Franchot Targeted in the Blacklist: Franchot & Politics

I think all classic film enthusiasts have some knowledge about the powerful and predatory House Un-American Activities Committee that used public threats and scare tactics to terrorize the film industry. It would be denounced by former President Truman in the late 50's and lose its control in the 60's. But by the end of McCarthy era, the damage had already been done. Due to the spiteful insinuations of the committee's public witch hunt, many in the film industry were never able to work again. Although Franchot cleared his name in front of the Dies Committee as early as 1940, an interrogation of anti-communist leader Vincent Hartnett would reveal that Franchot Tone continued to feel the pressure of the blacklist throughout his television career of the 1950's and 60's.

Franchot preferred to work in plays with messages about the human condition and state of the world. He was always most proud of his early association with the Group Theatre, a group of idealistic and educated thespians, playwrights, and directors who valued scripts with artistic integrity, realism, and truth. Like Franchot, many Group Theatre veterans (most famously and tragically, John Garfield) were investigated in some capacity by the House Un-American Activities Committee for their liberal views by the 1950's.

In 1938, conservative congressman Martin Dies relocated to Los Angeles to sniff out communists hiding in the entertainment industry. By 1940, Communist Party organizer John Leech had provided a list of actors he associated with leftist ideas. Among others, the list included: Humphrey Bogart, Fredric March, Franchot Tone, James Cagney, Luise Rainer, Francis Lederer, and Jean Muir. Dies vowed that all named actors would be cleared if they would appear at a hearing before the Dies Committee. If the named actors did not agree to a meeting, Dies announced he would find them guilty of anti-American activity.

Source: Spokane Daily Chronicle. August 28, 1940.

The above photo appeared in newspapers across the county in August 1940. The caption that accompanied it read, "Movie actor Franchot Tone (right) is shown being sworn in by Representative Martin Dies (Dem., Texas) (left) at special hearing before house committee investigating un-American activities at the Waldorf-Astoria hotel in New York. Tone was exonerated at the hearing, which was held yesterday." Further investigation reveals that actress Luise Rainer and actor Francis Lederer were also cleared with Franchot of being communist sympathizers. Martin Dies, the committee representative, noted that although the three actors had allowed their "names to be used or have contributed money" to what the committee deemed communist-led organizations, no evidence existed that their "cooperation was for any purpose except humanitarian." When questioned about his support of needy causes, Franchot was reported to have defended himself by saying, "You see, when you have so much money thrown in your lap, your conscience is aroused."

Source: Motion Picture Herald headline. August 24, 1940.

Still, in 1949, Franchot was listed as one of "Stalin's Stars" in the Red Treason in Hollywood published by Myron C. Fagan. Also accused were Franchot's past costars Bette Davis, Melvyn Douglas, Katharine Hepburn, Gene Kelly, and Sylvia Sidney. In his 1963 book Fear on Trial, author John Henry Faulk includes a transcript of attorney Louis Nizer's interrogation of Vincent Hartnett. Faulk was a humorist who was publicly accused of communist activity by Hartnett after he staunchly opposed Hartnett's right-wing organization AWARE, Inc. Hartnett's organization specialized in blacklisting entertainers and was successful in the blacklisting of Faulk from 1957 to 1962.  As early as 1956, Faulk took legal action against Hartnett's libel. The trial did not begin until 1962, at which time Faulk was vindicated and awarded damages. In the court testimony provided by Faulk, I learned that Franchot was being quietly, but actively blacklisted throughout the 1950's. During the trial, attorney Nizer asked Hartnett if he had written to Laurence Johnson (AWARE, Inc. cofounder) about Franchot. Here's the revealing exchange:

Nizer: What were you writing to Mr. Laurence Johnson with respect to Mr. Franchot Tone? Will you reconstruct that for us?

Hartnett: As best I recall, he had probably asked me for a report on Franchot Tone, which I furnished him; and I believe I had made inquiry to see if Franchot Tone had offset his past record, and had been told he had not done so, at least my source of information. Yet, as best I recall, I expressed an opinion that Franchot Tone should do more than—

Nizer: Before he could appear on television?

Bolan: I object.

Nizer: He should do more before he could appear—he should appear or be allowed to appear on television? Isn't that the substance of it?

Hartnett: Before he was allowed to appear on television?

Nizer: Yes.

Hartnett: Could be. I am not sure of that.

Nizer: Could be. Did you ever write to him, 'if he refused to take a public stand, then we can take the necessary measures?' Did you ever write that to Laurence Johnson?

Hartnett: Yes, that sounds right.

Nizer: 'We' in that case is you and Laurence Johnson, right?

Hartnett: It would seem so...

Nizer: So you asked groups, various individuals to write protests to try to get people off the air that in your opinion had pro-communist affiliation; right?

Hartnett: Yes, I did.

As you can read, Hartnett admits to a directed attack of Franchot and his career in the 1950's. As early as 1934, Franchot's political ties were publicly questioned when columnist Walter Winchell reported that Franchot Tone was the only major film actor who had refused to contribute money to the Republican campaign fund, despite strong demands and pressure to do so.

Several of Franchot's ancestors were prominent Republican politicians and his mother was an outspoken member of women's liberal groups, so Franchot was well-versed in both the conservative and liberal views. (Next week's post will be on the impressive political careers of Franchot's maternal family.) In an interview with Andre Soares on Alt Film Guide, Tone researcher Lisa Burks commented on Franchot's belief in the democratic process, his eagerness to help families in need, and his family background. You can read that full interview here.

During the blacklist, Franchot felt compelled to help other professionals in need. Anonymously, Franchot supported blacklisted screenwriters who were no longer able to gain employment. Screenwriter Ring Lardner, Jr. worked under a pseudonym when Franchot hired him "out of conviction." Lardner, Jr. recalled, in Tender Comrades and Dark History of Hollywood:

I had to go into a bank in Beverly Hills where Franchot Tone withdrew $10,000 in cash and gave it to me.

Knowing now just how targeted Franchot was by Hartnett, I realize how fortunate Franchot was to survive the blacklist.  I can't imagine having those classic Twilight Zone, Bonanza, Alfred Hitchcock Presents, and Ben Casey episodes without Franchot's unique and memorable performances in them. It is clear, through the Faulk case testimony, that Franchot was denied many other opportunities in the 1950's.

With a heart for humanity and the wealth to support others in need, Franchot defended himself in front of the Dies Committee and, years later, the FBI. In the process, he never sacrificed his colleagues and never abandoned his convictions.

If you'd like to read more about the Hollywood blacklist, please see my sources below. For other posts in the Franchot & Politics series, click here. Stay tuned for next Friday's entry into the series!

Sources:

• Ceplair, Larry, and Steven Englund. The Inquisition in Hollywood: Politics in the Film Community, 1930-1960. Garden City, NY: Anchor/Doubleday, 1980. Print.
• Connolly, Kieron. Dark History of Hollywood: A Century of Greed, Corruption, and Scandal behind the Movies. London: Amber, 2014. Print.
• Faulk, John Henry. Fear on Trial. New York: Simon and Schuster, 1964. Print. 
• "It Seems to Me." Pittsburgh Press. October 29, 1934.
• McGilligan, Patrick, and Paul Buhle. Tender Comrades: A Backstory of the Hollywood Blacklist. New York: St. Martin's, 1997. 
• Morgan, Ted. Reds: McCarthyism in Twentieth-century America. New York: Random House, 2004. Print.Print. 
• Radosh, Ronald, and Allis Radosh. Red Star over Hollywood: The Film Colony's Long Romance with the Left. San Francisco: Encounter, 2005. Print. 
• "Screen Players Freed of Charge." Evening Independent. August 28, 1940.
• Slide, Anthony. Actors on Red Alert: Career Interviews with Five Actors and Actresses Affected by the Blacklist. Lanham, MD: Scarecrow, 1999. Print. 
• Smith, Wendy. Real Life Drama: The Group Theatre and America, 1931-1940; New York: Knopf, 1990.
• "Wirephoto: Dies Committee Clears Actor Franchot Tone of Red Charges." Spokane Daily Chronicle. August 28, 1940.
• Slate:http://www.slate.com/articles/podcasts/you_must_remember_this/2016/02/the_origins_of_the_hollywood_blacklist.html
• University of Texas: https://www.lib.utexas.edu/taro/utcah/01497/cah-01497.html
• Alt Film Guide: http://www.altfg.com/film/franchot-tone-lisa-burks/

Gabriel Over the White House (1933): Franchot and Politics

For this week's entry into my Franchot and Politics series, I'm looking at one of Franchot Tone's earliest films, Gabriel Over the White House. Directed by Gregory La Cava and produced by Walter Wanger, the political pre-code stars Walter Huston, Franchot Tone, and Karen Morley.

Gabriel Over the White House begins on President Judd Hammond's first night in the White House. After being congratulated by other members of his party, Hammond (Walter Huston) is approached by his young nephew Jimmy (Dickie Moore) who is excited that his uncle will "cure" the depression and make America rich again. President Hammond worries about fulfilling the many promises he made to get elected to which a fellow official remarks, "By the time they realize you didn't keep them, your term will be over!"

Franchot Tone is Secretary Hartley Beekman or Beek as the president (who in turn insists on being called Major) calls him. Along with his official secretary, Hammond also takes on a personal secretary Pendola Molloy (Karen Morley). It is unclear what Hammond and Molloy's connection is, but they seem to have had a past.

From the start, it is obvious that President Hammond does not plan to make any waves in his new position. When asked about the rampant unemployment and racketeering in America, Hammond dismisses these issues as "local problems" and makes general promises of future prosperity to the public. When Pendola "Penny" tells her boss that he can do great things with the pen he is using, Hammond calls her an idealist and explains, "See, Penny, the party has a plan. I'm just a member of that party."

There's this really great scene where President Hammond is playing with his nephew in the White House. They're searching around and having such fun and are completely oblivious to the booming voice of John Bronson, the leader of the Army of the Unemployed, on the radio who is publicly pleading with the president to take action. This scene really hits home just how purposeless Judd intends to be as a leader. Shortly after, the carefree president is speeding in his car, trying to push it to 110 miles per hour, when he crashes it and loses consciousness.

Here's where the film takes a strange turn. While he's unconscious, divine intervention occurs. Penny is later convinced this divine intervention is angel Gabriel sent as a messenger from God to President Hammond. Suddenly, Judd Hammond is a changed man. He talks with purpose and actively seeks out meetings with the unemployed and racketeers. He wants to feed, clothe, and shelter the poor. He wants to punish the racketeers. This is all wonderful progress, for sure.

However, when Congress, the Senate, and the Cabinet all question him, the President requests the resignation of all the men who put him in power. Hammond then declares a state of emergency giving him full dictatorship. Hammond declares that he wants to be a dictator for the greater good, but I think most of us can agree that a man, without any checks and balances of any kind, who has sole power over a nation can be a very frightening prospect. In this film, Hammond is able to kill gangsters execution-style because he believes in an eye-for-an-eye. He bombs a ship to show how peace is needed in the world. Hammond certainly has the right ideals, but he gives himself such a position that  denies citizens their right to a democracy. In the end, we see that an ailing President Hammond, a hero in the eyes of the public, has initiated the Washington Covenant, a signed treaty across nations, to ensure peace and prosperity for all.

As the film progresses, Franchot's character Beekman develops feelings for Penny and continues to idolize Hammond. When he appoints himself as dictator, Hammond changes Beekman's position of secretary to the President to secretary of war. It's not a large role for Franchot, but it has substance to it and he plays it well.

It's definitely an interesting treatment of politics in film. Because of its turn from democracy to dictatorship, this pre-code film is controversial to today's audience. Watching it, I grew uncomfortable when Hammond declared himself a dictator and obtained full control. Thankfully, he used his power for eventual good, but I was not in agreement with his ways of getting to that final peace agreement. I was astounded when Hammond ordered the execution of the racketeering gang and Beekman oversaw these orders. The scene played like one gang's retaliation on another gang, not a just and fair President's actions. Although I and many other current viewers have some reservations about the film's direction, audiences in 1933 loved the film's message. Desperate for a solution to the depression, hopeful about President Roosevelt, and eager for active change, Gabriel Over the White House was praised by viewers as an "inspiration" and "what the whole world is praying for."

Photoplay Magazine readers wrote letters praising the film.
Marshall Mills of Massachusetts wrote:

Walter Huston always comes through. It doesn't matter which kind of part he is asked to play, a hero or a villain, he is equally successful with either. In "Gabriel Over the White House" we enjoy him as a hero and a villain in the same picture. Nobody could be more the genial politician than the President Hammond we despised before the auto accident, and nobody more the patriotic statesman than the same character after his transformation. If there's a better actor in the business than Walter Huston, who is he?

J.L. Norris of Washington, D.C. shared:

The people of this nation are truly indebted to Walter Huston. Metro-Goldwyn-Mayer, and the author for their work in putting "Gabriel Over the White House" before the public. It is the greatest and most dynamic hit of good propaganda ever put forth by any agency, including radio and newspapers. Incidentally, after seeing "Gabriel Over the White House" I had occasion to walk past the Executive Mansion on my way home. And somehow it did seem quite plausible that the Angel of Revelation has made his presence known to the head of our country.

Alabama native E.B. Harrison, like many others, praised the actual President Roosevelt in his review:

After seeing "Gabriel Over the White House" I can truly say that it is the best picture I have seen in years. It not only shows the greatness of the actors and the director, but it gives the people of the United States a very good idea of the greatness of the man we have in our White House today.

The New York Times reviewed:

Mr. Huston gives a vigorous and emphatic portrayal of Hammond. He reveals the man's weaknesses in the beginning and his vision and strength in the latter phases. He delivers the various speeches with vehemence...Franchot Tone is not especially impressive as Beekman and Karen Morley is only acceptable as Beekman's assistant...Gregory La Cava, the director, has handled the incidents in the Senate and in the open air with the desired imagination and forcefulness. The attack on the gangsters is set forth in a somewhat unbelievable and melodramatic manner, but the general effect of the meeting of the representative nations in the penultimate episode is depicted quite cleverly.

In a more modern description of the film for its 1998 film series, the Library of Congress summarized:

The good news: he reduces unemployment, lifts the country out of the Depression, battles gangsters and Congress, and brings about world peace. The bad news: he's Mussolini. Gabriel Over the White House is a delight precisely because of its confused ideology. Depending on your perspective, it's a strident defense of democracy and the wisdom of the common man, a good argument for benevolent dictatorship, a prescient anticipation of the New Deal, a call for theocratic governance, and on and on.

Gabriel Over the White House is available on DVD. Stay tuned for next Friday's continuation of the Franchot and Politics series!

Sources:

• Photoplay Magazine. June 1933; July 1933.
• Hall, Mordaunt. "Walter Huston as a President of the United States Who Proclaims Himself a Dictator." The New York Times. April 1, 1933.
• Library of Congress. http://www.loc.gov/exhibits/religion/films.html

Franchot Tone: Reserved Loner or Master Prankster?

Franchot on They Gave Him a Gun set. Original photo from my collection.

While making They Gave Him a Gun in 1937, Franchot was asked about his personality. As he talked about himself, Spencer Tracy and W.S. Van Dyke provided their own humorous interpretations. 

Franchot said about himself:

"But I never have liked to go around slapping people on the back and glad-handing them. I'm just not the type. For that reason I'd be the worst salesman in the world. I get my own enjoyment out of the quieter forms of entertainment and I feel silly and self-conscious when I try to whoop it up."

Costar Spencer Tracy interjected:

"Don't let him kid you. He puts on that innocent, refined air to conceal the fact that he's really at the bottom of almost every practical joke that's pulled around here. Get him to tell you about the time he was kicked out of school for just that same sort of thing."

Director W.S. Van Dyke added:

"Franchot Tone would make a perfect villain. He has that smooth, well-bred exterior which would let him masquerade as the perfect gentleman, while at the same time he would probably be pocketing the silverware, except for the fact that there isn't enough money in pocketing just silverware. We cast him as the heavy in 'They Gave Him a Gun' and he's showing up all the rest of the heavies in the business. That proves my point."

Franchot grinned at Van Dyke's comment and explained further:

"I like to make friendships slowly and hang onto them. One of my theories of life is absolute sincerity and I don't seem to be able to dissemble my feelings and become somebody's old, old pal after I've known them for only about five minutes."

When all of the other guys on set passed the time with card games, Franchot would wander off to the beach:

"Just because I'm not a nut on card games and I do get a lot of childish delight in poking around among the rocks and fishing shells out of the tidal pools and watching the sea anemones. Though I suppose that didn't help my reputation as a mixer, either."

Spencer Tracy laughingly told a different story:

"What a line that guy can spin. What he was really doing down on the beach was coaxing an Irish setter to come up to the hotel so that he could hide him until after I'd gone to sleep and then push him into my room. I woke up about 3 a.m. and the darned dog was just like a muff around my neck. Nobody but that shy, reserved, retiring Mr. Tone could have pulled that one."

 Source:
"Franchot Tone No Back-Slapper But Those Who Work With Him Say He Plays Practical Jokes." The Evening Independent. April 1, 1937.

Franchot and Politics: The Nixon Luncheon

Embed from Getty Images

With the upcoming U.S. presidential election, I've decided to do a weekly Franchot and Politics series of posts here through election day. There are several politically-themed films in which Franchot starred. Franchot even played the U.S. president in Preminger's Advise & Consent, which I'll be covering for Pop Culture Reverie's Hail to the Chief Blogathon. In addition to the films, I'll be looking at politically-related events of which Franchot played a part.

On Friday, October 21, 1960, Franchot helped Helen Hayes and Jean Dalrymple host a luncheon for Pat Nixon (wife of later president Richard Nixon) in New York City. The luncheon, called the "Celebrity Committee Luncheon" by the press, was held at Tavern-on-the-Green on 67th Street at Central Park West. It was announced that there would be "no solicitations of funds or votes" and that all political parties were welcome. Mrs. Nixon was campaigning for her husband at the time.

Many other celebrities attended the luncheon including: Rosalind Russell, George Murphy, Constance Bennett, Ilka Chase, Katherine Murray, Tina Louise, Al Capp, Anita Colby, Jinx Falkenberg, Jules Alberti. The wives of prominent businessmen also attended and included: Mrs. Nelson Rockefeller, Mrs. Thomas E. Dewey, Mrs. Ogden Reid, Mrs. Preston Davie, Mrs. Bolinger, and Mrs. Gardner Cowles.

Mrs. Nixon, who wore a wine-colored suit and flowered pillbox hat, commented, "When I get home, I'm going to be a mighty famous person when I tell our girls about this party today," and praised the individuals who entertained her "for the courage to come out for the principles and leadership they believe in."

According to Mrs. Nixon's itinerary for the day, Pat arrived at Tavern-on-the-Green at 12:30 p.m. Seated at her table were: Mrs. Preston Davie, Helen Hayes, Jean Dalrymple, Franchot Tone, Constance Bennett, George Murphy, Jules Alberti, Mrs. Nelson Rockefeller, and Mrs. Bohlinger. There was a question and answer session during the lunch and Franchot, along with Helen and Jean, served as a panelist. The luncheon ended at 2:00 p.m. when Pat Nixon returned to the Hotel Waldorf-Astoria.

I know that Franchot donated time and money to liberal causes throughout his life, so I'm not sure that he would have voted for Nixon. I've not found any records of Franchot publicly endorsing Nixon or Kennedy (or any presidential candidate for that matter.) From interviews, it is clear that Franchot was well-versed in and had a family history of politics. I'm sure that the candidate he selected in the ballots was done so after much consideration of the issues at hand.

Sources:
Pittsburgh Press. October 21, 1960.
Spokesman Review. October 22 1960.
Richard Nixon Presidential Library: Schedule for Friday, October 21, 1960.

Shadow over Elveron (1968)

Despite his battle with lung cancer, Franchot continued to work in 1968. His final performances are in the made-for-television movie Shadow over Elveron and the feature film Nobody Runs Forever. Although he looks older than his years and physically weak (in SOE, he uses a cane and in NRF, he is in a hospital bed), Franchot's performances are still stirring. I wrote about Nobody Runs Forever before. You can read that post here.

In remembrance of the anniversary of his death on September 18, 1968, I wanted to watch a performance of Franchot's that I'd never seen. Happily, I can say that I've managed to view all but 1 of Franchot's films (his first, The Wiser Sex.) Sadly, it is harder to find his television work, so I'm running out of new Franchot viewing experiences. Shadow over Elveron is an engaging movie with great performances all around, but knowing that it was Franchot's last television performance made it an emotional watch for me.

 Dr. Matthew Tregaskis (James Franciscus) moves to the small town of Elveron to be close to his new wife's father and family home. His father-in-law Justin Pettit (a seemingly ageless and handsome Don Ameche) has bought the son-in-law he's never met a medical practice and furnished home. Dr. Tregaskis and his wife Joanne (Shirley Knight) meet young teen Tino (Vic Dana) who helps them unpack equipment in the doctor's office. When Tino is arrested for the murder of a retired doctor, Dr. Tregaskis knows a mistake has been made and feels compelled to defend the boy. When he realizes that Tino is being abused in his cell, Dr. Tregaskis enlists the help of lawyer Barney Conners (Franchot Tone) in his pursuit of justice. By the time they've reached the courthouse, Tino has been hanged (either by his own hand to stop the abuse or murdered by abuser.) The menacing Sheriff Drover (Leslie Nielsen) and Dr. Tregaskis seem startled by the hanging, but it is Franchot's Barney Conners who is the most unsettled by it. Conners screams in panic, "Cut him down! Cut him down!"

James Franciscus and Franchot Tone

Leslie Nielsen

Once they are away from the sheriff, Conners and Tregaskis discuss how they will uncover the town's corruption. Franchot gives a very moving speech. He is frustrated with the injustice in the town and furious that an innocent boy is dead. This is a random and rambling observation, but I've noticed that Franchot holds his mouth differently in his performances of the mid-late 1960s. I think this is due to false teeth. If you watch Tone in the 1962 Ben Casey episode, "A Memory of Candy Stripes," you'll notice that his natural teeth look damaged. In years following that performance, Franchot's teeth are all white, smooth, and straight. Anyway, my point is that in this close-up speech (and others like it from this time), you may notice that his mouth seems to move a little differently than it once did.

Barney uncovers a bombshell about Sheriff Drover and plans to meet the new doctor to hatch a plan. But Sheriff Drover gets to Barney first and reveals a secret that strips Barney of all his self-confidence and brings him down to his knees.

The screen captures below occur when Barney is excitedly building his case and I see so much of young 1930's Franchot in these expressions.

 

 

In addition to Don Ameche, Shadow over Elveron includes performances from more of Franchot's contemporaries. Veteran actors Stuart Erwin and James Dunn are both townsmen who are intimidated by Sheriff Drover. It's interesting to watch Leslie Nielsen in the part of the villain, but his performance is so good that it's almost too real to watch. He's completely believable as the powerful, corrupt sheriff and it's hard to see him cut down the sweet, hardworking townspeople.

 
Although his screen time is brief,  it is good to see Franchot in two entertaining, quality films in 1968. I have so much respect for the fact that he continued to do what he loved right up until the end of his life. I was delighted to find the full-length Shadow over Elveron on Youtube. If you'd like to see Franchot's scene in Nobody Runs Forever, I uploaded that clip some time ago and it can be viewed here.

Dolores Dorn on Franchot Tone

Some time ago, I read Dolores Dorn's short e-book Letters from a Hollywood Starlet. Dolores was Franchot's costar in Uncle Vanya as well as his fourth and final wife. I've wanted to write about Dolores' memories of their marriage and my own reflections on this time in Franchot's life for a while now.

First Impressions and First Date
Actress Dolores Dorn first met Franchot Tone when she read for the part of Elena's understudy in Uncle Vanya. Dolores met Franchot and director David Ross for the audition at Franchot's Warwick Hotel penthouse. Dolores was immediately struck by Franchot:

I'd met a lot of sophisticated, attractive men in London and Hollywood but none with the presence and savoir-faire of this man. And did I mention he was handsome with a twinkle in his eye too?...True, he was older, but I'd never met anyone like him in my life. Now I had another reason for wanting the part.

Franchot and David were impressed with Dolores and she won the understudy part. When Signe Hasso left the play, Dolores took over the role of Elena and entered into a relationship with Franchot:

After playing the role a few weeks Franchot asked me to have something to eat after the show. I didn't hesitate. The attraction between us on stage was obvious to everyone. The attraction I felt for him offstage I could barely conceal...Franchot and I went out almost every night after the show. For my birthday, he gave me a beautiful heavy gold bracelet with two dolphins going in the opposite directions supposed to symbolize my astrological sign of Pisces from Van Cleef & Arpels.

Despite Dolores' mother persistently vocalizing her dislike of the 29-year age gap in the relationship, Dolores and Franchot were undeterred by the difference and remained very much in love. It's apparent that Dolores was enchanted by Franchot as she can still recall all of the conversation covered in their first date. In her memoir, Dolores remembers that over a quiet French dinner, Franchot shared much about himself.  He told Dolores of his family history. He was proud that his dad had worked his way up from a teacher's son to the president of a company. Franchot grew up with all the perks of wealth yet revealed that he struggled with his classification in the upper class. He shared the experience of producing The Man on the Eiffel Tower and working with his best friends, Charles Laughton and Burgess Meredith. He agreed with Dolores in her dislike of the studio system and love of the theater and was eager to hear all about her experiences and aspirations. Franchot expressed his goal of owning his own theater where he could produce plays that included real-life issues (reminiscent of his Group Theatre days).

A "Secret" Wedding and Private Marriage

On May 14, 1956, Franchot and Dolores held a private wedding at the Montreal mayor's house and honeymooned at Franchot's Canadian home, which he called a "summer camp." Dolores described it as:

two rustic houses nestled in the woods between two fresh water lakes. The main house had two bedrooms, a kitchen, a dining room, a living room with a large stone fireplace and a large screened-in porch with a view of "Thirty-One Mile Lake." The other house was larger and was used as a guest house. They stood on an acre of woods.

Attending their wedding were Franchot's friends Jean Paul and Libby Dejordins, who celebrated with champagne, before driving Franchot and Dolores to the cabin. There, housekeeper and cook Donalda and her husband John, had a meal and a cozy fire prepared for the newlyweds. (Note: I'll be adding Dolores' description of the cabin and wedding to the post on Franchot's ties to Canada that I did last week.) After a long weekend, the Tones returned to New York and quietly resumed work on Uncle Vanya.

Although their close friends all knew, Franchot and Dolores managed to keep their marriage a secret for 2 more years! It wasn't until someone overheard Dolores answer to the name Mrs. Tone in a restaurant that Franchot and Dolores confirmed their marriage in 1958. Although Dolores doesn't say in her memoir and Franchot never spoke of it, I assume that their marriage was kept secret for two reasons:
1. They were happy in their relationship and didn't need public confirmation of it to remain content.
2. Franchot had such a horrible publicity experience in his very public relationship and brief, tempestuous marriage to Barbara Payton. I imagine he wanted to keep this new relationship and marriage a secret to maintain its authenticity and avoid public scrutiny.

Franchot and Dolores in their library in 1958 following confirmation of their 1956 marriage.

The Undoing Over Uncle Vanya and Franchot's Increasing Unpredictability

Franchot was so proud of Uncle Vanya (a play he had starred in even before he became a film star) and the positive response to its current run that he decided to produce it on film. Dolores and the rest of the cast were excited about the project as well and agreed to shoot the film during the day and perform the play on stage each night. Franchot first encountered difficulty finding an American distributor and later a European one. Certain of the film's success and eager to produce the type of film he'd always hoped to do, Franchot ended up using $250,000 of his own money to ensure the film was completed. (According to www.measuringworth.com, that's the equivalent of a little over 2 million dollars today.) Although the film received good reviews, it did not do well enough commercially to earn Franchot his money back.

Franchot submitted the film to the first San Francisco International Film Festival and even emceed the festival's opening night on December 4, 1957. The film was well-received there, but didn't garner the award for best film or for best actor. Disappointed that his own performance went unnoticed, Franchot was not congratulatory when a surprised but absolutely deserving Dolores was announced the winner of the Best Actress Award. He had been so supportive of her career up until this point, but that night, Dolores writes, a depressed Franchot became "very drunk and verbally abusive."

The film was out of sight from that night until it was released on DVD a few years ago, but the disappointment associated with it lingered with Franchot for some time. It's a shame that the film didn't gain more of a following, because Franchot had put so much time and work and poured so much of himself into it and that is all visible in the final product. Uncle Vanya is one of my favorite films and although I have a hard time naming just one favorite Franchot performance, his portrayal of Astroff may top the list. He's not just playing Astroff. In many ways, Franchot is Astroff. Elena Gonzalvo wrote a fantastic article on the similarities between Astroff and Franchot that you can read here.

Dolores writes:

He became more and more depressed when nothing worked out. He began to drink and became more and more verbally abusive...His drinking behavior was getting me down. I felt badly for him and badly for myself.

In most of my research of Franchot in the 50's and 60's, many of those who knew him mention that he was brilliant, kind, gentle, and had a serious drinking problem. From what I've read, he would start off the day hopeful and charming but by the end of the night, he was full of melancholy and seeking comfort in a bottle of Scotch. It's sad to me that he had an inner pain so great that he felt the need to dull it with alcohol. Certainly, he drank before the 50's (it's hard to recall a film star who didn't), but it really seemed to become noticeable to those around him in the last two decades of his life. For the most part, Franchot was able to control the effects of drinking. Except the visible aging of his face, his heavy drinking was not apparent in the quality performances he turned out night after night on stage and on television. However, his drinking seemed to be the cause of the dissolution of his marriage to Dolores. She writes of a man who was unpredictable. When sober, Franchot was deeply supportive of her career. He advised her of good parts to accept and encouraged her to take lessons with Strasberg. Drunk, he was resentful of her quick success and possibly, her youth. Dolores even heard rumors that Franchot may have asked the Actor's Studio not to pass her audition. This rumor was never proven and Dolores did pass her audition, but Dolores says she always wondered if it was true. In her memoir, Dolores reflects:

At first it seemed like a betrayal to me but then I thought that Franchot didn't seem to want me to work as an actress. Did he want a more traditional marriage? It was beginning to look like that from the call and some subtle and not so subtle message he'd been giving me. Could I do that? I loved him, yes, but could I do that? Should I do that?

Following her miscarriage and peritonitis, a loving Franchot took good care of Dolores in the hospital. Shortly after, Dolores decided that she needed to move on. They separated and divorced in 1959. Dolores did not expect to see much of Franchot after the divorce, but as it turned out, they actually became good friends and remained that way until his death in 1968.

My Reflection

Dolores Dorn's short memoir only covers a brief time in her life and seems to suggest that she plans to write more later. I hope she does as I'd like to learn more about her life and career after Franchot. She comes across as a sweet, determined woman who truly loved Franchot. They had similar career interests and seemed to get along well in the beginning. I wonder if the marriage could've lasted had they not had that 29-year age gap. It seems to me that they were a good match. If Franchot had been younger, was just starting out in the theater like Dolores, had not experienced so many disappointments already, and had not turned to alcohol to cope with those disappointments, I believe Franchot and Dolores may have experienced a long-lasting marriage. I think it's important to note that there was still enough respect between the two of them to warrant a friendship that survived their divorce.

As an admirer of Franchot or any classic film star, it can be difficult when you uncover less-than-great things they did. I wish he had been happy for Dolores when she won Best Actress at the festival. I wish he hadn't let his own disappointments in life negatively affect his relationship with her. But Franchot, like all of us, was human. If you're really interested in a person and want to have a full picture of him, you can't ignore the flaws in his character. You can't deny that these flaws exist and I am frustrated when I see other devoted fans of the classic Hollywood era flat-out deny that their favorite star ever made any mistakes.

For the most part, I've found that Franchot was a thoughtful, hard-working, compassionate man who made others feel special and respected. That's the Franchot the majority of my posts focus on, because those qualities truly made up the majority of who he was. But I can't deny that he drank heavily and that habit affected his actions and in this particular case, his marriage to Dolores Dorn. We are all complicated beings, even my favorite Mr. Tone.

Franchot's Ties to the Gatineau Fish & Game Club

"I love every stick and stone in this wonderful country."

Spurred on by an interesting discussion with Ann on the Finding Franchot Facebook page (thanks, Ann!), I've been researching Franchot's ties to the Gatineau Fish & Game Club in Ottawa for the past few weeks. I have always been intrigued by Franchot's connection to the Canadian wilderness, because the land and activities there seemed to be such an important part of Franchot's life. I love that Franchot had this love of land, solitude, and survival so deeply embedded in him and how greatly it contradicts those journalists and critics who incorrectly peg Franchot as a rich playboy and little else. My research is by no means complete, but I thought you might like to see what I've discovered so far.

Background
The Gatineau Valley Historical Society has published many interesting articles on the Franchot and Tone families in its Up the Gatineau! publication. Archie Pennie and Carol Martin, in their article "A Century of the Gatineau Fish and Game Club," described S.P. Franchot's (Franchot Tone's grandfather) involvement:

On March 5th, 1894, four Quebec businessmen met in Hull, Quebec and decided to form a hunting and fishing club on Pemichangan and Thirty-One Mile Lakes in northern Quebec. They were Alexander Maclaren of Buckingham, and Dr. W. F. Scott, Charles Leduc and J. M. McDougall of Hull. The original membership included four others to make a total of eight charter members: Albert Maclaren of Buckingham, S. P. Franchot of Niagara Falls, N.Y., and John Scott and Joseph Bourque of Hull. On June 27, 1894, a meeting of the stockholders was held and it was agreed that the Club should lease these two lakes from the Quebec Government for a period of ten years at a rate of $500 per annum. Incorporation of the Gatineau Fish and Game Club dates from November 16 of that year.

Pennie and Martin's full article, which goes into detail about the Club and its early days, can be found online here.

Franchot's maternal grandfather S.P. Franchot was an impressive man. The son of a congressman, S.P. would be a civil engineer, businessman, patent holder for his electrolyte process, and senator before his death in 1908.

In various early Hollywood articles, Franchot Tone mentions spending his childhood summers in Canada and in 1937, Franchot's father Frank Jerome Tone purchased additional property (the estate of W.W. Butler) on the club limits.

Newspaper Mentions of Franchot's Involvement
From the Montreal Gazette on July 23, 1940:

When Franchot Tone wants a holiday he picks for real pleasure a fishing trip in Ontario…Mr. Tone arrived at St. Hubert Airport yesterday afternoon, visited Montreal briefly and left by plane for Ottawa at 7 o’clock. In Ottawa he is to meet his father, Frank J. Tone, of Niagara Falls, N.Y., and the two of them will spend two weeks, maybe three, fishing and relaxing with perhaps a little golf on the side…born in Niagara Falls, Mr. Tone knows that part of Ontario just across the border pretty well, having spent his summer holidays from the age of three to 23 around there.

In Ottawa Citizen, May 19, 1960:

As you read this column (Rod and Gun by Vern Bower), Cliff and I will be in the far north of the Eagle Depot country with a group of friends including actor Franchot Tone…and mayor Jean Paul Desjardins of Gracefield. We move north from our Danford Lake headquarters to Kazabazua Creek, then sweep north to the Picante and from there we push on to Cayamant and on into the Eagle…Our headquarters will be in a cedar cabin, sweet-smelling because it was built from the reclaimed timber of a barn. Very unusual, and in a long stretching line, will be the tents in which Franchot Tone and his friends prefer to live while in Canada.

On August 28, 1960, the New York Times reported:

Henrik Ibsen’s rarely staged “When We Dead Awaken” will be rehearsed at a fishing camp in the Canadian wilds…Franchot Tone, who will be starred, along with Viveca Lindfors and Betsy von Furstenberg, has invited the cast to his fishing retreat at a lake near Gracefield, Que., about sixty miles north of Ottawa.

From the Montreal Gazette on June 2, 1966:

MLA Fournier has not been alone in his efforts to develop the county’s full potential as a mecca for Canadian and American tourists. He has had the valued support of veteran Hollywood actor Franchot Tone, who maintains a year-long residence in the Gracefield area.

In the Ottawa Citizen's obituary of Franchot in 1968:

Stage and screen star Franchot Tone, whose second home from early childhood was the Gatineau area, died at his home in New York City Wednesday of lung cancer...Tone sought privacy away from the gossip columns in the Thirty-One Mile Lake area 28 miles south of Maniwaki. His father was one of the first to build a summer home on Thirty-One Mile Lake near Gracefield, Quebec. Eventually the camp on Thirty-One Mile Lake became the Gatineau Fish and Game Club. Tone visited the area annually in the summer and fall to fish and hunt moose. He held a lease on at least a dozen good trout lakes. He sometimes visited Gracefield area in winter to hunt wolves on snow sleds. He was an excellent outdoorsman. When rehearsing a Broadway play, he would frequently invite the cast to Thirty-One Mile Lake for long weekends. He was a lifelong friend of the late Jean Paul Desjardins, mayor of Gracefield for many years. "I love every stick and stone in this wonderful country," he once said. 

Joan Crawford's Visits
It is possible that Franchot first showed Joan the Gatineau area in 1933, but I cannot prove it. When they were dating in November 1933, Franchot and Joan visited New York together. It's possible that Franchot would've taken this holiday to show Joan the Canadian home that he loved, too.

In July 1940, the Ottawa Citizen reported that Franchot was in the Gatineau Valley area on a vacation with his father and that he would be there for several weeks. In August 1940, the Ottawa Citizen included the headline,"Joan Crawford Pays Surprise Visit to Ottawa." The article read:

Recognized by only a few Ottawa people though she passed hundreds on foot and while driving around the Capital during an automobile ride, Joan Crawford, titian haired star of the screen, paid a flying visit to this city yesterday to do some shopping at the end of a four-day visit to the Ottawa district and Gatineau Valley, where she enjoyed what she termed a ‘real Canadian holiday’…Miss Crawford, who came to Canada unaccompanied, spent the greater part of the afternoon in Ottawa and left by train for New York. During her short stay here she was escorted by D. Leo Dolan, director of the Canadian Travel Bureau, and an old personal friend who had met her in Hollywood.

Something tells me that Franchot and Joan vacationed a bit together during this surprise visit. They were divorced at the time, but remained friendly, and Joan would visit the area with Franchot several more times after this. I've no proof, but I feel that there is no way Franchot would've been in the Gatineau Valley in July and August of 1940 and Joan would've been there in August and not been with each other at some point in their trips. I think they were just excellent secret keepers.

On March 26, 1955, the Ottawa Citizen stated about Joan:

As to Canada, she said she ‘adored’ Canada and particularly liked Lake Louise and Banff. She admitted being in Ottawa three years ago but ‘kept it quiet’.

Again, another trip to the region "kept quiet" in about 1952.

In June 1965, Franchot and Joan were photographed at the Jean Lesage International Airport after having vacationed together at Franchot's home in Gracefield. You can view those photos here.

Friends' Remembrances
John Strasberg (son of Lee Strasberg) wrote in his autobiography:

I don’t remember feeling any peace or harmony from the moment we moved back to New York in 1947 until I began spending summers in Canada with Franchot Tone when I was twelve. We hunted and fished, camping in Quebec’s wilderness country. Franchot’s wealthy industrious family owned three houses that sat on the ridge of land between two lakes that were part of the Gatineau Fish and Game Club, near Gracefield, Quebec. We portaged deep into land that he owned, smearing honey under the canoes of poachers so that the bears would destroy them. Franchot became one of my heroes, once I realized that heroes could be human…He exposed me to a world that I loved and felt at home in…Above all, he taught me that work is part of one’s natural respect and love of human life, but it is not a way to ignore it or dominate it.

In his autobiography, actor Burgess Meredith wrote:

There were also some quiet times in Canada at his hunting lodge. Tone had a secret side to him. It was his love of the Canadian woods. He was a fine woodsman.

Today
Franchot's family still owns property and is active in the Gatineau area. Franchot's grandson (also named Franchot Tone) performed at the Gatineau Fish and Game Club in 2013.

Sources:

• The Concluding Chapter of Crawford: http://www.theconcludingchapterofcrawford.com/1965.html
• Hills, Frederick Simon. New York State Men: Biographical Studies and Character Portraits. Vol. 1. 158-159.
• Ottawa Citizen: November 16, 1933, July 20, 1937, July 23, 1940, August 28, 1940, March 26, 1955, May 19, 1960, June 2, 1966, September 19, 1968.
• Meredith, Burgess. So Far, so Good: A Memoir. Boston: Little, Brown, 1994. 72-76. Print.
• Pennie, Archie and Carol Martin. "A Century of the Gatineau Fish and Game Club." Up the Gatineau! Vol. 21: http://www.gvhs.ca/publications/utga-a-century.html
• Strasberg, John. Accidentally on Purpose: Reflections on Life, Acting, and the Nine Natural Laws of Creativity. New York: Applause, 1996. Print. 8-9.