library.

The blu ray is available here.

James L. Neibaur
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