Directed by Edmund Goulding, Grand Hotel (1932) is unique in the annals of Oscar history; it is
the only Best Picture winner not even to be nominated for any other awards. Despite
the Academy’s odd response to the film, Grand
Hotel offers a lot more to the modern viewer than mere Oscar trivia. The
ensemble cast includes many of classic Hollywood’s greatest names, and the
microcosm of the hotel offers a fascinating study of the human condition as
experienced by its guests.
The plot follows the overlapping stories of several
guests at the Grand Hotel in Berlin, including an unhappy ballerina (Greta
Garbo), an impoverished baron (John Barrymore), a dying middle-class worker (Lionel
Barrymore), a desperate industrialist (Wallace Beery), and a pragmatic
stenographer (Joan Crawford). In just a few nights, their lives are changed
forever, even as life goes on within the hotel and beyond its walls.
Each character plays an important part in the
overall story, and each is connected to the others in some way, although the
entire cast never assembles in a single scene. This is probably for the best
because it becomes almost impossible to know which actor to watch when three or
more of them get together in a shot, particularly when the two Barrymore
brothers simultaneously interact with both Joan Crawford and Wallace Beery.
There’s a tremendous amount of scene-stealing going on, even from Lewis Stone
as the jaded doctor who wanders in and out of the picture like a one-man Greek
chorus.
Twists of fate abound, particularly where John
Barrymore’s Baron and Beery’s General Director Preysing are concerned. Their
actions propel them toward an encounter that is as tragic as it is inevitable. The
Baron, a rake and a thief, rediscovers his own better nature in the arms of the
dancer Grusinskaya (Garbo), while the Director’s pretense of morality rapidly
collapses under the strain of a crucial business deal. The other characters are
more or less caught between them and their changing fortunes. Doom hangs over
them all, and the ending only partly alleviates our sense of it. The wheel turns,
and all are carried with it, a point underscored even by the porter (Jean
Hersholt) awaiting the birth of his child.
Edmund Goulding also directed The Dawn Patrol (1938), Dark Victory (1939), and The Razor’s Edge
(1946). See more of John Barrymore in Dinner
at Eight (1933), Twentieth Century
(1934), and the hilarious Midnight
(1939). Brother Lionel is best remembered today as Mr. Potter in It’s a Wonderful Life (1946), but he
played much more sympathetic characters in A
Family Affair (1937), Captains Courageous (1937), and You Can’t Take It with You (1938). See Joan Crawford’s Oscar-winning performance in Mildred Pierce (1945) and Garbo’s great
comedic role in Ninotchka (1939) for
more of those iconic leading ladies. Wallace Beery tied Fredric March for Best
Actor for his performance in The Champ
(1931), but you can also find him playing Long John Silver in the 1934
adaptation of Treasure Island.
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