Reunion in Vienna: John Barrymore being a complete handful

If you have a soft spot for pre-code films where everyone is slightly drunk on champagne and ego, you'll probably enjoy Reunion in Vienna. It’s definitely not for folks who need a grounded, realistic drama; if you prefer your movies to have a bit of dirt under their fingernails, you might find this one a little too perfumed.

Cinematic perspective: Exploring the visual vocabulary of Reunion in Vienna (1933) through its definitive frames.

John Barrymore is basically playing a caricature of a royal exile, and honestly, he’s having the time of his life. He swaggers through every room like he still owns the place, even though he's clearly broke and living on borrowed time. It’s one of those performances that shouldn't work—it’s too big, too loud—but somehow it anchors the whole thing.

Cinematic perspective: Exploring the visual vocabulary of Reunion in Vienna (1933) through its definitive frames.

The core of the movie is that weird, itchy dynamic between the ex-lover and the husband. Diana Wynyard plays the wife caught in the middle with such a weary, knowing look. You can tell she’s exhausted by the sheer audacity of these men.

Cinematic perspective: Exploring the visual vocabulary of Reunion in Vienna (1933) through its definitive frames.

There’s a scene at the dinner table that goes on forever, and the way the camera just sits there while the psychoanalyst tries to stay calm while the Archduke baits him is... well, it’s honestly pretty funny. The husband is so stiff he looks like he’s made of cardboard.

Cinematic perspective: Exploring the visual vocabulary of Reunion in Vienna (1933) through its definitive frames.

I couldn't help but think about how different this feels from something like The Haunted Bedroom. Where that film relies on atmosphere and shadows, this one is just pure, unfiltered personality clashing. It’s all about the talk.

Cinematic perspective: Exploring the visual vocabulary of Reunion in Vienna (1933) through its definitive frames.

Sometimes the dialogue feels like it’s trying a bit too hard to be witty, and a few lines landed with a thud. But then Barrymore does something ridiculous, like dramatically dropping his coat or glaring at a waiter, and you're back in it.

Is it a masterpiece? No. Is it worth watching on a rainy Tuesday? Absolutely.

Notes from the couch:

• The costumes are absurdly fancy for people who are supposedly out of power.
• I’m not entirely sure if the ending is meant to be sweet or just plain delusional.
• Every time the psychoanalyst speaks, I want to take a nap.
• The way they light the Archduke makes him look like a ghost half the time.

It’s the kind of movie that feels like a forgotten relic, but in a good way. It’s messy, it’s slight, and it doesn't care if you like the main character or not. Honestly, that’s a nice change of pace. 🥂