"If John Barrymore had made no other film than 1937's MAYTIME, his place in film history would be secure due to his performing a great humanitarian service by shooting NELSON EDDY. (OK, I might as well admit that I have a number of Mr. Eddy's recordings, films, sheet music, and even radio broadcasts in my collection. So I really don't have anything against the blonde baritone but today his great popularity back in the late 1930's is indeed puzzling)."
"JB made quite a number of splendid starring vehicles among his filmography, both comedies and dramas, sound and silent. So why then would I claim that MAYTIME, where he plays a distinctly supporting role in somebody else's starring vehicle (Jeanette MacDonald and Nelson Eddy) is my favorite JB film (aside from seeing his character killing off Mr. Eddy's character)? I'd better place this discussion into some sort of context. If you are a big fan of WILLIAM SHAKESPEARE, would you introduce a neophyte to Shakespeare's works to "HAMLET", the greatest but most complex of his works? Probably not. For one thing, what Shakespearian work would you go to from there? No, you would save "Hamlet" for later after your neophyte friend has been acclimated to Mr. S's poems and perhaps lesser plays (and accustomed the ear to the antiquated English dialogue)."
"I suggest the same approach to John Barrymore's films. His great star vehicles from the silents of DR. JEKYLL AND MR.HYDE, DON JUAN, THE BELOVED ROGUE, TEMPEST, ETERNAL LOVE, to his talkies such as MOBY DICK, SVENGALI, THE MAD GENIUS, GRAND HOTEL, RASPUTIN AND THE EMPRESS, DINNER AT EIGHT, COUNSELLOR AT LAW, TWENTIETH CENTURY (among others), were all carefully crafted vehicles that pandered to JB. Like any Hollywood star vehicle of that time, all JB had to do was to show up! It was when he was forced to accept supporting roles beginning in 1936 that he really had to work hard to distinguish himself in films that were focused on other actors."
"His first such effort, the 1936 ROMEO AND JULIET, was clearly a star vehicle for NORMA SHEARER (even LESLIE HOWARD as Romeo knew he was just along for the ride). But JB in the relatively small role as Mercutio was generally conceded to have stolen the film from Ms. Shearer, Mr. Howard, and stalwarts such as BASIL RATHBONE, EDNA MAY OLIVER, C. AUBREY SMITH and even ANDY DEVINE."
"MAYTIME was JB's second supporting role and he wasn't even in the original cast. The production was begun by filming in Technicolor, then rare and expensive, with PAUL LUKAS, a fine actor in his own right, as MacDonald's jealous impressario. When producer IRVING THALBERG died suddenly at the tender age of 39 or so, the studio head LOUIS B. MAYER (whom everybody today loves to hate) ordered sweeping changes in Maytime because he didn't like the footage that had been shot so far. Among the cuts were Technicolor and Paul Lukas."
"Enter Mr. Barrymore who was challenged to give perhaps the most unusual performance of his career. As MacDonald's fiance and boss, JB had to persuade the audience that he was credibly desireable by MacD (his still good looks didn't hurt) while conveying to the same audience that he was a bad choice for MacD. Of course, by then JB was in his mid-50's, an obvious mismatch by 1930s standards for the young MacD. But the film makers took pains to make JB look as youthful (and ardent) as possible - and JB already knew from long experience how to make himself irresistible to the ladies. So - JB's task in this supporting role was to appear believeably appealing AND unappealing at the same time. I submit that only a great actor could successfully pull that off."
"MAYTIME is an excellent film to serve as an introduction to JOHN BARRYMORE. He shows obvious star quality in this supporting role, has a tremendous film presence, and hopefully will leave the neophyte JB viewer eager to see more of his films in the future!"
"Finally, it is with a certain sadness I note that JB's character in MAYTIME, NICOLAI NAZAROFF, is in fact a parable of JB's own life. Both are great men, incredibly successful in their respective professions, and both come to ruin. By 1937, JB could have predicted where his career was heading - unlike earlier films that also seem parables of his life and career such as JEKYLL & HYDE, BEAU BRUMMELL and DINNER AT EIGHT - but these other films seem to predict JB's fate long before it was certain. So I believe that MAYTIME, like any great film, can be viewed on several different levels beyond its basic plot - a mark of a truly important film. Besides, I should mention that MAYTIME is the only one of those operettas that really worked as a film. JB's contribution was a major factor in that achievement."
