John Barrymore may be best-known for his work in the theatre and in films of the silent era. But, every time I see him in an early talkie, I’m struck by how great he was in these too – and A Bill of Divorcement (1932), a melodrama directed by George Cukor for RKO Radio Pictures, is no exception. Barrymore gives a heart-rending performance as a father coming home after 15 years in a mental hospital. However, although Barrymore was the star with his name above the title, these days the film is best-remembered (when it is remembered at all, that is!) as the debut role for Katharine Hepburn, playing the daughter whose world is about to be torn apart. She was fourth-billed and her name was actually spelt wrong in the final credits, but, even so, she is really a joint female lead with Billie Burke , and has several scenes where her unique film personality comes across.
The film is adapted from a play by British dramatist Clemence Dane, and set in England, although none of the stars worry too much about doing English accents. As with some other movies from this period, this is very much a filmed version of a stage play, with almost all the scenes taking place on the same set, so at times it gives a feeling of what it might have been like to see Barrymore on stage. I have seen some reviews suggesting that the film feels too static, but this is a movie where I think this works, as with Howard Hawks’ The Dawn Patrol (1930), because again the atmosphere is intended to be claustrophobic and intense.