Franchot & Bette: 2nd Annual Bette Davis Blogathon

Earlier this week, I shared a conversation on Joan that Franchot had with a reporter in 1933. During the conversation, he praised Joan for her talent, warmth, humor, and power. In that way that Joan Crawford and Bette Davis always seem to be connected to one another in print, film, and new television shows, it happens that In the Good Old Days of Classic Hollywood's Bette Davis Blogathon falls on this week, too. And as much as he adored Joan, Franchot also happened to admire Bette.

Franchot and Bette only made one film together, 1935's Dangerous. I actually wrote about Dangerous in detail for Crystal's Bette Davis Blogathon last year (read here) as well as their almost-second pairing in Old Acquaintance (post here), so I thought I'd focus on their personal relationship this time around.

Source: Modern Screen, 1937.

Dangerous and the Bette-Franchot Attraction

Source: Hollywood Magazine, 1936.

During the filming of Dangerous, Franchot was seriously dating Joan. Bette was immediately smitten with Franchot upon meeting him and said:

When I was filming Dangerous in 1935, I had a crush on my costar, Franchot Tone. Everything about him reflected his elegance, from his name to his manners. He had a great deal going for him, including Miss Joan Crawford. He was madly in love with her. They met each day for lunch. After lunch, he would return to the set, his face covered with lipstick. He made sure we all knew it was Crawford's lipstick. I was jealous, of course.

Harry Joe Brown claimed that he once walked in on Franchot and Bette in a compromising situation in her dressing room and this act is what many cite as the catalyst for a lifelong Davis-Crawford feud. According to legend, she was so worried that Franchot was falling for Bette that Joan quickly started planning to wed him herself. I don't know how valid any of these statements are, but it's not hard at all for me to believe that Franchot would've been attracted and intrigued by Bette, or acted on these feelings. To me, it's probable that he was and did.  But it is hard for me to believe that Joan would've married Franchot purely out of film set jealousy. After all, Franchot was a frequent costar to another high-profile, glamorous, and intriguing actress, Jean Harlow. If Joan's marital decisions had been ruled by jealousy, she would've been wed to Franchot as early as 1933 or 1934.



Source: Screenland Magazine, 1936.

It's clear that Bette fell for Franchot hard and hoped he felt the same way. Actress Joan Blondell recalled:

I was on the lot doing a picture when Bette came to see me, all soft and dewy-eyed, which was not her usual manner, believe me. She was in love, she told me, with her leading man Franchot Tone. I was amused. I thought she was kidding. After all, she was married to that sweet guy, Ham, the musician. And, furthermore, I didn't think she went in for that sort of thing—for soundstage romances. It's not that she was a Holy Mary; she wasn't. Her career always came first. So I kidded with her, saying that we all get crushes on our leading men from time to time and they passed...Bette got very angry with me. She said, 'Joan! I am not a schoolgirl. I don't get crushes. I am in love with Franchot, and I think he's in love with me.' I said something lame, like 'Give it time, honey,' although I was really thinking, 'Boy! If Joan Crawford gets wind of this, there is going to be war.'

Friends Bette and Joan Blondell with Dick Powell and Arthur Farnsworth in 1941. Source: Hollywood Magazine.

I think that it is telling that a 79-year-old Bette devoted a paragraph to Franchot in her 1987 memoir, This n' That. That memoir was a sparse one, so to take the time to address how she felt about him during that brief time leads me to think that her feelings for Franchot were not briefly felt at all, but perhaps still being felt 50 years later.

I have not watched Feud yet, so I'm curious how the writers of that show incorporate the Franchot link between Joan and Bette, if at all. Often Franchot is cited as the reason Joan and Bette feuded, but there's always more to a complex relationship than one moment in time.

At the end of Dangerous, Joan walked away with Franchot and Bette walked away with a famous little man named Oscar at the 1936 Academy Awards. According to reports, at the ceremony Franchot jumped up out of his seat, applauded loudly and beamed with pride at his former leading lady.

For more great posts on Bette Davis, head over to In the Good Old Days of Classic Hollywood!

Sources:

• Considine, Shaun. Bette and Joan: The Divine Feud. New York: Sphere, 1990.602402
• Davis, Bette, and Mickey Herskowitz. This 'n That. New York: Putnam's, 1987.

Bette Davis Blogathon: Dangerous (1935)

Source: Motion Picture Daily

In the Good Old Days of Hollywood is hosting a Bette Davis Blogathon and I'm delighted to be contributing this post on the 1935 drama Dangerous starring Bette and Franchot Tone. Bette's performance garnered her first Academy Award for Best Actress.

I've yet to uncover Franchot's thoughts on the making of the film or his costar, but Bette talked about Franchot in her book, This 'n That:

"When I was filming Dangerous in 1935, I had a crush on my costar, Franchot Tone. Everything about him reflected his elegance, from his name to his manners. He had a great deal going for him, including Miss Joan Crawford. He was madly in love with her. They met each day for lunch. After lunch, he would return to the set, his face covered with lipstick. He made sure we all knew it was Crawford's lipstick. I was jealous, of course."

Although I have no record of it yet, I imagine that Franchot would've been very proud of this film and enjoyed the experience of working with the dedicated and immensely talented actress.

Source: Silver Screen

In the film, Bette Davis plays Joyce Heath, a young alcoholic who was once considered a rare talent on the stage. Distant, demanding, and in debt, Heath's only recent public performances have played out in seedy bars and busy streets. To the public, Heath has become somewhat of a punchline and on stage, her name is all but poison. 

Don Bellows finds Joyce Heath in a bar. Source: eBay

Having been greatly moved by her performances, wealthy architect Don Bellows (Franchot Tone) credits the actress with inspiring him to pursue his own dreams. When he learns of her fall from grace, Bellows is determined to prevent Heath from further self-destruction. Although he is engaged (to Gail, played by Margaret Lindsay), Bellows falls in love with Heath hard and fast. 

Franchot Tone & Bette Davis. Source: eBay

Franchot Tone & Bette Davis. Source: eBay

Franchot may have only had eyes for Joan Crawford offset, but once the director yelled action, he transferred all of that passion and dedication into his relationship with the fictional Joyce Heath. Bette and Franchot's romantic chemistry is through the roof in this film! It is completely undeniable. You can witness the characters' attraction to one another in every glance, word, and movement. Dangerous is an enormously romantic film. Both Bette and Franchot look absolutely flawless in their close-ups and beautiful as a couple, and the way Bette is styled (in hair, makeup, and clothing) remains my favorite of her onscreen looks.

Bette Davis. Source: eBay

Franchot Tone & Bette Davis. Source: eBay

Need more proof of their sex appeal as an onscreen couple? Look at the way they gaze at each other in these scenes!

On Bellows' secluded farm, Heath weans herself off alcohol and expresses a desire to return to the stage. Because of her reputation, no producer will hire the fallen actress. The smitten Bellows (who has ended his engagement) puts up the money himself to produce the play of Heath's dreams. Their romance and Heath's comeback are moving along marvelously and then Bellows asks Heath to marry him. And everything suddenly changes. Secrets are exposed, feelings are both concealed and hurt, and both Bellows and Heath are put to the test. The "Joyce Heath curse" that Bette's character has been warning him about threatens to destroy everything that Don Bellows has attempted to repair.

Bottom line: Watch this movie immediately! If you've already seen it, watch it again. It's brilliant! Full of sacrifice, drama, and passion, Dangerous will completely envelop you and not release you until long after the end credits have rolled. It is that good.

Source: Motion Picture Herald

Source: Film Daily

Reviews:

"One of the most satisfying screen dramas of the past month, and one that is bound to win new admirers for Bette Davis and Franchot Tone...Their relations and what happens to their lives makes highly interesting and intelligent screen fare."-Modern Screen

"A fresh love pattern that sweeps through your heart like a warm summer breeze...Tone and Miss Davis, holding the prize roles, turn in magnificent performances..."-Hollywood Magazine

"Intriguing and unusual romance that carries strong femme appeal...The film rises to a series of dramatic situations handled very capably by Miss Davis and Franchot Tone."-The Film Daily

"What a picture!...Her ability to run the gamut of emotions is remarkable. And Tone gave a very fine performance."-Motion Picture Herald

Last year, I posted a brief summary and many screenshots of Dangerous. You can view those film captures here.

Bette with her Oscar for Dangerous.  Source: www.digitalcollections.oscar.org

For a celebration of Bette Davis, view the full roster of blog posts in the Bette Davis Blogathon.

Sources:
Media History Digital Library. http://lantern.mediahist.org

Davis, Bette, and Mickey Herskowitz. This 'n That. New York: Putnam's, 1987.

Missed Opportunity with Old Acquaintance, Bette Davis

Source: www.amazon.com

In 1942, Franchot Tone was all set to star in the upcoming Bette Davis drama Old Acquaintance until the Stabilization Act of 1942 changed his plans. In his executive order, President Roosevelt listed regulations to prevent inflation and protect the U.S. economy during wartime, including the following:

• no increases in wage rates (unless necessary to correct inequalities, maladjustments, or to aid in war)
• no decreases in wage rates "below the highest wages paid therefore between January 1, 1942 and September 15, 1942, unless to correct gross inequities and to aid in the effective prosecution of the war"
• no salary increases over $5,000 per year (with exceptions)
• no salary decreases for any work under the highest salary "paid between January 1, 1942 and September 15, 1942 unless to correct gross inequities and to aid in the effective prosecution of the war"

In early November 1942, Variety magazine featured several informational articles about how the Stabilization Act was affecting the film industry. At the start, FDR wished to place a $25,000 income limit (after taxes) and studio executives began to sweat about how they would hold onto their major talent and keep the film industry, already changed by the war, still prospering both creatively and financially.

Source: Variety. November 11, 1942. Page 78.

Just a few columns away from the article above, Variety posted a small piece on how these new regulations affected Franchot.

Source: Variety. November 11, 1942. Page 79.

Franchot was Bette's first choice for the role of Preston in Old Acquaintance. Franchot and Bette had worked well together in Dangerous (1935) and Bette was eager to work alongside Franchot again. In Modern Screen magazine (December 1942. Vol. 26), it was noted that Bette:

"is convinced that Franchot Tone is one of the most sensitive of actors on the screen today and she wanted him for her opposite part in 'Old Acquaintance'.  All arrangements were made and Franchot was set for the part when the government announced the $25,000 ceiling. Tone was still willing to make the picture if his total salary-which he couldn't draw-would be turned over, intact, to charity. There seemed to be some red tape attached to this, so Mr. Tone simple withdrew from the cast. Later, when the ceiling was announced for 1943, instead of 1942, it was too late for Franchot to return to the part."

So, by trying to play it safe, Franchot actually took a huge gamble and lost out on an interesting role in a memorable picture. It is evident that Franchot truly wanted the acting opportunity, because he was eager to donate his entire salary to charity. It's too bad that his charitable act wasn't approved and that he dropped out of the cast shortly before the income regulations were adjusted.

I would have loved to see Franchot and Bette together again 8 years after the release of their romantic drama Dangerous and I think that Old Acquaintance would've given Franchot a career boost. Then again, had it worked out, we may have not had the pleasure of seeing him in two war dramas Five Graves to Cairo and Pilot No. 5 and two comedies His Butler's Sister and True to Life the following year.

John Loder and Bette Davis in Old Acquaintance. Source: www.allposters.com

British actor John Loder (How Green Was My Valley, Now, Voyager) took over the role of Preston Drake from Franchot. The character is the put-upon husband of housewife-turned-romance novelist Millie Drake (Miriam Hopkins). Preston falls for his wife's childhood friend, the more humble and talented novelist Kit Marlowe (Bette Davis), but Kit remains loyal to Millie. As an actor, John Loder possesses the dignity and sensitivity of Franchot, but he lacks the same level of sex appeal. (I'm sure John Loder enthusiasts will completely disagree with me). When Kit (Bette) is on the phone and Preston (John) is uttering his devotion to her and kissing her on the hand, I can't help but think that Franchot would've made that scene a bit steamier and more playful! In the early scenes of the film where Kit and Preston meet in the Drake house, I can see Franchot, with his deep voice, mischievous grin,  and knack for sensitivity, being perfect in the role. However, John Loder turns in a great performance, one that the New York Times deemed the most convincing in the film.

Old Acquaintance is remembered now as being a powerful "woman's picture" and perhaps more than that, for the shaking scene between rivals Bette Davis and Miriam Hopkins. For Franchot, I wonder if he remembered it as the film that got away.

Dangerous (1935)

Dangerous (1935) is noteworthy to historians because it is the film that won Bette Davis her first Oscar (she would win again for the 1938 film Jezebel). It is one of my favorite films of the 30s and I enjoy watching it often. It has a lot going for it: stellar performances from Bette and Franchot (both incredibly lovely to look at, as well), a passionate romance, tons of classic Bette Davis drama and sacrifice, and a strong supporting cast.

Joyce Heath (Bette Davis) is a has-been actress. Once a talented young stage actress on the rise, Joyce has quickly descended into alcoholism, debt, and melancholy. Don Bellows (Franchot Tone) is an intelligent young architect who is greatly respected by New York society. Although he is engaged to wealthy and kind socialite Gail Armitage (Margaret Lindsay, who also costarred with Franchot in 1934's Gentlemen are Born), Don fondly recalls Joyce's stage career and how much he was moved by her performances. When he discovers Joyce's current state, Don sets out to rehabilitate her. In the process, they fall in love.

The scenes between Joyce and Don contain fluctuating moments of cute silliness, anger and resentment, passionate attraction, and deep bonding. It's really easy to get wrapped up in their romance. You're completely rooting for them, but all the time, there's a little voice telling you that it's not going to end pretty.

Don is willing to sacrifice everything for Joyce. His belief in her love and her talent is so strong that he gives up his fiancée and puts his wealth on the line to support Joyce in a new play. Although Joyce continuously warns Don that she is a jinx, Don believes that his love and the success of her new play will change everything. Don doesn't realize that Joyce has a secret and that the way she handles that secret may change everything.

Dangerous is a beautiful film, one that makes me both laugh and cry. Because of Franchot and Bette's performances and its powerful ending (which I won't spoil for you here), it's a film whose story lingers with me long after the end credits roll. Dangerous is available on DVD at Amazon and WBShop.

Bette Davis admitted that during filming, she had an intense crush on Franchot. At the time, he was deeply in love with Joan Crawford. Bette describes her attraction to Franchot and jealousy of Joan in this post.