Ronald Goes Mad

Anthony John (Ronald Colman) is a highly regarded Broadway actor, and while there is no debate on his talent, attitudes towards him as a person differ drastically. Mr. John has a problem - he totally inhabits his current role. As his ex-wife, Brita (Signe Hasso) says "when he's doing something gay...it's wonderful to be with him, but when he gets going on one of those deep numbers... We were engaged during Oscar Wilde, broke it off during O'Neill, married during Kaufman and Hart, divorced during Chekov." Despite this, Tony's producer is encouraging him to tackle Othello, a part he longs to do, but which also terrifies him for its intensity of emotion. A Double Life (1947) is our film this week.

Ronald Colman won a well-deserved Oscar as best actor for his performance in this movie. (His competition was: John Garfield, Body And Soul; Gregory Peck, Gentleman's Agreement; William Powell Life With Father; Michael Redgrave, Mourning Becomes Electra) He was originally reluctant to play the part - the part was first intended for Laurence Olivier - but persuasion from director George Cukor and screenwriters Ruth Gordon and Garson Kanin convinced Mr. Colman to take on the role and the Shakespearean text that went with it. (TCM article). They were certainly right; Colman's experience on the stage stood him in good stead, and he is an impressive Othello. You would never guess he was uncomfortable with the text; his portrayal is crisp and magisterial.

Considered a film noir, A Double Life also has moments that call to mind the horror genre. The scenes of Tony's descent into madness could rival the Hammer films of the time, with the use of unseen voices echoing from Tony's weakened mind. And is it any wonder that Tony has become unhinged - by the middle of the film, we learn that he has appeared in the play for over two years - 300 performances, of 8 performances a week?  It's amazing he didn't lose it after a year of doing what is probably considered one of Shakespeare's most intense and demanding roles (today, most actors leave their show at the end of one year). We did wonder if part of the screenwriters were (on some levels) mocking The Method, in the form of an actor who too deeply submerges himself into the character he portrays.

Both Signe Hasso and Shelley Winters (as Pat Kroll) are very good in their parts, though in many regards, the characters are there to counterpoint one another. Ms. Hasso is the dutiful wife (yes, they are divorced, but it is clear that she still considers Tony to be her husband) and Ms. Winters is the local slut. Ms. Hasso is very good as a woman torn between her love for a man, and her fear of  his increasing instability and violence.

I have to admit to a certain bias against Ms. Winters, who I consider to be an over-actor of the first order (that being said, her predilection for over-emoting worked beautifully in A Patch of Blue (1965), probably her best performance). But she is good in this role; you do find yourself sympathizing with her in what would prove to be her breakthrough role (AFI Catalog). Director Cukor badly wanted her for the part; in order to relax her, he filmed a rehearsal without her knowledge and used that as her screen test.

There is one decidedly problematic character, and that is Bill Friend (Edmund O'Brien). Bill is the publicity agent for Tony, he also has a crush on Brita and cannot understand why she does not reciprocate his feelings. Later in the film (spoiler here), Bill works with a reporter to label a killing as "the kiss of death" murder as publicity for Tony's production of Othello. He KNOWS Tony will object, that Tony will find such publicity tacky and distasteful. Yet Bill is seemingly surprised when Tony blows his stack and fires Bill. Bill's immediate reaction - Tony is involved in the murder. As Bill tries to involve the police in his newly blossomed theory, he is asked if there is any ulterior motives to his belief. He says no, though Mr. O'Brien provides a slight reaction, demonstrating that Bill is quite aware that he has a definite bias against Tony. It's really hard at this point to have any sympathy for Bill; the irony of his last name is apparent.

A very young Betsy Blair makes an appearance as The Girl in the Wig Shop, a young woman eager for a stage career - so focused that she is willing to change anything about herself to get a job impersonating Pat Kroll. The Girl presents a counterpoint to Tony - he becomes the part without choice, while she willingly subsumes herself for a chance at fame.

Though not as widely known as it should be, A Double Life has come up in recent commentaries. For example,  the New York State Writers Association at SUNY provides this fascinating examination of the picture within the tradition of Film Noir. They note the moody atmosphere created by cinematographer Milton Krasner - as well as the horror roots of production studio Universal. And this L.A. Times article released in 2014 after the premiere of Birdman finds a remarkable similarity between the two films, as they concentrate on stage actors becoming immersed in their roles.

George Cukor and Ruth Gordon/Garson Kanin formed a partnership with this film - the first of seven collaborations, including Adam's Rib, Born Yesterday, and Pat and Mike. Mr. Colman was convinced to take on the role as one that would result in an Oscar - and George Cukor kept his promise, campaigning hard to get Mr. Colman the award. Mr. Colman would only make three more films after this, turning his attention to radio and then television in The Halls of Ivy, with his wife Benita Hume. The New York Times review was glowing in its praise, not only for the film, but for Mr. Colman, saying it was "the role of his lengthy career." Despite Mr. Colman's fears, the Times was impressed by his portrayal of Othello. 

This is a fascinating film, well worth your viewing. We'll leave you with this trailer.