An early talkie from iconic director John Ford (Stagecoach; The Quiet Man; The Searchers), 1931’s Arrowsmith is no western (despite arrow being in the title), rather, it takes a sweeping look at the life of Dr. Martin Arrowsmith (Ronald Colman – in a Clark Gable-like performance), from an opening scene in his childhood to his work as a researcher in New York – where he develops a vaccine that he administers during a plague.
Earning four Academy Award nominations, namely Best Picture, Writing-Adapted, Cinematography, and Art Direction, the filmmaker’s skill is immediately evident – especially impressive as this is an early talkie – where most directors struggled to bring the style from the silent era forward due to new challenges (overly sensitive microphones, stagnant camera work used to show the characters as they speak, etc. . .).
Perhaps most stunning is how Ford and director of photography Ray June (Funny Face) build the cinematography to a striking crescendo, a lighter tone as the man works his way through school and becomes a country doctor in his wife’s (Helen Hayes) small hometown, to a thick, weighty atmosphere as the couple head to the Carribean to help administer the vaccine. . . the entire section a spectacle, there is a specific sequence revolving around where his wife lives – poorly slatted shutters, fog rolling in as funeral processions continuously make their way by the front of the home, its moody lighting catches your breath, as if the plague-carrying Grim Reaper were going to arrive out of the pea-soup thick haze any second. It is part German Expressionism, part American horror, and all its own.
Arrowsmith also features an early-ish role from the great Myrna Loy, as an American stranded in the plague-infested Carribean. . . her presence immediately noticeable, a magical way with the camera. Sadly, many of her scenes hit the chopping block as the Production Code began gaining some traction, making the affair between her character and that of Arrowsmith merely hinted at (and very subtly, at that). Another notable performance is that of Dr. Olivier Marchand (Clarence Brooks), one of the first talkies to feature a black character that does not feed into any of the stereotypes viewers would have seen at the time – the man is a competent, caring and sharp doctor that is a respected equal to Arrowsmith.
Though, some problems are evident. Ford, an Irishman who loved his liquor, was reprimanded by producer Samuel Goldwyn – forcing the man to stop drinking during production. The alcoholic director, in an attempt to speed up the shoot, started cutting scenes to wrap things up. . . meaning that moments that were meant to be in the film never even got filmed – Hayes was not happy when many scenes that she saw as being of vital importance were never even given a chance.
Also, because of its extensive scope crammed into a relatively short running time (one hour, forty-eight minutes), it sometimes feels like a motion picture of vignettes. . . jumping from childhood, to school, then small town doctor, only to become a researcher who eventually heads into the field to test his vaccine – those looking for a seamless flow will not find it here (its pacing is a bit awkward).
An early example of a talkie that has the visual style of a silent picture, Arrowsmith will appeal to fans of John Ford, Academy Award nomination enthusiasts, and fans of these early stars. Though Colman is really too old for the role, you can see why he was Sir Lawrence Olivier’s idol, while Hayes and Loy also have their moments. Though it does not stand up as well as other Pre-Code pictures – not as controversial, edgy, or dynamic, it is still a fascinating watch. So, if you are one of those people who don’t want to miss a thing, uncover the other side of John Ford, and experience the sweet emotion of a man livin’ on the edge of scientific discovery – sorry, the other Aerosmith was seeping into my consciousness.