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Hamlet Lives in HollywoodJohn Barrymore and the Acting Tradition Onscreen$
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Murray Pomerance and Steven Rybin

Print publication date: 2017

Print ISBN-13: 9781474411394

Published to Edinburgh Scholarship Online: January 2019

DOI: 10.3366/edinburgh/9781474411394.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 25 July 2021

A Star is Dead: Barrymore’s Anti-Christian Metaperformance

A Star is Dead: Barrymore’s Anti-Christian Metaperformance

Chapter:
(p.109) Chapter 9 A Star is Dead: Barrymore’s Anti-Christian Metaperformance
Source:
Hamlet Lives in Hollywood
Author(s):

Kyle Stevens

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474411394.003.0010

This chapter explores John Barrymore’s performance in three of George Cukor’s films: A Bill of Divorcement (1932), Dinner at Eight (1933) and Romeo and Juliet (1936). This chapter examines the verbal aspects of John Barrymore’s performances, and their importance to his persona, a persona that was especially prominent during Hollywood's transition from silent to sound regimes.

Keywords:   John Barrymore, George Cukor, Dinner at Eight, Bill of Divorcement, Romeo and Juliet, Shakespeare, voice, acting

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