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Saturday, December 03, 2011


Book Choice --- Spencer Tracy by James Curtis

There is an amazing bio of Spencer Tracy just out. I went in the library and cleared out three or so previous ones to make a wide and permanent spot for this near thousand page final word on a Golden Age star who till now hadn't got definitive life story treatment. To that daunting length, I'd add that two thousand pages would have been welcome, more the merrier always my stance where writers good as James Curtis go --- but hold on, how many are so capable as this author of prior (and also best-in-category) W.C. Fields, Preston Sturges, and James Whale life-and-career coverage? Curtis by his account spent seven years on Tracy. What came of that is the best book on Tracy or any filmic figure for a long while to come (or at least till JC's next).


Fox He-Men In Residence Circa 1932 --- George O'Brien and Tracy

Tracy was one of very few movie stars who got recognized for great acting during their lifetime. Most were dismissed for having "played themselves" and many remain stuck in that speed so far as legacy goes. Tracy was said to transcend mere performance toward a naturalness other movie-folk didn't get near. Fellow players were awed just seeing him work, reason why Tracy sets became teacher lab for up-climbing Metro youth. To audiences, he seemed like a regular guy talked occasionally into doing pictures, somehow above stardom's process and disdainful of trappings that entailed. Spence shunned make-up, interviews, personal apps, etc., whenever he could --- the above-such stance woven quick into his public persona. Customers weary of artifice respected him for it. Not for nothing did my own father pick Tracy for a favorite actor, so long as he had to bother thinking about any of Hollywood's phony lot, and I'd bet many other men-folk felt the same.


Tracy with Acolytes Tom Ewell and David Wayne During Adam's Rib Shoot


Spence Subdued Even During a Seventh Cross Prison Break
 Tracy generally let co-stars do the go-getting. Clark Gable was several times the reckless doer to Spence's moderation (wish they'd teamed once more at least after the war). Katharine Hepburn took mannered flight to his grounded watching. Tracy reactions to KH stood in for ticket-buyers similarly nonplussed. His underplaying tipped us off to Spence better knowing the score. Restraint earned respect as screen talking sought natural levels --- few line readings registered more sensibly than Tracy's. Ideal was casting him as General Doolittle in Thirty Seconds Over Tokyo. No temperament came better suited to lead WWII's most crucial raid. Patrons liked Spence best as unimpeachable good guy and horse sense purveyor. Sometimes his tamping down made for somnolence of The Seventh Cross, one that might profitably have used a live wire like Gable to contrast Tracy's by-then committed minimizing.


For My Long Haul, The Most Wide-Awake Tracys Were Ones He Did With Gable

He seemed happiest in the embrace of age, referring to himself as an old man when barely past fifty and incessantly so from there on. I've re-checked the Tracy birthdate more than once --- was he really just fifty-four when Bad Day At Black Rock was made (and a looking- sixty-plus Father Of The Bride four years before?). The drink and pace took tolls. Tracy still had authority, but health concerns made investors worry he might not make a finish line. I'd have preferred more action or combat parts during the war instead of one fey Hepburn teaming after another. He's so good as Doolittle to make us imagine Spence the sub commander, flight lieutenant, whatever victory might have been assured by his leading. Hard case and mean drunk Tracy was but glimpsed in 1949's Malaya, a startling detour to trash piles and for that reason, one of my favorite ST's. If this star played himself, Malaya was likeliest the place he did it. Too bad there weren't more along such lines.


Wanted: Less Tracy Teamings with Hepburn and More with Syd Greenstreet, As Here In 1949's Malaya


A Good One, The Power and The Glory, with Colleen Moore, But Surviving Prints Are Rough To Purist-Only Point

Coiled-spring Spence was kept to minimums once Metro handlers took charge. A Fury happened once but wouldn't again. Too many priests and excess rectitude got in the broth. Eventually you knew high roads were the only ones Tracy would travel. Playing Jekyll/Hyde spooked him for having been so long away from heavies, good as he finally was when push came to shove (though ST looked back on the venture with low regard). A treasure among many James Curtis found for his book was a day journal Tracy kept through most of his career. Turns out the actor seldom rated finished pics above barking level, him surprised most of all when one turned out to be a hit.


Bad Day At Black Rock May Be Tracy's Best Because (1) He's Great In It, (2) It's Short, and (3) He Judo-Chops Ernie Borginine Through a Screen Door

If young folks of a last fifty years knew Tracy at all, it was for his top-lining Mad, Mad World. GF Ann recognized him from that and nothing else, she having been minted in 1960. Imagine ones younger to whom Spence is altogether foreign matter. Could he have realized in 1963 that consorting among low comics would secure a place under the big tent (still) maintained by Mad World devotees? I don't know of another Tracy film with this one's staying power. If he got a Wizard Of Oz, I guess Mad World is it.


Another Of Interminable Trophies Tracy Picked Up, This One For Narrating an Appeal For a Texas Crippled Children Fund. Eddie Mannix is Second From The Left and Dore Schary Is On The Right. Do You Suppose ST's Family Still Has The Trophy?



Audiences Sat For Her With Him, But Hepburn Without Tracy Was Tougher Selling

Curtis reveals more what-if's and came closes: Tracy balked at ABC's tender of Batman villainy (or at least a "window" spot) on that 1966 camp-out (Holy Denigration! might have crossed his mind at the prospect), but he did consider Bracken's World, to which minds (at least mine) boggle. There's remarkable and detailed account in the book of ST barely getting through Guess Who's Coming To Dinner, which like others the actor had recently done, climaxed in a l-o-n-g speech which had become near as time-honored as John Wayne hurling balsa chairs over bar counters. By this time, we were all beat over heads that there was acting ... and then there was Spencer Tracy, him the enshrined 1% to the rest's 99.


Tracy's Last and The Biggest Profit of Any His Made --- Guess Who's Coming To Dinner

A Tracy ten years younger and sprung from Hepburn's influence might have knocked out Guns at Navarone or even led the Dirty Dozen. I'd rather have seen him do stuff along these lines than yelling down skull-capped Fredric March, that Inherit The Wind confrontation one I barely got through on a recent try, despite HD rendering. The making of Tracy films as detailed by author Curtis is at least as absorbing as the pics themselves, and in the case of later ones for producer Stanley Kramer, lots more so. I wish all star bios were this good ... course if they were, I'd go blind reading, as Spencer Tracy trailed me non-stop for the happy week I spent in its pages. My only regret came of reading the final one. Please, Mr. Author, sir, may I have another thousand?

20 Comments:

Anonymous Cliff Aliperti said...

Absolutely agree on the Curtis book, it's the best thing I've read all year. It's what biographies should be, meticulously detailed, scholarly yet conversational in tone. I don't feel like I'm being told about the man, feel like I'm getting to know him instead. Really savoring it.

Thanks for a great look at it--I'd happily take another thousand as well, but I can't help being curious as to who Curtis' next subject will be for those pages! I hope we won't have to wait too many years.

11:08 AM  
Anonymous Dbenson said...

Do remember seeing "30 Seconds Over Tokyo" in a revival house. While the whole film was pretty good, Tracy really did kick it up a notch with his cameo. All of a sudden a grownup was running the war, and it wasn't easy returning to two-fisted Van Johnson after that.

1:22 PM  
Blogger Doug Gray said...

As much as I like the Warners version of Jekyll & Hyde, Tracy was miscast, I think. He's good as stodgy Jekyll, but I don't buy him as Hyde. In the earlier MGM version, Frederic March seems truly dangerous as Hyde...perhaps the heavy neanderthal makeup made it easier for him to play evil.

Would have loved to see Tracy play more human evil, ala Bogart; a Caine Mutiny or a Treasure of the Sierra Madre starring ST would have been quite good, I think.

4:30 PM  
Blogger Lou Lumenick said...

Geez John, that's one bizarre studio shot for (I assume) KEEPER OF THE FLAME.

8:45 PM  
Blogger rockfish said...

Gotta git my mitts on this book. Tracy seemed to be a mystery, as was his appeal from my point of view. But he certainly raised the bar in a host of great films -- and put me on the other side when it comes to the occasionally stilted but still 'now-that's-acting!' stamp-out of Inherit the Wind. Of course, what would you expect from someone who rates March higher than Tracy in the whole scheme of things?

3:26 AM  
Blogger John McElwee said...

Dan Mercer weighs in, via e-mail, on Spencer Tracy:


I've only read the odd page or two of the Curtis book on Spencer Tracy, but enough of it to appreciate how very good it is. I'll certainly want to have it on my bookshelf.

The problem I've found with many biographies of filmmakers, especially of actors, is that I'm fascinated by their work, yet their lives are not particularly interesting in themselves. Often the depths revealed by the camera have no obvious relationship to their character or personality, as expressed off screen. They may not be all that thoughtful or articulate, and the way they live their lives may be distinguished by a certain style or the baser appetites given broader expression, but they are not so far removed from those of people I might know or work with, or even strangers passing by on the street.

Spencer Tracy has always impressed me as an actor. There is a force and incisiveness to his performances and the impression of a life being lived. As with all great actors, he was a great re-actor, not merely waiting for the other actor to stop talking, so that he can deliver his lines, but someone living in that moment and hearing those words, and often, living in the moment past and the one to come.

The Curtis biography is lengthy and detailed, but what I've read of it suggests that this scrutiny is warranted. Tracy's was a complex personality and it informed the depth of his performances. At heart, he seems to have been a man caught between what was right for him and what he yearned for, and the precepts he accepted even when they seemed to preclude the happiness he sought. The result was a life which increasingly became ensnared by conflict and compromise, and yet, a principled man, he could not simply walk away from it. Alcohol became the anesthetic for the pain he endured and the release he turned to.

I don't find Katherine Hepburn a particularly attractive personality. Her performances may be admirable in a technical sense but, again for me, emotionally constricted and false to her sex. If Tracy was able to make a separate peace in his life with her, however, then I would say God bless her and what they provided each other.

5:32 PM  
Blogger VP81955 said...

As much as I like the Warners version of Jekyll & Hyde, Tracy was miscast, I think. He's good as stodgy Jekyll, but I don't buy him as Hyde. In the earlier MGM version, Frederic March seems truly dangerous as Hyde...perhaps the heavy neanderthal makeup made it easier for him to play evil.

The '41 "Jekyll," with Tracy, was made at MGM; the Fredric March version from '32 was made at Paramount.

6:35 PM  
Anonymous KING OF JAZZ said...

I differ about INHERIT THE WIND; I've seen it many times and still marvel how Tracy and March confront each other with such concentrated determination.

Ironic how MAD WORLD might be Tracy's main calling card nowadays, but I'm glad it was one of his more pleasant experiences. I recall as a kid trying to convince a friend's mother to let me take him to see this film (the mother being a bit of a film snob; she thought it was a Jerry Lewis movie). I said "Spencer Tracy is in it!" That clinched it. My friend got to see MAD WORLD.

7:32 PM  
Blogger Dave K said...

Can't wait to read to read the Curtis book. His books on Fields and Whale were fabulous and definitive. I do have a few quibbles about his earlier biography on Preston Sturges, but it's the very best thing out there on the subject, miles ahead of Donald Spotto's botch-job (one gets the idea Spotto doesn't think the guy was much of a director, just a fascinating eccentric who wrote funny things time to time!)

As a guy who grew up around Kate's hometown, Hartford, gotta stand up for Hepburn. She was a character, and like a lot of movie stars could coast on her persona, but she was unique and truly, truly talented, and ever the professional, often willing to put forth her best game in the most unworthy projects. The weird contrast of acting styles was always a huge plus in the on screen Tracy-Hepburn teamings. In even their weakest films together (and they made some stinkers!) they could put spark scenes just by wordlessly reacting to each other. I personally don't go all gooey about the real life Spencer Tracy/Katherine Hepburn great romance stuff. Have never been that interested, and always assumed it puffed up at least by half. But they were both among the very few top tier golden age movie stars who also were superb actors by any measure.

9:57 AM  
Anonymous Kevin K. said...

"Bad Day at Black Rock" is great for all those reasons and more. But I would have tagged him for 75, rather than, well, a year younger than me. How much of that rough living added depth to his talent, I wonder -- and how much shortened his life, a la Errol Flynn and Humphrey Bogart?

I'm a real fan of his early, near-forgotten movies -- "Murder Man," "Me and My Gal," "A Man's Castle." He seems way ahead of his time, but never drawing attention to himself.

10:57 AM  
Blogger Steve Haynes said...

Put me down as an INHERIT THE WIND fan. Maybe part of your problem with it is that it is VERY theatrical, not being far from its stage play roots.

Nonetheless, it's always been a favorite of mine and I think all involved were working at the top of their game on that one.

11:26 AM  
Anonymous Bob said...

I love Curtis, but I have to confess that I have always disliked Tracy, one of the few figures of Hollywood's Golden Age that does nothing whatsoever for me. (Hell, I'd rather watch Tom Conway.) There is something about his patient sincerity that I find ... coy and unmoving. I'm reminded of how Gable, for instance, was so much more vital and interesting than Tracy in San Francisco.....

4:49 PM  
Blogger Mike Cline said...

I've always enjoyed INHERIT THE WIND.


But my distraction in viewing is the horrible skull cap that Freddie March wears.

He looks like one of the creatures from SUPERMAN AND THE MOLE MEN.

8:30 AM  
Blogger John McElwee said...

Reader Griff shares some e-mailed thoughts about Spencer Tracy:


Dear John:

I also thoroughly enjoyed Curtis' Tracy biography. I'd love to see some more of those early Fox Tracy vehicles. I know most of them aren't really top-drawer -- his best initial work is clearly in POWER AND THE GLORY, QUICK MILLIONS and Columbia's MAN'S CASTLE -- but it would be fascinating to watch his development as a screen actor even in some of the lamer pictures he was handed by Sheehan and Wurtzel.

An aside to Mike Cline: you've fixed INHERIT THE WIND forever for me! I can't imagine watching it again without expecting March to pull out one of those Electrolux-shaped ray guns...

Best regards,
Griff

7:10 PM  
Blogger John McElwee said...

Make-up artist Craig Reardon has some cogent observations about Fredric March's "bald" effect for "Inherit The Wind" ...


I saw a funny exchange at the tail of the comments on your fine Tracy book review. Actually, as a kid who was already fascinated with character makeup, I always greatly admired the balding job done on Fredric March for "Inherit the Wind"! I think it's extremely well-done, and you don't have any real sense of something (like flexible plastic, which is what was always used) stretched over flattened or lumpy hair, but instead a real, 'hard' bald pate. The edge of the cap is also expertly disguised. But, what undercuts it is not the 'skin'...it's the hair....the partial wig, added to the bald cap. And it's a shame, that. A really 'wiggy'-looking wig, unfortunately. Like "...Mad World" to follow, this Kramer production was done with a lot of personnel from Universal Studios. That's the kind of wonky, unpredictable work you see in so many films supervised by Bud Westmore, in my opinion. Think of the "recreations" (so-called) of Lon Chaney Sr.'s great characters in "Man of a Thousand Faces". A mile off. (Not that James Cagney wasn't a terrible liability as a starting point---his face, not his acting talent.) Matter of fact, Chaney in 1925---a relatively 'primitive' time in terms of technical matters---had a better-looking wig as the Phantom than Cagney did, 32 years later! And March's partial wig is no better. It has all the vices of a wig, with few of the virtues: it's too dense, it's way too 'styled'---a typical, 'old school' shortcoming, where the wigs always looked too pretty, too perfect; and, it has that give-away 'thick' and 'blunt' quality at the nape of the neck. This is why one of your readers was reminded of the low-rent 'Mole Men' from the first Superman movie, I think. All that said, it's an attempt to make March resemble the historical William Jennings Bryan, and not too bad a try at that.


Craig

5:10 AM  
Blogger John McElwee said...

Craig Reardon adds some e-mailed thoughts about James Curtis' Spencer Tracy book:


Thanks for bringing the new bio of Spencer Tracy to my attention. Your opinion is something that commands my respect, and when you speak so highly about this book, I'm inclined to want to investigate it! I love the cover design, both the photo and the graphics, which seem to 'say' so much about the private mysteries of Tracy. I'd read an earlier bio of S.T. that was certainly good, but this one seems much more detailed. I linked to the 'Kindle' listing for the book on Amazon, and when you go there they actually permit you to read what amounts to three or four entire chapters! (Amazing---I wasn't aware of this relatively-new feature on Amazon.) This is where I derived the impression first-hand that the book is in greater depth than the former bio I'd read years ago. Tracy is or was one of those colossal figures, at least in his own lifetime---as you rightly note, he was indeed one of the fellows who was treated like the grand master for the greater part of his career, a rare honor---who is nevertheless controversial and confusing. Perhaps the new book clears up some of the mystery. However, I think all creative types are riven with doubt, particularly actors--- and Tracy is particularly fascinating due to the sense of absolute conviction and calm he brought to most of his roles, contrasting with tempermental behavior, alcoholic binges (one hears about) that were nothing short of self-abusive, as well as other expressions of insecurity. I've never forgotten reading in John Huston's autobiography how nonplussed he was when Tracy called him, a short time after delivering the eulogy at his father's funeral, to ask him what he thought of it! Huston's shock still came through in his prose, his amazement that Tracy in effect seemed to want the great actor's son to give him his 'review' of his 'performance'! Then there's the whole tale of Tracy's terrible behavior on the location for "Tribute to a Bad Man" that forced Robert Wise to request him to be replaced. Also, stories of him acting very badly on the movie "The Mountain".

9:40 AM  
Blogger John McElwee said...

More from Craig Reardon, this time about Tracy and "Mad, Mad World":


My friend Dick Smith was hired by Bud Westmore to come to Los Angeles to work on some look-alike stunt man masks for "It's a Mad, Mad, Mad, Mad World" in or around 1962. Westmore was involved because Stanley Kramer had engaged Universal's facilities, apparently, for his independent production for ultimate release through UA: portions of their backlot (and for all I know, sound stages as well), and for some of their production departments, obviously---including Make-Up. Westmore in turn called Dick presumably because all the independent prosthetics experts he knew about in L.A. were busy at that time, including quite a few in-house, prepping Kirk Douglas's unique production "The List of Adrian Messenger", which basically had "all hands on deck" in the Universal lab. Dick never went into great detail for me, but evidently he took impressions of the heads of the various stunt people who would double the famous cast of comedians, as well as Spencer Tracy. With enough photographic reference to guide him, Dick was incredibly good at doing [in effect] portrait heads like this. (He'd previously done an amazing overhead mask of Perry Como and another one of Jack Paar for certain gags shot at NBC in New York. I still remember seeing snapshots of these he'd lent me, and marveling at the degree of realism they had.) They were all used in the movie, and for the most part are very effective at confusing the audience (me, included!) as to when we're looking at the real guys or the stunt men, doubling them. Some are less successful than others (the one for Mickey Rooney, e.g.---not so great.) Thereby hangs a great anecdote which Dick often retold with pride. The stunt man doubling Tracy was sitting reading the paper, and Tracy himself was apparently so ill, so out-of-sorts, and so glum on this thing that the stunt man wearing a Tracy mask didn't look or seem a hell of a lot different than the real McCoy! Sterling Holloway, t he wonderful character actor and just plain 'character' who had a bit part as a fireman apparently shyly approached the stunt man done up as Tracy and addressed him as "Mr. Tracy"---! He went on to pour out a heartfelt tribute to him, telling him that he, 'Tracy', was far and away his favorite actor, blah-blah-blah. The stunt man barely looked up, and just grunted back at poor Holloway a couple of times. Apparently Holloway retreated, perhaps a bit disappointed by such an indifferent reception to his glowing tribute--but also none the more aware that he'd been 'taken'!

9:42 AM  
Blogger John McElwee said...

Craig Reardon concludes on Spencer Tracy. Great stuff here, and I thank Craig for taking the time to share it:


I agree that it would have been fun to have seen Tracy in a few more assertive roles, but toward his last decade, as he himself said, "Everybody tells me how great I am, but nobody actually gives me a job....except Stanley Kramer!" I guess his parts in films like "Plymouth Adventure" and "Broken Lance" constitute his last true tough-guy parts. I particularly enjoy "Broken Lance", and I love the device of the wild, running wolf becoming a symbol of the departed pater familias. (Also, Leigh Harline's score is fabulous and moving.) I do enjoy his movies with Hepburn, however, and I think his 'plain-James' style always helped take the mickey out of her sometimes almost insufferable Bryn Mawr elocution (Tracy's own term for taking the piss out of her) and posturing. (Where'd that accent come from? Or, for that matter, the way Bette Davis talked? Maybe it was 'early 20th century 'the-a-tuh'. I once met Norman Lloyd and innocently---stupidly?---asked if he was English! He chuckled and said, "Oh no, dear boy, that's all the heritage of my theater training!") Underneath all that crap, however, was always that killer intelligence and keen wit, and this is what makes her finally triumph in most of what she did. I asked an acquaintance of mine who's a makeup man who once worked with Nick Nolte all the time, and who worked on that "...Grace Quigley" film. I asked him what Hepburn was like. He said calmly and almost off-handedly, "She was a mean old lady." O-kay! I imagine Tracy and Hepburn were simply a good example of two extreme characters who just clicked. They're both very attractive in their first-ever pairing, "Woman of the Year", and I'm guessing they continued to see each other that way, in both directions, for the rest of Tracy's life. His scenes with her in "Desk Set"----which I watch every year at this time because it's almost a Christmas movie 'in disguise'!----are full of what seems like real affection for one another, particular a cute 'romantic' bit staged sitting right on the floor between two shelves full of reference material up on the mezzanine in the very Broadway stage-type set for the 'Reference Department' where most of the movie's action takes place. By "Guess Who's Coming to Dinner?" you have a real smell of death about poor Tracy, who looks terrible--- but he clearly marshalls every bit of his remaining strength to turn in another basic, convincing performance in a film which now takes most of the abuse for being the ultimate liberal tract. I actually think Kramer's films are terrific, although probably his unintentional masterpiece and testament is "It's a Mad, Mad, Mad, Mad World", wherein a spoonful (or, a bucketfull) of slapstick helps the medicine go down. Regarding "Inherit the Wind", people always praise Tracy, and rightly so---but Fredric March was if anything just as subtle an actor at his best, and more self-effacing. It's hard to imagine those guys swapping parts, but I think March could have handled the Darrow part quite handily; could the same be said for Tracy? Yet, he was a pretty damned good anti-hero in "Broken Lance". As many have pointed out, there are glimpses of a frightening, vengeance-fired Tracy in "Fury" which are apparently indicative of an earlier version that M-G-M felt the need to 'soften' with retakes that take Tracy's characterization down a few pegs. Too bad!

9:46 AM  
Blogger Samuel Wilson said...

Just finished the book Friday night. Jumped ahead when I first took it out of the library to the appendix where Curtis rips into all the Hepburn biographers who misrepresent or smear Tracy. The defensive attitude didn't prepare me for the warts-and-all (and heavy on the warts) approach. It's the best movie bio I've read this year but I thought Scott Eyman's DeMille book last year was just as good. I came away from Curtis with less respect for Tracy as a person, somewhat more for him as an actor. The irony seems to be that Hollywood ruined the man while calling forth the actor's best talents. I second the recommendation.

7:40 PM  
Anonymous roger said...

Ernest Borgnine did an interstitial for TCM about Robert Ryan, and tells a wonderful story of Tracy and Ryan while making BAD DAY AT BLACK ROCK. Borgnine notes that Tracy was looking at the ground while delivering his lines in his first scene with Ryan, and thought that Tracy was going to be unnoticed. Then it dawned on him that Tracy was in fact stealing the scene from Ryan, and Ryan had to "do everything but drop his pants" to stay in the scene.

4:00 PM  

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