The Penultimate Mile Ends! Lynn Fontanne in The Guardsman

(the LAST installment in a quick series counting down from 50 to 26!)



The competition (Cliff: 2 for 3):

Helen Hayes in The Sin of Madelon Claudet

Marie Dressler in Emma

Watching this hammy, wafer-thin comedy made me realize just how towering Lynn’s reputation must have been in the early days of the Academy Awards.  Swept up in the invasion of Broadway talent that won Oscars for George Arliss, Lionel Barrymore, and Helen Hayes, the fact that Lunt and Fontanne both got nominated (in a year of three nominees) for adapting their own hit play is a tribute to their sterling reputation on the Great White Way.  The first ten minutes erase any doubt regarding their exalted status, as a recreation of the final scene from their actual recent stage triumph, the Maxwell Anderson-penned “Elizabeth the Queen,” is intercut with helpful gasps of adoration from the boxes.  The twist is that these barely-veiled characters can’t stand each other, and he’s constantly enraged by her hints at infidelity, setting in motion the plot of a twenty-two minute I Love Lucy episode over the course of the next hour (seldom has an eighty minute movie plodded so).

But I’ve given the film enough grief.  Lynn doesn’t amaze me, but even if she and her husband struggle to modulate their easy but broad style for the screen (or perhaps the problem is that they don’t), they still do have a wonderful rhythm together.  She plays by far the more subdued character, parrying and taunting the husband’s jealousies like a bored cat.  Despite what her character thinks, she’s really only interacting with the same actor all movie long, and only has to operate at three speeds: annoyed, amorous, and astonished, the last when the husband’s phony Russian seducer is exposed at the film’s end.  It’s a pretty uninspiring performance that falls far behind the work of Helen Hayes in The Sin of Madelon Claudet for the 5th Best Actress Award, although in such a small pool of nominees, I certainly can’t make any decision until seeing the always entertaining Marie Dressler in Emma.


2 thoughts on “The Penultimate Mile Ends! Lynn Fontanne in The Guardsman

  1. Mr Jerome says:

    fwiw can’t quibble about taste. They’re acting in a style that would have made chekhov giggle – pre-Stanislavsky (whcih is turn of the century) and pre naturalism as forced by acquaintance with film sound acting. That said, the original play although a comedy si from the same cultural mileu that gives us Schnitzler’s Traumnovelle- dream novel /(eyes wide shut). This is a comedy that transcends the French farce of cuckoldry/adultery and brings in a new question – does the wife really know that her lover is her husband in disguise. When done well, his anguish is real, and we never really know. It’s funny and psychologically insightful. As luntand Fontanne do it, he’ a hammy buffoon and of course she can tell. That’s also the take int eh Oscar nominated musical with Nelson Eddy and Jeanette Macdonald – THE CHOCOLATE SOLDIER (1941) which takes its name from a diffrent stage musical and some fo the music from teh earlier musical, but is the Guardsman.
    Molanr, Schnitzler were popular but are a lot darker than this reading allows. Find fault wiht the performance – you have, and leave room for changes in taste, but hte underlying material is better I believe than this. staging and interpretation present.

  2. […] its reverence for the greats of the stage and the inconsistent quality of their performances (see Lynn Fontanne).  She is directed by Frank Lloyd, whose Mutiny on the Bounty I love for its stunning ensemble, […]

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