WHEN A MAN LOVES
Starring John Barrymore and Dolores Costello
PHOTOPLAY
April, 1927
The romance of Manon, fair, frail beauty of the Court of Louis XV and des Grieux, chevalier of the shifting conscience, is told in bald (sic) movie style. The tale, orignally a piece of perfumed French sentiment, is turned into a hodge-podge of noisy melodrama and conventional romance.
Summed up, the picture is a long hymn of praise to Dolores Costello. And that makes it worth seeing. For Dolores has real gifts in addion to her heart-breaking beauty. John Barrymore goes into his scenes as one who says: "Now watch what a fine actor I am! Please note my chiseled profile!" The production is one of those costume pictures that looks "Wiggy." It carries no great illusion. But Miss Costello, who is the whole show, makes up for most of the deficiences by the magic of her presence.
WHEN A MAN LOVES
Starring John Barrymore and Dolores Costello
MOTION PICTURE CLASSIC
April, 1927
"When a Man Loves" starts off with the best intention of conducting a romance within the bounds of good screen etiquette. For half its length -- and a little over -- it reveals a simple love affair, developed with all of its attendant heartaches, such as a trusting girl spirited away from her Big Boy. While it keeps to this quality, it succeeds in investing itself with considerable charm. It is when John Barrymore suddenly decides to combine Don Juan with Hyde and Jekyll that it becomes movieish.
Here is Barrymore in torn togs and tidy togs -- looking too matured for a youth on the romantic war-path. His restraint is admirable. He goes thru his emotions with supreme confidence, tho the sympathetic touch escapes him. He is best when surprised over Manon's disappearance.
As for Dolores Costello, she has progressed in her acting. The mistress of the close-up certainly lends personality to her study of the luxury-loving Manon. Broadway wiseacres have it that she steals the picture. I look upon it as a gift from Barrymore -- whose generosity let her get away with it.
The picture is far too long and could be judicially shortened
without robbing it of any of its moving moments. The early scenes
become repetitious and the hectic melodrama at the finish is treated
with a heavy touch.