Cinevent Day 2 began with Chapters 4 – 6 of King of the Texas Rangers. Bob Bloom’s program notes tell us that this serial was filmed on location in the San Bernardino National Forest from June 17 to July 18, 1941 at a total cost of $139,701 (the production ran $1,165 over budget). Just for fun, let’s assume the standard six-day work week of the time, and let’s assume the company took no time off for the Fourth of July (though in fact they probably did). That means a shooting schedule of 28 days for a production running a total of 3 hours 35 minutes — in other words, on an average day directors Witney and English got about seven-and-a-half minutes of usable film in the can while spending $4,989.32. In Day 1’s notes I described Republic Pictures as an “economical” studio; giving credit where it’s due, it was also a pretty well-oiled operation, especially considering that it had been in existence for only six years.

The first feature of the day was the British film of Gilbert and Sullivan’s The Mikado (1939), in a beautiful IB Tech print showcasing that inimitable British Technicolor, so much more delicate than the American variety. And here I insert the notes I wrote for the Cinevent program book:

It wasn’t only Hollywood movies that had a good year in 1939. That was also a banner year for Gilbert and Sullivan’s most popular comic opera. First — in September 1938, actually — came The Swing Mikado, produced by the Chicago branch of the WPA’s Federal Theatre Project with an all-African-American cast, and with Sir Arthur Sullivan’s music given a jazzy jitterbug beat. After a five-month run in Chicago, it was transplanted to Broadway for another three months. Not to be outdone, Broadway showman Michael Todd mounted his own all-Black (and even jazzier) production, The Hot Mikado, featuring Bill “Bojangles” Robinson in the title role. After a Broadway run of 85 performances, the show was transplanted to the New York World’s Fair of 1939-40, where it was a popular attraction during both seasons of the fair.

Coming close on the heels of both of these, even overlapping by a few days, was producer Geoffrey Toye and director Victor Schertzinger’s screen adaptation of The Mikado, a more traditional production, filmed in England but with American talent on both sides of the camera. The movie was the brainchild of first-time producer Toye. From 1919 to 1924, Toye had been musical director for the D’Oyly Carte Opera Company, custodians of the Gilbert and Sullivan canon while the works were still under copyright. In that capacity he had earned the trust and respect of Rupert D’Oyly Carte, son of the company’s illustrious founder, even after the two had gone their separate professional ways.

And so it was, in the late 1930s, that Toye was able to obtain the film rights to all of Gilbert and Sullivan’s works. His plan was to produce a series of film adaptations over the coming years, with his first production to be The Yeomen of the Guard.

Toye’s first move was to travel to Hollywood, as he said, “in search of technical experts.” It didn’t take him long to decide that The Mikado would be a more bankable title this first time out of the gate. At the same time, he decided his movie would have to be in Technicolor — a bold and prescient decision, since at that point only three British films had been made in Technicolor. Mikado would be the fourth.

It wasn’t only “technical experts” Toye was looking for over here. Once he decided on Mikado instead of Yeomen, the first item on his wish list was to get Deanna Durbin to play Yum-Yum. Alas for Toye and movie history, Universal wouldn’t allow it — yet another example, as if one were needed, of the short-sighted stupidity with which the studio mismanaged the career of its biggest star.  Ironically, Universal eventually wound up being The Mikado‘s U.S. distributor. I wonder: did the bright boys in the front office ever regret not letting Durbin appear in it?

So Toye was denied his first-choice star, but he didn’t go home empty-handed. By the time he sailed for England, he had secured the services of Victor Schertzinger to direct. It was another canny choice; Schertzinger was a trained musician and composer as well as director, and had been Oscar-nominated for directing Metropolitan Opera star Grace Moore in One Night of Love (1934). Also, to play Nanki-Poo, the incognito son of the emperor of Japan, Toye signed another American, radio and recording star Kenny Baker. It was a move to shore up the movie’s chances at the American box office, and despite some grumbling from G&S purists (British wags called him “Yankee-Poo”), Baker acquitted himself quite nicely.

For other roles, Toye turned to the D’Oyly Carte Company. Sydney Granville, a D’Oyly Carte star off and on since 1907, made his only film appearance as the officious Pooh-Bah, while Martyn Green, in his prime at 39 and midway through his 29-year tenure at D’Oyly Carte, played Ko-Ko, the Lord High Executioner. Toye also enlisted the D’Oyly Carte chorus, filling out the larger ensemble for the film with alumni of the company. Non-company players Jean Colin (as Yum-Yum), Constance Willis (Katisha) and John Barclay (the Mikado) rounded out the cast.

During production, Schertzinger reportedly received as many as 3,000 letters a week threatening “dire consequences” if he tampered unduly with the show’s sacred text. The letter-writers need not have worried; while the show was somewhat rearranged and several songs were cut to get the running time down to 90 minutes, the result was quite faithful to Gilbert and Sullivan’s satiric spirit. (And by the way, it was understood then, as it had been in 1885, that the butt of The Mikado‘s satire was Great Britain, not Japan.) In the New York Times, Frank S. Nugent called the movie “one of the most luscious productions of the operetta in history” (though he wondered if this purely theatrical piece was a good candidate for filming in the first place). Variety’s “Jolo” called it a “thoroughly ingratiating satire, carefully concocted.” The critics also praised the picture’s pastel Technicolor photography, which was justly nominated for an Academy Award (though of course this was 1939, and nothing was going to take that Oscar away from Gone With the Wind).

Geoffrey Toye’s plan to produce a series of Gilbert and Sullivan films, with the approval and participation of the D’Oyly Carte Company, was off to a good start, but there would be no further installments. The project was doomed first by the outbreak of World War II, then by Toye’s untimely death at 53 in 1942. It’s a pity we were denied a record of Sydney Granville and Martyn Green’s performances in, say, Yeomen of the Guard, H.M.S. Pinafore and The Pirates of Penzance – but let us count our blessings. After all, the Hot and Swing Mikados have survived only on scratchy phonograph records and in grainy silent home movies, while Victor Schertzinger and Geoffrey Toye’s rendition has come down to us exactly as audiences saw it in 1939.

After The Mikado came some comedy shorts from Hal Roach’s Lot of Fun bookending the lunch break. Before lunch it was We Faw Down (1928), a late silent with Laurel and Hardy — albeit one with a sound-on-disk Vitaphone musical score and sound effects. The long-lost disks were recently rediscovered, and Cinevent saw a print with the Vitaphone accompaniment restored on a conventional soundtrack. 

The short had quite a pedigree. It not only starred The Boys, but was directed by Leo McCarey (The Awful Truth, Going My Way, An Affair to Remember) and photographed by future director George Stevens (Gunga Din, Shane, Giant).

And there was a special bonus for movie trivia buffs: Pictured here in the role of Mrs. Stanley Laurel was none other than the one and only Bess Flowers, surely the most prolific actor, male or female, in movie history. She sometimes had lines, but usually didn’t; was sometimes credited on screen, but usually wasn’t. Still, between 1923 and 1969 she ran up an unapproachable record of 966 movie and TV appearances. Bess had an extensive wardrobe and could dress for any occasion this side of a Stone Age cave-warming, so plugging her into a crowd scene was one less hassle for a casting director and costumer. Check out her filmography; you’ll see a lot of “Party Guest”, “Nightclub Patron”, “Ship’s Passenger”, “Audience Member”, “Secretary”, “Nurse”, “Maid”, and so on. Lines or no lines, seldom more than a few day’s work, but my lord, the lady kept busy: 28 movies in 1939, 35 in 1940, 48 in 1941. She was well-known and well-liked in the industry, obviously — you don’t amass nearly a thousand credits if you make people say, “Uh-oh, here comes trouble!” Bess Flowers retired after an episode of The Red Skelton Hour in 1969 and died in 1984 at the Motion Picture Country Home, age 85. 

In We Faw Down, Stan and Ollie tell their domineering wives (Stan and Ollie’s wives were always domineering) that they’re going to a vaudeville show with their boss, but they’re really going to a big poker game. Then on the way to the game they get sidetracked into a pied-à-terre with two good-time gals. Meanwhile, unbeknownst to them, the wives learn that the vaudeville theater has burned down. Complications ensue. It all culminates in one of Laurel and Hardy’s all-time-greatest closing gags, involving the wives, a shotgun, and two adjacent apartment buildings. If you’ve seen We Faw Down, you don’t need more hint than that; if you haven’t, I won’t spoil the gag. 

After lunch the Hal Roach parade continued with three Charley Chase silent shorts: The Fraidy Cat (1924), A Ten-Minute Egg (also ’24), and A Treat for the Boys [a.k.a. The Sting of Stings] (’27). Charley was definitely in his prime in those days, still finalizing his persona in the first two and really hitting his stride in the third. Personally, I’ve always rather preferred his sound shorts of the 1930s, mainly for his tendency to break into song (he was a very appealing musical performer). There’s no denying, though, that in the silent ’20s Charley Chase was younger, more energetic, and further away from that early grave he would drink himself into at 46 in 1940.

Film musical historian and aficionado Richard Barrios hosted a “Vol. 2” session of Songs in the Dark and Dangerous Rhythms (continuing what he started at Cinevent 51 all those months ago), an assortment of musical numbers old and new(er). The title, of course, alludes to Richard’s books A Song in the Dark: The Birth of the Musical Film and Dangerous Rhythm: Why Movie Musicals Matter (both of which belong in every movie buff’s library).

Next, Richard introduced Main Street to Broadway (1953), a broken-heart-for-every-light-on-Broadway drama distinguished by a roster of guest stars being trotted out for drive-by appearances. The stars were cajoled into appearing through a tie-in between independent producer Lester Cowan and the Council for the Living Theatre, a public relations group formed in 1947 by Pulitzer Prize playwright Robert E. Sherwood (who supplied Main Street to Broadway‘s story, such as it was) on the occasion of the bicentennial of the American (read “New York”) theater. In return for providing the big names, the Council stood to get a 25 percent share of the movie’s profits. Unfortunately, there weren’t any.

The picture’s central (stock) characters were played by two names in the fine print at the bottom of this list: Tom Morton as Angry Young Playwright With Chip on Shoulder and Mary Murphy as Small Town Girl Straight Out of High School Drama Club Taking Fling at Acting Career. Then as now, Main Street‘s chief interest was the parade of stars, most gamely playing themselves for a minute or two of screen time. (Exceptions: Tallulah Bankhead, in a major support, played a good-sport parody of herself; Agnes Moorehead camped it up as Morton’s drama-queen agent; and Gertrude Berg played her radio/TV sitcom character Molly Goldberg as if she existed in the real world.) Others not listed on this poster included director Joshua Logan, Henry Fonda, Vivian Blaine, caricaturist Al Hirschfeld, Stuart Erwin, Jeffrey Lynn, society hostess Elsa Maxwell, and Broadway critics Brooks Atkinson, Ward Moorehouse and John Mason Brown.

Actually, there was one other point of interest beside this gaggle of celebs from the Golden Age of Broadway. As the movie’s nominal leads, Tom Morton and Mary Murphy played stereotypical opposites-who-attract: He disdains her bourgeois primness, she resents his snotty condescension, but (as the top picture on the poster suggests) they absolutely cannot keep their hands off each other. When Main Street to Broadway was released in October 1953, Morton, 27, was just beginning his six-year, seven-credit career, while Murphy, 22, was two months away from her best-remembered role as the police chief’s daughter playing with Marlon Brando’s fire in The Wild One. For most of Main Street, Morton and Murphy were blandly likeable, but when they went into the clinches (which was often), they hungrily devoured each other, fairly steaming up the camera lens and exuding a sexual chemistry far beyond anything Murphy would show with Brando. I couldn’t help wondering what was going on between these two when the cameras weren’t rolling. When I shared this thought with another audience member, she said, “From what I understand, there was quite a lot going on!” (Mind you, I don’t know who this person was, or what she knew or how she knew it. I pass her observation on as the rankest gossip, and meaning no offense to Ms. Murphy’s memory — she died in 2011 — or to Mr. Morton, who is evidently still with us at 95.)

When the lights came up after Main Street to Broadway, it was time for dinner. When we came back, it was to a presentation by biographer Alan K. Rode, author of Michael Curtiz: A Life in Film. In his excellent, well-researched book, Rode makes a persuasive case for Curtiz as one of the most prolific and versatile artists — yes, artists — ever to work in Hollywood. I rather suspect that he may have been preaching to the choir at Cinevent — at least I certainly hope that Cinevent-goers appreciate Curtiz’s body of work more than the average citizen. For that matter, I hope we appreciate him more than some film critics and theorists, who tend to look down on prolific filmmakers (Curtiz directed 178 movies) as somehow unserious. If nothing else, Alan Rode’s lecture was a timely reminder of what we already know — or should. (By the way, Rode’s biography tells us that Curtiz, who was born Manó Kaminer, pronounced his professional name “Cur-tezz“, not “Cur-teez“. And while we’re on the subject, Alan Rode’s own surname is pronounced “Roadie”.)

Then Mr. Rode introduced Private Detective 62 (1933), one of Curtiz’s lesser-known Warner Bros. Pre-Code pictures. William Powell played a U.S. diplomat stationed in Paris who, for reasons we needn’t go into, is forced to resign in disgrace. Back in the States and scrambling for work, he falls in with an unscrupulous detective agency running the old badger game, entrapping “marks” in compromising situations, then blackmailing them to keep things quiet. Powell’s life gets complicated when he finds himself falling for his latest victim (Margaret Lindsay). Paced by Curtiz at a breakneck 66 minutes, it was far-fetched but diverting. Powell and Lindsay were supported by Ruth Donnelly, Arthur Hohl, James Bell — and, as a gangland casino operator, the ill-fated Gordon Westcott. Westcott would go on to earn his own footnote in history in 1935 when, riding for MGM in a polo game against a team led by Walt Disney, his horse fell on him and crushed his skull. He lingered unconscious for three days in hospital, finally dying a week short of his thirty-second birthday. His death dampened Hollywood’s enthusiasm for polo; Lillian Disney put her foot down, and her husband had to find other diversions to occupy his spare time. Like model-railroading. And daydreaming about building an amusement park. All because of Gordon Westcott’s bad luck on the polo field.

Dr. Jack (1922) was Harold Lloyd’s second venture into feature-length comedy, and he was still getting the hang of it. Lloyd played a small-town doctor who takes on the case of a patient billed as “The Sick Little Well Girl” (Mildred Davis) when he suspects her family is being milked by a “specialist” who not only has no intention of “curing” her, but knows full well she’s not really sick in the first place. The picture feels like two or three of Lloyd’s shorts strung together, but it’s fun for all that, with some rewarding scenes (like a nifty poker game) that contribute more to the comedy than to the picture’s putative plot. The proceedings are added to by cameos from Mickey Daniels and Jackie Condon, two of the first round of producer Hal Roach’s Our Gang kids, plus an appealing canine who (Samantha Glasser speculates in her program notes) looks enough like Pete the Pup of the 1930s Our Gang to have been an ancestor.

As things turned out, Dr. Jack had two happy endings, one of them in real life. Just two months after the picture’s release, on February 3, 1923, Harold Lloyd and Mildred Davis were married, and they stayed that way until death did them part in 1969. Generations of Lloyds rose up and called them blessed.

In keeping with Cinevent 52’s Halloween Weekend setting, Day 2 closed out with Frankenstein (1931). Do I really need to say much about this one? After ninety years, it’s still one of the most famous movies ever made. However, at the risk of being burned for heresy, I will venture to suggest that the picture shows its age rather badly, and has ever since I first saw it sixty years ago  — admittedly, on TV, and in the expurgated form of its Post-Code reissues that held sway until the 1980s. Cinevent, of course, screened the uncut Pre-Code version.

What unarguably survives intact from 1931 is Boris Karloff’s performance, simultaneously menacing, repellent, heart-wrenching and pathetic, absolutely iconic in the purest sense of the word. His first appearance, with Arthur Edeson’s camera leaping ever closer to his undead face in wavering hand-held quick cuts, still has the power to take our breath away, and could raise gooseflesh on a marble statue.

But much of the movie, to me anyhow, feels patchwork and incomplete. I think its reputation owes much to its sequel The Bride of Frankenstein (1935), which was an exponential improvement — possibly the greatest ratio of improvement for a sequel to its original in movie history. If nothing else, Franz Waxman’s ominous musical score makes a huge difference; the lack of music in the original fairly screams its absence. There are other improvements: John Fulton’s photographic effects complement and enlarge the mechanical effects of Ken Strickfaden. The prissy epicureanism of Ernest Thesiger’s Dr. Pretorius provides a foil for Colin Clive’s neurotic energy that he didn’t find in John Boles, Mae Clark, or that blustering old fart (Frederick Kerr) who played his father. There is simply no end to the ways The Bride is better than Frankenstein. Still, there’s no denying the obvious: Without the original, we wouldn’t have had the sequel. We can be thankful for that. And for Boris Karloff.

To be continued…

While preparing my post on the first day of this year’s Cinevent 52 in Columbus, Ohio, I learned of the passing of Dean Stockwell at his home in Ranchos de Taos, New Mexico. Stockwell, boy and man, was one of the finest actors who ever faced a movie camera, yet he never quite received the recognition or accolades he deserved — no Oscar (“real” or honorary), no Presidential Medal of the Arts, no Kennedy Center Honors. All he ever managed was a couple of Golden Globes (which everybody knows are worthless); ensemble acting awards at Cannes for Compulsion in 1959 (shared with Bradford Dillman and Orson Welles) and Long Day’s Journey Into Night in 1962 (with Katharine Hepburn, Ralph Richardson and Jason Robards Jr.); and a star on that crummy Hollywood Walk of Fame. Nevertheless, he was one of our best, so steady, so reliable, and around so long that we could become lulled into believing he’d always be there.

I can think of no more fitting tribute to the late Mr. Stockwell than to reprint my 2010 post on the picture in which the 12-year-old Dean gave the finest performance of his 70-year career: Henry Hathaway’s Down to the Sea in Ships (1949).

Farewell, Dean Stockwell, and thanks for the memories.

*                         *                         *

In 1949 Henry Hathaway made one of the best movies of his long career. In it, his three stars, Richard Widmark, Lionel Barrymore and Dean Stockwell (and for that matter, most of the supporting cast) each gave one of his own best performances. Down to the Sea in Ships is in fact one of the finest movies ever to come out of the Hollywood studio system, and almost nobody has ever heard of it.

I know I run the risk of overselling the product here, but I simply don’t understand why Down to the Sea in Ships isn’t one of the best-loved movies of all time. When the talk turns to the great seafaring stories of the screen — Treasure Island, Mutiny on the Bounty, Captains Courageous, Moby Dick et al. — it’s a mystery to me why Down to the Sea in Ships never comes up. If there are such things as flawless movies, and there surely are, Henry Hathaway’s Down to the Sea in Ships is one of them.

I say “Henry Hathaway’s” to distinguish this picture from the other Down to the Sea in Ships, from 1922. That one made a star out of Clara Bow, and curiously enough, it’s available on home video — no doubt because it’s in the public domain, while Hathaway’s picture is still under copyright and quarantined in the 20th Century Fox vault. In the 1960s and ’70s it was the other way around: Down to the Sea in Ships (1922) was gone and long forgotten, but if your local TV station had a decent film library and you were willing to stay up till two or three in the morning, you could count on seeing Down to the Sea in Ships (1949) two or three times a year. 

Before we leave the subject of Clara Bow’s breakout vehicle for good, let’s get one point clear: Wikipedia says that the 1922 picture “was remade by Twentieth Century Fox in 1949,” but — well, that’s Wikipedia for you. (Whoever wrote the article didn’t even know that it’s “20th Century Fox,” not “Twentieth.”) In fact, there is no connection whatsoever between the two pictures — other than the fact that they both deal with whaling ships out of New Bedford, Mass., and they both take their title from Psalm 107:23 (“They that go down to the sea in ships, that do business in great waters…”). These aren’t two versions of the same story, they’re two different movies with the same title; henceforth, when I use the title, I’ll be talking about only one of them.

After the war, Zanuck reactivated the project and handed it over to producer Louis D. (“Buddy”) Lighton and director Hathaway. Both men were working for Fox now, but they had been paired before in the 1930s at Paramount: Lighton had produced the Shirley Temple vehicle Now and Forever, The Lives of a Bengal Lancer, and Peter Ibbetson, all of which Hathaway directed. The first draft of the script was by Sy Bartlett — that’s him at right — born Sacha Baraniev in Russia (now Ukraine) in 1900 but raised in America from the age of four. Originally a newspaper reporter, he became a screenwriter for various studios in the ’30s, but he was noted more for hobnobbing in Hollywood society, hosting Sunday barbecues, and the occasional gossip-column appearance. He served with the U.S. Army Air Corps during World War II, then returned to Hollywood and a job at Fox. At the time that he took his first cut at Down to the Sea in Ships, Bartlett’s most memorable work was still ahead of him: he later turned his wartime experience into the novel and screenplay Twelve O’Clock High (1949) for director Henry King and star Gregory Peck.

 

 

 

Music historian Jon Burlingame (in his notes for the movie’s soundtrack CD) says Bartlett’s script underwent a rewrite by John Lee Mahin — shown here (on the left) in a rare acting stint in Hell Below (1933) with Robert Montgomery. Like Bartlett a reporter-turned-screenwriter, Mahin already had a number of major credits on his resume, many of them — including Red Dust, Treasure Island (1934), Test Pilot, Captains Courageous and Dr. Jekyll and Mr. Hyde (1941) — for Hathaway’s mentor Victor Fleming.

 

Without access to what records might be in the 20th Century Fox archives, it’s impossible for me to say exactly how credit for Down to the Sea‘s script should shake out — which is a pity, because the script is a truly masterful piece of work; if the picture ever gets the kind of attention it has deserved for over 60 years, maybe someone will shed some light on the subject. The writing credit on screen reads “Screen Play by John Lee Mahin and Sy Bartlett; From a Story by Sy Bartlett,” which matches the general drift of the two writers’ careers: story was Bartlett’s long suit, dialogue Mahin’s. Making an educated guess, I’d say Bartlett was responsible for Down to the Sea‘s distinctive blend of rousing adventure and psychological acuity, Mahin for the unerring cadence and vocabulary of the speech of 19th century New England whalermen. Or it may have been more complicated than that; Mahin gets top billing on screen, which suggests that his rewrite probably amounted to more than just touching up the dialogue.

 

Down to the Sea in Ships opens in New Bedford in the summer of 1887. The whaling ship Pride of New Bedford returns from a four-year voyage under the command of Capt. Bering Joy (Lionel Barrymore), the best whaler on the New England coast. He’s just about the oldest, too, though he shows no signs of being ready to retire from the sea. The reason for that is his 11-year-old grandson Jed (Dean Stockwell), the youngest in a line of the whaling Joy family that extends back “mighty nigh two hundred years.” Capt. Joy, though still on crutches from an injury that kept him bunk-ridden for much of the voyage, is unwilling to retire, at least until Jed is thoroughly brought up in the ways of the sea and can continue the family tradition. Jed himself is (if you’ll pardon the expression) entirely on board with this; he loves the seafaring life, the only life he’s ever known. He’s spent the last four years — nearly half his life — as his grandfather’s cabin boy, and is now eager to ship out again as an apprentice member of the fo’c’sle crew.

 

Unfortunately, the decision may be taken out of both their hands. The whaling firm’s insurance company refuses to cover Capt. Joy; moreover, Massachusetts law will not allow Jed to return to sea unless he can pass an exam covering the four years of schooling he missed while he was away. Fortunately, a sympathetic school superintendent (Gene Lockhart, in a warmhearted cameo) fudges Jed’s test results rather than disappoint the captain.

And a tentative compromise is reached on the insurance issue when Capt. Joy is persuaded to sign Dan Lunceford (Richard Widmark) as first mate. The firm’s president (Paul Harvey) says Lunceford is a promising young seaman who only needs some experience under a master mariner like Capt. Joy, but the captain isn’t fooled: he realizes that Lunceford, who has a master’s license, is being foisted on him at the insurance company’s behest, to be in a position to take command of the Pride of New Bedford if age or infirmity should overcome the old man.

For his part, Dan Lunceford doesn’t care much for the look of Capt. Joy, nor for his sneering at Lunceford’s “book-learnin'” and his college degree in marine biology; only a sweetening of his percentage of the voyage’s profits persuades the younger man to ship out with Capt. Joy after all.

Once the Pride of New Bedford is out to sea, Capt. Joy plays his trump card. He tells Lunceford that he sees “the hand of Providence” in Lunceford’s presence on board. Jed was allowed to ship out, he says, only on the condition that his studies be continued, and Capt. Joy is hereby assigning Lunceford, in addition to his regular duties as first mate, to be Jed’s tutor during his off-duty hours. In this way, the crafty old mariner intends to kill two birds with one stone: he’ll see to Jed’s education, and he’ll keep Lunceford too busy to undermine his authority.

Lunceford has no choice but to accept the assignment, but he does so with ill grace. Resentful at what he regards as essentially a babysitting chore, he is impatient, sarcastic and dismissive. Resentful in turn, Jed is obstreperous and uncooperative. Lunceford decides Jed is just as ornery and pigheaded as his grandfather, and he give up the lessons as a waste of his time.

Stung, Jed applies himself and in time surprises Lunceford with answers to all the questions that had stumped him before. Lunceford suddenly approaches his duties as tutor in earnest, tailoring lessons more carefully to Jed’s quick and lively but unsophisticated intelligence. As the friendship grows between Jed and Lunceford, Capt. Joy begins — rightly or wrongly — to fear that his grandson’s respect and affection are drifting away from himself and attaching themselves to Lunceford; he responds to the unexpected competition by looking more carefully at Lunceford’s ideas, which he had formerly dismissed as not worth his attention. All this happens even as the Pride of New Bedford roams the waters of the South Atlantic, stalking and taking whales.

That’s about as much of the plot as I care to go into here; better that you should discover the rest for yourself. Down to the Sea in Ships isn’t available on home video*, but it does surface (pun intended) from time to time on the Fox Movie Channel, and it’s worth seeking out to discover how the three-generation, three-way relationship of Capt. Joy, Jed and Dan Lunceford plays itself out against the background of a perilous voyage contending with the forces of nature and the leviathans of the deep. Each of the three discovers qualities of strength and character in the others that he either never suspected or did not properly value at first. Each brings out the best in the other two, and allows the other two to bring out the best in him.

All this, mind you, while the movie does not skimp on action and high adventure. There are scenes of whale chases and boats lost at sea, suspenseful and beautifully shot (Joe MacDonald) and edited (Dorothy Spencer), with excellent special effects (Fred Sersen and Ray Kellogg). Capping it all is a climactic sequence in which the Pride of New Bedford runs aground on an iceberg in the fog near the horn of South America…

 

 

 

 

…with the crew struggling desperately to free themselves and repair the damage before the sea pounds their ship to splinters against the unforgiving ice. Not to mince words, it’s an absolutely brilliant action/suspense set piece. Amazingly enough, it was shot entirely in a soundstage tank on the Fox lot, but it’s spectacularly convincing and harrowing for all that.

 

 

Down to the Sea in Ships was Lionel Barrymore’s last starring role, on loan from MGM. Once, when introducing Barrymore on a 1939 radio broadcast, Orson Welles referred to him as “the most beloved actor of our time.” It was probably an exaggeration, but not by much; Barrymore’s stock in trade was playing cantankerous old codgers with hearts of gold. Ironic, then, that the only role for which he’s widely remembered today is Old Man Potter in It’s a Wonderful Life (1946), one of the most thoroughly heartless characters in the history of movies. In his own day Barrymore was more closely identified with wise old Dr. Gillespie in MGM’s Dr. Kildare series, and with his annual holiday performances as Ebenezer Scrooge on radio. In fact, Barrymore had been slated to play Scrooge in MGM’s A Christmas Carol (1938) until he broke his hip in an auto accident. That injury landed him in a wheelchair, then advancing arthritis kept him there for the rest of his career — until Down to the Sea in Ships.

 

Henry Hathaway remembered, at first, a testy working relationship with Barrymore. As he told interviewer Polly Platt:

“He had everything wrong with him, most of it in his head…I said, “You’re not sick, you’re just destroying yourself…I have no sympathy for you. You’re a glutton, you drink too much…You want to destroy yourself, you’re really doing it.”

Is this callousness or tough love? Po-tay-to, po-tah-to. Hathaway had a reputation for being tough on actors. His side of it was simply that he refused to mollycoddle them; he expected actors to report to the set ready to work. He also remembered the day they finished shooting Barrymore’s scenes:

“We finish the picture, he walked off the set. No wheelchair. No crutches. And he came to me and said, “Mr. Hathaway, I want to tell you, you did more for me and for my life on this picture than ever happened to me before. From my father or my mother, or from anybody. I was just simply sitting there and waiting to die.”

Hathaway went on to say that they remained friends for the rest of Barrymore’s life. In any case, whatever the validity of Hathaway’s recollection, the evidence is there on screen: Barrymore responded — whether out of spite or chagrin — by giving one of his strongest performances in years. For once he’s not merely being wheeled around the set acting crusty (although in his more physically active shots he was often doubled by assistant director Richard Talmadge).

I don’t mean to minimize the genuine pain Barrymore surely suffered, but that wheelchair must have been a real convenience for a man who had never been all that crazy about being an actor to begin with. In youth, his real interests were in painting, writing, and composing music, but the pressure to enter the family trade (and the money to be made from it) kept him on stage, screen and radio for nearly sixty years. The role of Capt. Bering Joy was a recognizable “Lionel Barrymore type”, but it was also a complex and vigorous character betrayed by age and ill health, and Barrymore the self-described ham connected with it on a more profound level than almost any part he ever played. He deserves to be remembered for this performance as much as — indeed, more than — for the unalloyed wickedness of Henry Potter. 

Down to the Sea in Ships was Richard Widmark’s fifth movie, after his sensational debut as the giggling psycho killer Tommy Udo in Hathaway’s Kiss of Death (1947). In the intervening three pictures, Widmark played a woman-beating gang lord (The Street with No Name), a murderously jealous bar owner (Road House) and an underhanded western outlaw (Yellow Sky). The studio realized he was in danger of being typecast as a succession of nutjobs, sleazeballs and unsavories (because he played them so well), when what the studio really needed was another leading man. Casting him as Dan Lunceford was a conscious effort to help him segue into more sympathetic roles. It worked. Widmark went on to be one of Fox’s most stalwart leading men, playing good guys (Slattery’s Hurricane, Panic in the Streets), bad guys (No Way Out, O. Henry’s Full House) and guys in between (Pickup on South Street, Don’t Bother to Knock) — until, like many other stars, he went free-agent in the mid-1950s.

In Down to the Sea, Widmark is top-billed, although he doesn’t appear until half an hour in. His Dan Lunceford is the character who goes through the most self-surprising changes in the course of the picture. After all, Jed is an adolescent coming of age, and changes are to be expected, while Capt. Joy, though seemingly set in his ways and defiantly so, proves to be flexible, open to change, and willing to learn — when he thinks nobody is watching and he can do it without losing face.

Capt. Joy blusters, but it’s Dan Lunceford who is most nearly arrogant at the outset; part of the reason the captain scoffs at Lunceford’s education is that he senses Lunceford is more than a little puffed-up about it. For his part, Lunceford treats Capt. Joy with an exaggerated politeness that stops just short of insolent sarcasm. (Capt. Joy: “You may have noticed that most of my crew generally sign on again.” Lunceford [drily]: “Out of affection no doubt, sir.”) His sarcasm towards Jed’s lessons, on the other hand, is undisguised — at first. In time, he comes to realize he has misjudged them both, especially the captain. By the end he’s telling Jed that his grandfather is “more of a man than you or I could ever hope to be.” It’s an admission Lunceford could hardly have imagined making when the voyage began.

 

And then there’s Dean Stockwell. Stockwell’s first screen role came in 1945, when he was eight years old, and he’s still working today — which means that his career has now lasted longer than Lionel Barrymore’s or Richard Widmark’s. When I screened my print of Down to the Sea in Ships for some friends, one of them said, “Dean Stockwell was a revelation!” She was familiar with Stockwell as an adult actor, and knew he had started as a child star, but had no inkling he was ever as good as he is here. (“He was marvelous,” remembered Hathaway, “just a great actor. Intense little guy.”) My friend was right: Dean Stockwell’s performance here is a revelation, easily (at the age of twelve) the best of his career — and for an actor whose résumé includes Gentleman’s Agreement, The Boy with Green Hair, Compulsion, Long Day’s Journey into Night, Blue Velvet, and the TV series Quantum Leap, that’s saying something. Jed Joy is the fulcrum upon which the plot of Down to the Sea in Ships pivots, and in Stockwell’s performance we see him grow from an uncertain, sometimes petulant child into the makings of a fine, strong young man — he seems even to grow taller as the story progresses (and it’s all in his acting; the shooting schedule wasn’t that protracted).

 

Jon Burlingame says that Down to the Sea cost $2.5 million, one of Fox’s most expensive pictures of 1949, and that despite good reviews and high expectations (“…so engrossingly done that the box-office appeal should be sturdy,” said Variety, “…dotted with tremendously moving scenes that will stick in the memory.”), it failed to break even. Not an unfamiliar story in the history of Hollywood.

 

 

I’ve been dancing all around something here, and I might as well come right out and say it: Down to the Sea in Ships is a masterpiece. It’s not one of those “miracle pictures” I’ve talked about before, like Peter Ibbetson or A Midsummer Night’s Dream. Making it was no departure for the Hollywood studio system; on the contrary, pictures like this were right up Hollywood’s alley. If there’s a miracle here, it isn’t that it was made in the first place, but that it turned out so well in the end.

 

Henry Hathaway never worked with a better script; for that matter, neither has anyone else. Whether the credit goes mainly to John Lee Mahin or to Sy Bartlett — or some magical, once-in-a-lifetime chemistry between the two — Down to the Sea‘s script is nothing less than a work of genius. It’s a rousing sea adventure, a sharp-eyed psychological study, a near-documentary reconstruction of the 19th century whaling trade, and a subtle examination of the customs and dynamics of a shipboard community in the age of sails. Nearly every line is memorable, every scene layered with nuances that reward repeated viewings. Even the name of the ship — Pride of New Bedford — is pregnant with symbolism: the many facets of pride, as both virtue and vice, is a major theme that runs through the story and all three of the central characters. This superb text inspired everyone who touched it — Hathaway, his actors, photographer Joe McDonald, editor Dorothy Spencer, composer Alfred Newman, everyone — to give it the best of their considerable abilities. The result of their efforts is (I say it again) a flawless movie. Not a work of art, perhaps — perhaps — but of such a high order of craftsmanship that it’s all but indistinguishable from the real thing.

 

If you ever get the chance to see Down to the Sea in Ships, don’t pass it up. I’ve never shown it to anyone who didn’t love it. I guarantee it: this is one of the greatest movies you never heard of.

_______________

*UPDATE 11/4/2021: Down to the Sea in Ships is now available on DVD from 20th Century Fox Cinema Archives; it’s available here from Amazon.

At Cinevent 50 in Columbus, Ohio in 2018, there was a moderated Saturday-afternoon discussion between historians Leonard Maltin and Scott Eyman. At one point, Leonard said of Scott:

“…Scott’s book on John Wayne is the best book on John Wayne, just as his book on Cecil B. DeMille is the definitive book on Cecil B. DeMille. I’m compulsive, but I’ve been tempted to actually discard some of my other books because they’re taking up shelf space…I’m too anal, I can’t get rid of the other books, but if I could tame my instincts I would just say, ‘These are useless now ’cause Scott’s done the ultimate job.”‘

Well, if any of you out there happen to have a bookshelf groaning under the weight of books about Cary Grant (Amazon and Alibris list no fewer than twenty, not counting first-hand memoirs by his daughter Jennifer and her mother Dyan Cannon), and if you’re any less obsessive than Leonard Maltin, you can now free up some of that space, because Scott Eyman has done it again. Cary Grant: A Brilliant Disguise is surely — like Scott’s biographies of John Wayne, John Ford, Louis B. Mayer, Mary Pickford et al. — the next best thing to having known the subject personally.

Oddly enough, I thought of Cary Grant while reading one of Scott’s earlier books, John Wayne: The Life and Legend (2014). At the time I had no idea Scott would be doing a bio of Grant (and for all I know, neither did he); what made me connect the two was their similarity in thinking of themselves as distinct from their screen personae. Wayne never thought of himself as “John Wayne”; he was, essentially, Marion “Duke” Morrison, doing business as John Wayne. He never even changed his name legally — his death certificate reads “Marion Morrison (John Wayne)”. As Scott put it, John Wayne was to Duke Morrison as the Little Tramp was to Charles Spencer Chaplin, “a character that overlapped his own personality, but not to the point of subsuming it.”

Likewise, Cary Grant always — or at least for much of his career — thought of himself as Archibald Alexander “Archie” Leach of Bristol, UK. But there was a difference. For one thing, Grant did change his name legally, in 1942 (significantly, on the same day he became an American citizen). Despite that, however, he appears never to have seen the “personality overlap” that Duke Morrison had with John Wayne; “Archie Leach” and “Cary Grant” were two separate personalities, never the twain to meet — hence Scott’s subtitle, A Brilliant Disguise.

In writing about Scott’s John Wayne biography, I quoted Grant: “Everybody wants to be Cary Grant. Even I want to be Cary Grant.” It’s one of Grant’s most famous quotes — so famous, in fact, that Scott doesn’t even feel the need to include it. But he does offer an anecdote that makes much the same point: In 1973, Grant attended the American Film Institute tribute to John Ford. He had forgotten his ticket, and he asked the lady at the reception desk for help. She asked his name, and when he told her she peered at him. “You don’t look like Cary Grant.” Grant smiled. “I know,” he said. “Nobody does.”

For Archie Leach, the Cary Grant persona was, in Scott’s apt phrase, a brilliant disguise — but it was also a precarious balancing act. Somehow, through some alchemical mix of talent, timing, ambition and luck, this music hall acrobat from Bristol crafted a personality unlike any other. The only child of a feckless alcoholic father and an emotionally unstable mother (young Archie’s father committed her to a mental hospital and told the boy she had died; he didn’t learn the truth for over 20 years), Archie Leach managed to remodel himself into the epitome of urbane sophistication and the greatest romantic comedian in the history of the acting profession. 

Even his accent was unique. Where in the world did it come from? Not Bristol, where the local dialect is as distinctive as those for Scotland, Wales, or Cornwall. Cary Grant doesn’t sound British to a Brit, nor American to a Yank. Scott calls his accent “Mid-Atlantic”, but that doesn’t catch it either. The Mid-Atlantic accent is familiar to all actors, not “English” so much as “England-esque”. Think Vincent Price, Raymond Massey, or Brian Aherne. Cary Grant was different. No human being in history has ever talked the way he did — unless (like Rich Little, say, or Tony Curtis in Some Like It Hot) they were imitating Cary Grant.

You don’t look like Cary Grant. I know; nobody does…Everybody wants to be Cary Grant; even I want to be Cary Grant. That was the man’s dilemma: “Cary Grant” embodied a glamorous ideal that Archie Leach knew perfectly well was unattainable — or at least, if not exactly unattainable, it certainly wasn’t him. As a result, Cary/Archie spent pretty much his entire career grappling with an impostor complex, always looking over his shoulder, worried he’d be found out. Duke Morrison looked at John Wayne and saw himself; Archie Leach looked at Cary Grant and saw somebody else.

Cary Grant: A Brilliant Disguise paints a striking portrait of a man by turns charming and exasperating, immensely likeable when he wasn’t being an ambitious narcissist, or a penny-pinching fussbudget — and often, even when he was. (Scott illustrates the old saw that no man is a hero to his valet by quoting Dudley Walker, Grant’s actual valet in the 1940s: “…he was stingy as hell…too cheap to enjoy his own wealth.”)

As for the questions about Grant’s sexuality, and particularly those unkillable rumors about him and his 1930s housemate Randolph Scott, Scott Eyman tackles them head-on, while granting that evidence is thin on the ground and largely circumstantial. True, Grant and Randy Scott always spoke of each other with undeniable affection, and Scott E. doesn’t discount the possibility of, shall we say, youthful experimentation. But would a supposedly gay man bother to marry five times? A number of Grant’s wives and friends are heard from. Peter Bogdanovich once asked director Howard Hawks about the rumors, and Hawks snorted: “Every time I see him, he’s got a younger girl on his arm. No, that’s just ridiculous.” Grant’s first wife Virginia Cherrill once remarked on how great Cary was in bed, and called Randy Scott “a darling” when she and Grant double-dated with him and tobacco heiress Doris Duke: “Randolph Scott was no more gay than Cary was.” Third wife Betsy Drake said something similar, while fourth wife Dyan Cannon was downright blunt: “Why would I believe that Cary was homosexual when we were busy fucking?” Even so, she conceded: “He lived 43 years before he met me” — actually, it was 57 years — “I don’t know what he did [before that].” Grant himself (like Randolph Scott) tended to laugh off the rumors, though he had his limits: He blew his stack and sued when Chevy Chase called him “a homo…what a gal!” on Tom Snyder’s late-night talk show (it was settled out of court, and Chase apologized). Anyhow, Scott Eyman lays out the evidence, such as it is, and invites us to draw our own conclusions.

At Cinevent in 2018, Scott Eyman expressed hesitancy in approaching any forthcoming projects: “Now, I circle and circle, is this worth those years of my life I have remaining…?” At the time, he was midway through this book on Cary Grant. I trust that he still has many years remaining, and I hope he finds another subject soon. Personally, I vote for Lillian Gish. I’ve always wanted to meet her, and I’d like Scott Eyman to introduce us.