Franchot's World War II Draft Card

Today I discovered Franchot's World War II draft card on Fold3. Fold3 is an online database of historical military records that I've used often for my own family history research. Knowing Franchot didn't serve in the war, I hadn't even considered that his draft card would be there. Fold3's basic access is free but some items are limited to those with a paid subscription. Check with your local library to see if it has a subscription for patrons to use—I used my own public library to access Fold3 today! (This post is not an ad for or sponsored by Fold3. I just like to cite my sources.)

Ok, on to the record...

The card is labeled order # 1301 and serial # 272. It is dated October 16, 1940 and Franchot has added his distinctive signature at the bottom. Franchot is 35 years old and employed by Universal Pictures, Inc. at Universal City studios in Los Angeles, California. At the time, Franchot's address is 470 No (I think this stands for # here) Layton Drive in Los Angeles, California. His phone number is GL-3115—don't you wish you could just call him up and have a chat?

When I Google his address, all that gets returned is the alternate address of 470 Layton Way in Los Angeles, a plantation-style mansion designed by architect John Byers for wealthy Phillip Ilsley, who lived in it beginning in 1937. Actor Wayne Morris and his wife Leonora "Bubbles" Hornblow lived there after their marriage in 1939, but divorced soon after in 1940. I don't know how Franchot could've lived in this house at the time, logistically, but with its immaculate landscaping (it included a waterfall, tennis court, and pool) it certainly seems like the type of house Franchot might occupy, short or long term. It is probably that Google is leading me in the wrong direction since a lot of streets change over time. When he registered to vote the same year, Franchot listed his address as 10333 Wilshire Boulevard. 1940 was an interesting year for Franchot. He was fresh from his recent return to the stage and only made one film that year, the western comedy Trail of the Vigilantes. He was single and seen around town with many gorgeous and talented Hollywood ladies (including Carole Landis and Olivia deHavilland) during that time. My point is that he was playing the field in romance and his career at the time, so it is very likely that he was also not settled in one residence or another.

He lists his father as a further contact and places his father at the family home on Buffalo Avenue in Niagara Falls, New York.

On the Registrar's Report side, we get a physical description of Franchot. With mostly black and white photos available, you may have wondered about the color of his eyes...they are hazel, his hair brown, and his complexion light. He's just shy of 6 feet tall and weighs 160 pounds. A kidney scar is listed as another identifying body marker. Franchot seemed to have major kidney issues. I'm not sure if this was a medical issue independent of his drinking habit or due to it. In his book, Elia Kazan makes mention of Franchot having an issue with his kidneys (and with drinking binges) as early as the Group Theatre days of the early 1930's. I am not sure when Franchot acquired the scar, but he had additional medical issues from 1938 to 1941.

Just before his 33rd birthday, in 1938, doctors advised the ailing actor that "rest, strict diet and avoidance of all exercise" were "essential" to recovery of a non-disclosed, serious illness.

On July 24th, 1941, not even a full year after this draft card was completed, Franchot was stricken by extreme pain and had to undergo an immediate "major abdominal operation" at Good Samaritan Hospital. Following the operation, the Los Angeles Times reported that Franchot was "as good as can be expected." If the draft record had been completed in October 1941, the identifying body markings field would indicate an additional scar from that operation.

On September 9, 1941, the Los Angeles Times reported that Franchot had recently recovered and was no longer hospitalized. It said he was set to begin filming of Eadie was a Lady with Rita Hayworth and John Hubbard, a project that did not come to fruition. (Eadie was a Lady would be released in 1945 starring Ann Miller, Joe Besser, and William Wright.)

Despite completing his draft card immediately after the Selective Training and Service Act of 1940, Franchot did not serve in World War II. The records do not indicate which draft classification he received, so I am not sure if he was deferred for any reason or why he did not serve.

Franchot—who would marry Jean Wallace in 1941 and start a family—was a prominent war bond seller across the country, served on charitable committees and entertained the troops. I will write about his contributions on the homefront in another post.

Sources:

• Clippings. The Los Angeles Times. July 5, 1937; February 11, 1938; July 26, 1941; September 9, 1941.
• Fold3: https://www.fold3.com/title/816/wwii-draft-registration-cards
• Kazan, Elia. Elia Kazan: A Life. New York: Knopf, 1988.
• Paradise Leased: https://paradiseleased.wordpress.com/2011/01/03/lost-hollywood-a-swimmingly-grand-estate-in-brentwood-heights/
• "Tone Undergoes Major Operation." Los Angeles Times. July 25, 1941.

Pilot # 5 (1943)

Pilot # 5 is a 1943 propaganda war film directed by George Sidney and told in flashback form. The film stars Franchot Tone, Marsha Hunt, and Gene Kelly. The New York Times called it "tedious, overlong" yet praised its actors, saying that Franchot gives an "intelligent performance," Marsha is "sweet and earnest," and Gene is "convincing." The Showmen's Trade Review predicted that it would "create more than average interest because of a story that is original when compared with the majority of other war dramas now being turned out." Warning: In the film summary below, there will be some revealing plot details. No ending spoiler, of course, just story details up to that point.

George Collins (Franchot Tone) insists on running a bombing mission against an enemy Japanese carrier. As they wait on him to report his progress, fellow pilots describe George Collins to their new major who says that although it is clear George is seen "much struggle and defeat," that he still approaches life with the "look of a victor."

In the first flashback, Winston Davis (Alan Baxter) recalls how he originally rejected George Collins for the Air Corps after the Dean of George's law school reported him to be a brilliant man who turned out to be a "cheap opportunist." Seeing how much this pains George, Davis goes to George's hometown to find out more about the man.

Henry Claven (Dick Simmons) remembers the proud and dignified college-aged George. At that time, George was top of his class, engaged to his high school sweetheart, and working hard to achieve personal and professional success. When Claven last saw him, George and Freddie (Marsha Hunt) were happily building their dream house.

Vito (Gene Kelly) graduates law school with George and although George starts from the bottom after graduation, Vito quickly gets a position with a large law firm. Vito employs Freddie as his secretary and hopes that she will fall in love with him, but Freddie only has eyes for George. Vito takes on George as a partner and they gain representation of sleazy Governor Durban (Howard Freeman). Observing George's awe of Durban's rhetoric and power, Freddie asks, "Can you mix with his kind of people and still be you?"

George and Vito represent Durban as he takes land from poor farmers with the promise of placing thousands of farms in their place. Durban swears that this will aid the community in production and progress. Everyone except George knows that Durban plans to take the land and its profits for himself. Blinded by Durban's public position and his own rising professional status, George doesn't realize just how culpable he is himself until a horrible tragedy strikes.

 George loses everything. Freddie leaves him because she cannot face the "cheap, wart-healing, would-be fascist" he's become. When George confronts Durban, the slimy politician has his lackeys physically beat him. George is treated like scum by the townspeople. Even after he succeeds in getting Durban kicked out of office and works hard to restore his own name, George is still treated unkindly by those who once respected him. Although Vito was involved in the scandal as well, he disappears to New York and never loses the respect and position he gained. Vito regrets not being "man enough to fight" with George and leaving George to handle the repercussions by himself.

When George is finally accepted into the Air Corps, Vito (a pilot, too) sets up a reunion between George and his lost love Freddie.  We discover that by the time he heroically volunteers to go on the bombing mission, George is the beloved husband of Freddie, friend to Vito, yet his character is still under question by his community.

I will not tell you how the film ends, but fortunately you can see for yourself with the DVD Warner Archive released in 2012. This would mark Gene Kelly's third film and you'll spot Van Johnson and Peter Lawford in small roles as pilots. I rewatched it a few days ago and was struck again by the film's originality and powerful story. It's one of Franchot's finest (and an underrated) performances.

Sources:
New York Times. June 25, 1943.
Showmen's Trade Review. April 10, 1943.

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.

They Gave Him a Gun (1937)

They Gave Him a Gun is a 1937 crime drama that was based on William J. Cowen’s 1936 novel of the same name. Admittedly, I have many favorite Franchot films, but this is one of his early dramas that I particularly enjoy. Warning: this post contains spoilers.

As Jimmy, Franchot Tone gives a convincing, sensitive portrayal of a timid World War I soldier dreading active duty who transforms into a merciless militant who confidently shoots and kills the opposing army. Fred Willis (Spencer Tracy) is Jimmy’s friend and supporter, and although he’s an obedient solider, Fred is much more interested in the kind, lovely nurse Rose Duffy (Gladys George) than in the deadly battles.

When Jimmy is critically wounded, he falls for nurse Rose himself. Jimmy has no idea that Rose is in love with Fred and Rose never divulges this secret. After Fred goes missing in action and is presumed dead, Rose marries Jimmy. Following the end of the war, we see Jimmy, in full uniform covered in medals, proudly posing for photographs and sharing stories from the battlefield. In this scene, it is clear that Jimmy may have a difficult time adjusting to quiet, civilian life. Jimmy is thrilled to discover that Fred was only captured, not killed. He is excited to have his best friend and wife both back in his life, but doesn’t notice that the reunion is painful for Rose and Fred, who are still in love with one another but loyal to Jimmy.  

A good-natured carnival barker, Fred senses a change in his buddy and soon realizes that Jimmy is making his living as a murderous gangster. Rose then makes the difficult decision to turn Jimmy into the police so that he can pay his debts and return to an honest, humble life.

While he’s incarcerated, Jimmy must decide if he’s willing to swallow his pride and pay the price for his crimes in order to return to a humble, happy life with the woman he loves. The scenes of Jimmy’s incarceration and waiting to see what choice he will ultimately make kept me enthralled. Although some of the melodramas filmed in the 30s tend to have predictable endings, I had no idea how this one was going to end. Franchot perfectly plays the part of the conflicted gangster. His face masterfully shows the conflict between his inherent vulnerability and acquired need for power. Spencer Tracy and Gladys George turn in stirring performances as a couple that places their devotion to Jimmy ahead of their own undeniable love. Tone and Tracy only acted in this single feature film together, but Gladys George costarred with Franchot in 1934’s Straight is the Way and 1938’s Love is a Headache.

You can find They Gave Him a Gun on DVD through Amazon. If you enjoy They Gave Him a Gun, I also suggest you check out Pilot No. 5 and Three Comrades.