Fredric March: Treading the Boards

School play 1903 (Left)

The Melody Man [Original, Play, Comedy] May 13, 1924 - Jun 1924
Performer: Fredric March [Donald Clemens]

Puppets [Original, Play, Melodrama, Puppets] Mar 9, 1925 - Apr 1925
Performer: Fredric March [Bruno Monte]

Harvest [Original, Play] Sep 19, 1925 - Oct 1925
Performer: Fredric March [Richard Knight]

The Half-Caste [Original, Play] Mar 29, 1926 - May 1926
Performer: Fredric March [Dick Chester]

Devil in the Cheese [Original, Play, Comedy, Fantasy] Dec 29, 1926 - May 1927
Performer: Fredric March [Jimmie Chard]

Yr. Obedient Husband [Original, Play, Comedy] Jan 10, 1938 - Jan 1938
Performer: Fredric March [Richard Steele]

The American Way [Original, Play, Spectacle] Jan 21, 1939 - Jun 1939
Starring: Fredric March [Martin Gunther]

Hope for a Harvest [Original, Play] Nov 26, 1941 - Dec 27, 1941
Performer: Fredric March [Elliott Martin]

The Skin of Our Teeth [Original, Play, Comedy] Nov 18, 1942 - Sep 25, 1943
Starring: Fredric March [Mr. Antrobus]

A Bell for Adano [Original, Play, Drama] Dec 6, 1944 - Oct 27, 1945
Starring: Fredric March [Major Victor Joppolo]

Years Ago [Original, Play, Comedy] Dec 3, 1946 - May 31, 1947
Performer: Fredric March [Clinton Jones]

Now I Lay Me Down to Sleep [Original, Play, Comedy] Mar 2, 1950 - Apr 8, 1950
Performer: Fredric March [His Excellency, General Leonidas Erosa]

An Enemy of the People [Revival, Play] Dec 28, 1950 - Jan 27, 1951
Performer: Fredric March [Dr. Thomas Stockmann]

The Autumn Garden [Original, Play] Mar 7, 1951 - Jun 2, 1951
Starring: Fredric March [Nicholas Denery]

Long Day's Journey Into Night [Original, Play, Drama] Nov 7, 1956 - Mar 29, 1958
Starring: Fredric March [James Tyrone]

Gideon [Original, Play] Nov 9, 1961 - Jun 2, 1962
Starring: Fredric March [Angel]

Read More

The Sign of the Cross (1932)

After burning Rome, Emperor Nero (Charles Laughton) puts the blame on the Christians, and issues the edict that any caught are to be sent to the arena to die. When two Christians- Favius (Harry Beresford) and Titus (Arthur Hohl) are caught, Mercia (Elissa Landi) tries to intercede when Marcus Superbus (Fredric March), the highest military official in Rome and Nero's most loyal subject, comes upon them. When he sees Mercia, he falls for her and allows the Christians to be set free. Knowledge of this gets back to Tigellinus (Ian Keith) who wants to get back into Nero's favor. He sets out to find where the Christians are meeting and is about to have them imprisoned when Marcus intercedes again and has them imprisoned at his palace. Marcus would have gotten their sooner but he was held up by Poppaea (Claudette Colbert), Empress to Nero, who loves him, but Marcus, out of respect for Nero, will not have an affair with her. When she learns of his love for Mercia, she persuades Nero not to kill Marcus, whom Tigellinus says is disloyal but instead, Mercia. Poppaea wants Marcus for herself- even by command if neccessary.




Once Marcus has Mercia in his home he tries to persuade her to live his sort of life. Mercia realizes then that Marcus only wants to enslave her, keep her as a posession. His friends interupt him and an orgie commences where Marcus persuades Ancaria (Joyzelle Joyner) to encourage Mercia to let go and live a little. Ancaria's performance is interupted by the imprisoned Christians who are singing as they are taken to the arena for the next days activities. Ancaria incurs Marcus' wrath when she slaps Mercia for smiling only when she hears her fellow Christians people sing. He kicks everyone out and is to the point of raping Mercia when Tigellinus intercedes and takes her away to the arena.






In the next scenes the viewer is exposed to the horrors of the arena. Naked virgins used as food for aligators, apes, and lions; dwarves and Amazon women dismembering each other; gladiators killing for sport; elephants crushing human heads. Some scenes are more graphic than others, all scenes are hallmark DeMille. Before Mercia is scheduled to go out and die in the arena alone (as Poppaea has arranged), Marcus, who realizes he really does love her, has come to plead with Mercia one last time. Nero is willing to spare her if she will simply renounce her Christianity. When Mercia refuses, Marcus, out of love for her, decides to enter the ring with her a la We Live Again (1934). Unfortunately, we don't get to see the looks on everyone's faces, especially Poppaea's, when this happens.



This film had many wonderful, naughty things going on. Colbert's breasts. March's legs and wicked perm. Laughton's effiminate characterization of Nero. Joyner's lesbianesque dance admidst an orgy. Naked, sacfricial virgins. The use of blood, so sorely lacking in most classic cinema. DeMille mixes realism with fantasy well and this period piece despite it's length, moves quickly. I probably wouldn't have cast Nat Pendleton as a character in this type of period film, he sounded like he was from the streets of New York, not the streets of early Rome. Also some of the ladies, like Dacia (Vivien Tobin) were squarely stuck in the thirties era with their comportment and dialogue not to mention the wardrobe choices---high heels, ladies? Tsk, tsk. However, anytime I see these little idiosyncracies, I am reminded of what stars like Bette Davis and John Wayne said upon reflecting on the way cinema was heading when they were winding down their careers. Both were of the opinion that cinema was becoming too involved with realism. People went to the movies to escape and when they made movies there was always a sense of make believe, of fantasy. They believed all movies should return to that edict. I'm inclined to agree. Let them wear heels!

Fredric March was particularly delicious in this film with his well-honed speech and graceful stances well suited to the part of Marcus Superbus. He was a wonderful mixture of wicked, sensual, and sweet, and a perfect example for DeMille to display how true Christianity conquers temptation. Superbus is mightily persuasive but Mercia's faith is stronger.

Read More

Smilin' Through (1932)

John Carteret (Leslie Howard) spends his life mourning the death of his fiancée Moonyean Clare (Norma Shearer), who died on their wedding day. He spends his days talking with her spirit in the garden, the place where they were the happiest. When Moonyean’s sister dies, John takes in the orphaned daughter Kathleen. As she grows she becomes more and more the image of Moonyean to John’s delight. One day while taking refuge in an abandoned manor during a rain storm, Kathleen, also played by Norma Shearer, runs into Kenneth Wayne (Fredric March) a handsome American whose come to serve in WWI. The attraction is instant and as they get to know one another better Kenneth reveals that the old manor is his father’s home. When Kathleen tells Uncle John about her meeting, he demands that she cut off all connection with Kenneth. Confused, Kathleen seeks answers and learns that Kenneth’s father, Jeremy Wayne also played by Fredric March also loved Moonyean. In a drunken rage he crashed their wedding and aimed his pistol at John. Unfortunately the bullet hit Moonyean, causing her death. Kathleen then promises she will no longer see Kenneth but has difficulty keeping her promise as she is deeply in love with him.
The night before Kenneth is to report for active service, Kathleen tells her Uncle John that she is going to marry Kenneth. However, John threatened to cut her off completely if she does so. With no way to support her while he is at war or with any guarantee that he will return from war, Kenneth refuses to marry her. However, Kathleen devotedly waits for the war’s end and is devastated when the train bringing the soldiers home does not bring him. Kenneth is actually on the next train with the wounded soldier having lost the use of his legs. He is only in town long enough to grab his things from Wayne manor and then he will set off for America. When he is recognized by Dr. Owen (O. P. Heggie) an old family friend of the Carteret’s, he tried to persuade Kenneth to see Kathleen. Kenneth refuses. He does not want her pity. While at the manor Kathleen comes running having seen a light in the window. After proclaiming her love for him and relief of his return, Kenneth is given the difficult task of hiding his wounds and pretending her does not love her in return. Crushed, Kathleen leaves and admits to her Uncle that she will love Kenneth forever whether he loves her or not. Uncle John takes pity and admits to Kathleen what Dr. Owen told him, that Kenneth is wounded and putting on a charade for her benefit. As Kathleen runs to the station to bring Kenneth home, John passes away peacefully and is finally joined with his Moonyean.

Och! What a tear jerker! This film was lovely in so many ways. March and Shearer's chemistry comes off so simply. It's so believable that they have a hard time staying away from one another. The scene where they first meet is riveting. March is all in shadows and as he takes off his hat the room lights up and the camera comes in for a close up of his face and that wonderful smile of his. The camera then pans in on Shearer's reaction and there written all over her face is the future of Kenneth and Kathleen. Fantastically done! Then there is the scene where Kenneth refuses to marry Kathleen. March's reaction to her crying is priceless! He mixes a good amount of guilt, annoyance, and confusion coming off as the typical male who doesn't know how to deal with feminine tears. As they make up and Kathleen admits she is being silly, Kenneth's relief is palpable until they must really part and the scene ends with Kathleen crying and begging to go with him as Kenneth groans and refrains from rolling his eyes. Hilarious!
Then there is the parting at the station as Kenneth keeps kissing Kathleen trying to make the most of every second they are together, finally having to run after the train. It makes you wonder how many couples have played out this scene in real life during war time.
Finally, there is the ethereal quality of the relationship between John and Moonyean. She visits him often but finds it harder and harder to reach him as his hatred for Kenneth and his father Jeremy cloud his judgement. He seeks her comfort over the matter of Kathleen but doesn't understand why he can't receive it until Dr. Owen states what Moonyean has been trying to tell him from the beyond. If he continues to keep hatred in his heart he will never be reunited with his beloved Moonyean. This statement combined with his pity over Kathleen's plight encourages him to admit that Kenneth is wounded so that Kathleen will go after him.
A simply well executed movie displaying the 30's era of sincere emotion with dedicated creativity.


Fredric March on Norma Shearer:
"She had a wonderful sincerity and poise, and she was deeply emotional but she knew how to filter that emotion with discipline so that it came off the screen as deeply felt rather than merely sentimental. She had some very strong scenes with me in Smilin’ Through; I especially recall one in which we were to part as I went to war; she got across her agony in truly eloquent terms. I heard how perfectionist she was supposed to be, but if she gave her best, she expected everyone else around her to give theirs along with her, and I have always tried to set the highest standards for myself, I could hardly fault her for that.Yes, she did fuss around with Lee Garmes about “white” lighting and all that, but there was a reason for it as she had a peculiar face, beautiful as it could be, with eyes smaller than normal, and it took a combination of the right lighting and the right eye makeup to get her looking her best. I don’t think vanity had a thing to do with it- she just wanted to give- and look- her absolute best, and how can one fault an entertainer for that."

Side note:
There is also a 1941 musical version of Smilin' Through, starring Jeanette MacDonald, Brian Aherne and Gene Raymond.

Read More

Merrily We Go To Hell (1932)

**I am moving into 1932 and skipping over Fredric March's first Academy Award winning film, Dr. Jekyll and Mr. Hyde. Halloween is around the corner and I am saving the most popular versions: Barrymore, March, and Tracy as a treat.




Jerry Corbett (Fredric March) never quite got over stage actress Claire Hempstead (Adrianne Allen). When he meets Joan Prentiss (Sylvia Sidney) at a house party, he’s drunk and gives every indication that he’s normally so. But he let’s Joan know he thinks she’s “swell”. Despite several indications that Jerry is not at all ready for marriage: he admits that Claire, his first love, is someone he still thinks of from time to time, he’s late to his and Joan’s first date, he drunkenly passed out before making it to their engagement party, and he lost Joan’s wedding ring, secretly replacing it with a bottle opener at the ceremony, Joan is head- over -heels for him and willing to be the person to reform him.
After they are married, Jerry dutifully goes on the wagon and though it takes time, he eventually writes a successful play that will be produced in New York. Slotted for the leading role is none other than the Claire Hempstead who unconsciously starts Jerry’s drinking again by handing him her drink as she points out what she would like changed in the script. Joan pitifully looks on as he sips away. Come the opening night of the play, Jerry is all but panting for Claire and when Joan arrives backstage to congratulate him after the successful first run, Jerry’s tanked.
Instead of bringing home the cast as Jerry said he would, he stays out late while Claire and her disapproving father wait for his arrival. When he does arrive, he’s being carried by his faithful friend Buck (Skeets Gallagher). When Joan is trying to help him out of his clothes, he keeps murmuring the name Claire. Joan’s father tries to get her to leave but she refuses. Instead she gets drunk for the first time to see why Jerry thinks it’s so great. When Jerry comes to and receives a phone call from Claire, he tells her he desperately wants to see her, but he won’t. When he confronts a drunken Joan, he begs her to bar him from going to Claire’s but Joan opens the door and kicks him out.
A repentant Jerry shows up the next day expecting Joan to be gone. But Joan has other plans. She’s going to be the modern wife with all the privileges Jerry has. While Jerry drunkenly enjoys his freedom, you can tell Joan is still miserable. When she finds out she is pregnant, she tries to tell Jerry but he won’t listen and so she leaves- letting him know that all she wanted was for him to love her like she loved him.
The moment Joan is gone Jerry realizes he loves her. He kicks Claire out and goes on the wagon for good. He attempts for months to reach Joan but her father cuts off any connection. When he hears that Joan is pregnant and going into labor, he rushes to the hospital to find the baby has died and Joan asking for him. The movie ends with Jerry pledging his devotion.

Bottle opener in lieu of the wedding ring, always a sure sign of smooth sailing ahead!

Though there were many opportunities for this movie to stray towards the melodramatic, it refrains, thankfully. Sydney and March play their parts magnificently, allowing me to despise Jerry for what he does to Joan but making himself totally redeemable. Sydney, in turn, displays a wonderful inner strength and despite constantly being let down by Jerry she takes it all in stride with no dreaded histrionics. Add to this the delightful addition of tap dancing Skeet Gallagher and all Jerry’s drunken cronies- including a pre-fame Cary Grant, the movie is quite engrossing.

Read More