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sapphiere

Tyrone Power for SOTM May 2014

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>Power was never really a swashbuckler, the way Flynn was. While Flynn was groomed to be Faibanks successor, Power was being groomed to be a combination of Valentino, Gilbert, and Fairbanks all in one.

 

That's a valid point, Max. Flynn was essentially groomed as a film adventurer by his studio (much to the actor's chagrin), though there were a few comedies sprinkled into the mix, as well as even a couple of soap operas during the late '30s.

 

Power, at Fox, after becoming a star, was featured in a greater variety of film genres during the late '30s, a few comedies and musicals, along with some historical spectacles with an emphasis upon (still impressive) special effects.

 

It was in 1939 that both actors were starred in a western. Power would only appear in two more in his career while Flynn would frequently return to that genre. Flynn, as an action hero, triumphed convincingly on screen in costume adventure, western and war drama, a record that no other actor can match in versatility.

 

During the '30s Flynn did give one performance that I feel was of some depth, in the 1938 remake of The Dawn Patrol, a performance that gave strong indications that he had greater resources as an actor than he was being allowed to demonstrate in a Robin Hood or Dodge City.

 

Power's work as an actor in the '30s, to me, relies primarily upon boyish charm. Does anyone take him seriously, for example, as a Hindu doctor in The Rains Came? Still, he had wonderful screen presence and the likeability factor going for him. But I don't think Power gave a performance that decade remotely as impressive as Flynn's work in The Dawn Patrol.

 

I think it was as a result of the sucess of Flynn's Robin Hood that Fox decided to cast Power as a direct competitor to him as a swashbuckler in The Mark of Zorro. To me, Power's performance is this film is a revelation. Not only is he a most convincing adventure figure

but he also showed his ability to play droll humour in those delightful scenes in which he played a fop. Power is every bit as romantic as Flynn in this film but there is an indication of more sensitivity in his performance than with the more macho Flynn who, during his prime years, was always an exuberant free spirit on screen.

 

During the '40s Power would appear in four swashbucklers to Flynn's two. Power would enlist in the service, missing on the screen for two years, while Flynn, rejected from the service, would put in his war service on the screen, primarily a war hero in movies during the 1942 to 1945 period.

 

Of Powers' work as a actor during the early '40s, he is a swaggering pirate in The Black Swan which, for me, is probably his most noteworthy performance of the period. Flynn's strongest work at the same time is in a series of Raoul Walsh-directed films, They Died with Their Boots On, Gentleman Jim and Objective Burma. Flynn was allowed to showed his own sensitivity, at times, as an actor in both Boots and Jim, as well as give a de-glamourized portrait of a soldier in Burma, without falling back upon his larger-than-life personality in that film. I think Flynn is extraordinarily effective in these films, both as an actor as well as personality.

 

Up until the end of the war, I would have to say that I am more impressed by Flynn's work as an actor than that of Power. I fully acknowledge, however, that Power gave a wonderful performance in The Mark of Zorro, that one performance pretty much the equal of the best of Flynn.

 

The great leveller in a Flynn-Power comparison as actors, I feel, comes with Nightmare Alley. Power gives, I feel, a faultless performance, of charm, guile and ambition in his seering portrait of a morally corrupt individual. The closest that Flynn had to this characterization was when he played a manipulative murderer in Uncertain Glory. And Flynn is utterly persuasive in the part, as well, I feel, but the film suffers from script weaknesses, and the overall impression falls short of Power's in Nightmare Alley, a much stronger and darker film, very much a film noir classic.

 

After Nightmare Alley, Power was once again cast in largely two dimensional roles, not requiring as much from him as a performer, and it wouldn't be until he was cast with John Ford in the Long Gray Line that he would again be allowed to bring some depth to a wonderful character performance, including a perfect Irish brogue.

 

Power would then have something of a resurgence as an actor, I feel on screen, following up with strong work in The Eddy Duchin Story, Abandon Ship (another great performance, managing to show the human side of a man who must make ruthless practical decisons) and his final sly, charming characterization in Witness for the Prosecution.

 

Flynn, on the other hand, was slowly deteriorating as a man and, with time, as an actor, after the war. He did have one character turn, as Soames Forsyte in That Forsyte Woman, unlike anything he had ever done before. Many like his performance in this film, though I think that because of script and direction limitations, the performance is not quite as successful as Flynn would have hoped.

 

Forsyte Woman is a pretty dull, stolid MGM production, yet Flynn always called it a personal favourite in his career, undoubtedly because it allowed him to play a reserved introverted cold individual, bereft of charm. Flynn the actor wanted the opportunity to show he could play something other than the adventurer. He gives, I feel, an interesting performance, showing potential, but it's not the actor at his best.

 

His best, and the last great star performance of his career, I feel, would be in more familiar surroundings, playing the title character in Adventures of Don Juan, a film which allowed him to demonstrate his facility with sly sophisticated tongue-in-cheek humour in a manner that he never had before or would again. He demonstrated a facility with clever dialogue in this film that is something of a revelation, I feel. Flynn's own cynicism tellingly adds to the jadedness of this world weary Don Juan characterization.

 

The Flynn of the '50s, however, was spinning downhill, which shows on screen, while Power was initially trapped in a series of formula productions, finally allowed to spread his wings as an actor on screen in the John Ford production. Power also did considerable stage work during the '50s, on occasion (Mr. Roberts) to critical acclaim, apparently showing resources as an actor there that his films, for the most part, had denied him.

 

I don't think that after 1949's That Forsyte Woman, Flynn was particularly concerned with proving himself as an actor. He was going through a slow personal crisis of addiction and needed money. I even strongly suspect that he began to lose confidence in himself as an actor during that final decade.

 

In 1957 Power and Flynn would meet professionally in the making of The Sun Also Rises. Power was the star, his career now enjoying a solid comeback, while Flynn had been reduced to playing the lead in a cheap "B" thriller recently shot in Cuba.

 

The film would be a temporary boon to Flynn's career. Playing a variation of what he had done to himself, as a alcoholic, Flynn had the courage to show aspects of his own character in this film - alternating from the drunken comic buffoon to a lonely figure sitting on the edge of a bed. Flynn's performance is heart breaking, much of that because it is such a searingly personal portrait. Afterward Flynn dismissed the good reviews he was receiving for his performance, saying he was just playing himself. But Flynn's comments about his acting were always modest.

 

Power always strived to prove himself as an actor and had clear ambition along those lines. His film career sporadically allowed him to prove that he was capable of far greater depth as a performer than most people ever gave him credit - Mark of Zorro, Nightmare Alley, Long Gray Line, Abandon Ship, Witness for the Prosecution.

 

Flynn, despite his protests that he knew he was no actor, also desired to prove the same thing. Why else would That Forsyte Woman be such a personal favoruite for him? But Flynn was also torn apart, unfortunately, by personal demons. With the resulting career decline he suffered, while Power's began to show signs of soaring once again, it's difficult to compare the two as performers, I feel, in that last decade. Power got opportunities not provided to Flynn, who became incapable of sustaining a performance towards the end, other than to (touchingly) play variations on himself as an alcoholic.

 

Ultimately, towards the end of his career (as well as in Nightmare Alley) Power was clearly demonstrating, in my opinion, the ability the play characters of far greater depth than 95% of his films had allowed him to show. He was starting to show himself both on screen as well as on the stage as an actor who was a descendent of a family with a proud theater heritage. If only for his performances in Nightmare Alley and Abandon Ship, Power has the right to be called a fine actor, in my opinion.

 

As for Flynn, the roustabout Aussie adventurer who came to Hollywood and became one of the most scandalizing figures there? Beneath that glib, playboy fascade there beat the heart of an man who wanted to be a good writer and wanted to be known as a good actor.

 

At one moment, while making The Sun Also Rises, co-star Eddie Albert turned to Flynn and told him that he always thought he had been a good actor. And what was the response of macho "I'm no actor" Flynn to this statement? Albert reported that he started to tear up.

 

Well, I think Flynn was a good actor too. As clearly demonstrated in his best work - Dawn Patrol, They Died With Their Boots On, Gentleman Jim, Objective Burma, Don Juan. Oh, yes, those later poignant portraits in Sun Also Rises and Too Much Too Soon deserve to be mentioned, as well.

 

Who's a better actor? Power or Flynn? Up until the end of the war, I would go with Flynn as doing more impressive work on screen. Flynn often made it look so easy for him on the screen that some people don't regard it as talent. Afterward, however, certainly during the '50s, Flynn started going downhill as a performer (a reflection of what was happening to him off screen, of course) while Power had the chance to occasionally soar as an actor on screen, particularly in his final films.

 

I leave it up to others to make a final pick between the two, if a final pick has to be made. Both actors, at their best, could be exceptional as performers, I feel, but too often they were frustratingly limited in their opportunity to show it because of the demands of their studios who knew that "great acting" was not what their fans were looking for.

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I watched Universal International's THE MISSISSIPPI GAMBLER last night. And while it is technically listed as a historical romance at the TCM database, I think it has considerable western elements. In fact, THE RAWHIDE YEARS which was made by the studio three years later seems to recycle some footage and certainly the main riverboat set-- and it airs on the Encore Western channel frequently.

 

So in addition to JESSE JAMES, RAWHIDE and PONY SOLDIER, I would say that THE MISSISSIPPI GAMBLER is a western-influenced picture that fans of the genre (and certainly, fans of Tyrone Power) would enjoy.

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I suppose that some might say that The Mississippi Gambler's backdrop gives it a western ambiance, but it's certainly safe to say that it is not a "western western," so to speak, with all the familiar tried and true elements that go with that genre.

 

When it comes to playing a cowboy, Jesse James is the only time that Power did it. When it comes to films of the western genre, though, certainly a handful of other films of his (such as Rawhide, Pony Soldier and, I suppose, Brigham Young) should be included as well, I feel.

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I could easily go along with your argument about BRIGHAM YOUNG-- it certainly has western elements, too.

 

PONY SOLDIER is a curious cross breed-- it is one part western, and one part action adventure. And it is set in Canada, perhaps to distinguish it more from routine oaters of the era.

 

UNTAMED takes this a step further. Obviously its structure is inspired by formulaic western drama, but the emphasis is decidedly more on adventure and even more exotic locales are used.

 

It was like Zanuck was afraid to put Power into a traditional western. Or else it was Power himself who objected to it. Since THE MISSISSIPPI GAMBLER carefully avoids typical western labeling, and since it was produced by the actor at another studio, maybe that's the answer.

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I must commend you, Tom, for an excellent comparison of Flynn's and Power's careers! Thank you!

 

But just a couple of points:

 

Power also proved to be very adept at light hearted comedy, especially in his early films with Loretta Young ("Love Is News", "Caf? Metropole", and "Second Honeymoon") and I think given the chance, he might have given Cary Grant a run for his money in this category. Also Power exhibited a flair for comedy in his many radio broadcasts, especially with Jack Benny. I believe that had Power been around to pursue television, he could have been a big star and influential in that medium as well.

 

In the film, "My Favorite Year", Errol Flynn prototype Allan Swan says, "I'm not an actor, I'm a movie star!". That quote might have come directly from Flynn's mouth exactly. I think the "Tasmanian Devil" really saw acting as a way to pursue his rakish lifestyle... making more money than he ever dreamed, having access to some of the world's most beautiful women, and enjoying all of the amenities of a big movie star... mansions, yachts, travel, etc. Power (perhaps because of his parents and his acting family history going way back to Ireland) really pursued his craft as an art form, in spite of the bottom line approach at Fox, his boss Zanuck and the Hollywood system in general.

 

Also, I would say that apart from "Zorro", "The Black Swan" and "Captains from Castile", Power was never the swashbuckler that Flynn was. I would not consider "Son of Fury", "The Black Rose" or "Prince of Foxes" to be swashbucklers, but more like action/adventure films or action/romance. Not at all in the tradition of "Captain Blood", "Robin Hood" or "The Sea Hawk". Personally, I think Flynn's best work was in "The Private Lives of Elizabeth and Essex" (great with Bette Davis) and basically playing himself in "Too Much Too Soon".

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Thanks very much, Max. I'm glad you enjoyed my career comparisons of the two actors.

 

We're in complete agreement that Flynn came to Hollywood, regarding it as another adventure, and persuing what he regarded as "success" - i.e fame (which became a double edged sword for him), money and, let's face it, sex.

 

Power came because he truly wanted to continue in his family's tradition as an actor. It was a calling to him, whereas I feel to Flynn, initially, it was just another lark.

 

Something happened to Flynn, though, after he was in Hollywood for a few years. The Flynn who first arrived was idealistic, to a degree, and full of energy. He also enjoyed a certain degree of respect for himself from his screen image as a hero. (Not that any critic would ever confuse what he did on screen was real acting, mind you).

 

But he enjoyed a status as a film star that changed with the statutory rape trial, with him then becoming the butt of comic jokes and he lost the respect that he had previously enjoyed from others. I think this ate away at Flynn, gradually contributed to his self destructive behaviour and, ultimately, his screen performances (certainly in the '50s) and, therefore, any appraisal that we now try to make of him as an actor.

 

Power, on the other hand, didn't have this problem.

 

>I think Flynn's best work was in "The Private Lives of Elizabeth and Essex" (great with Bette Davis) and basically playing himself in "Too Much Too Soon".

 

I also think his much criticized perfromance as Essex is underrated (particularly in the film's final third).

 

And I agree that there is certainly a lot of Flynn in his Barrymore performance in Too Much Too Soon (to the extent of calling one character in the film "sport" as a term of endearment - that was clearly a slip that wasn't edited out, as Flynn used that term in real life himself, not Barrymore).

 

Efrem Zimbalist Jr., who also appeared in Too Much Too Soon, thought Flynn's insecurity as an actor added to the vulnerability of his portrayal. Certainly the insecurity in Flynn's eyes in that film adds to the poignance of the performance.

 

And I would make a point of selecting one scene in that film - that when a drunken but expectant Flynn/Barrymore tries to phone his former wife, hoping for a reunion, the camera in complete closeup on the actor's face - as a genuinely touching moment in which Flynn was NOT just being Flynn.

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I remember reading somewhere, that Flynn's statutory rape charge was actually a result of Flynn's studio, Warner Bros., for not paying restitution (bribe) to the L.A. Police Dept. Apparently had WB paid the L.A.P.D. their due (a common practice for Hollywood studios back then), the police would never had gone after Flynn. But Flynn paid the price.

 

Also, is it true that Flynn escaped complete financial ruin by winning a Jamaica casino or hotel in a poker game? That really does seem incredible! Apparently he was really down on his luck when this turn of event happened?

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Max, I never heard anything about Flynn winning a casino or hotel to avoid financial ruin. At the end of his life, in fact, he was scrabbling for any TV work he could get (not much), and in the process, sadly, of trying sell his much beloved yacht, the Zaca, because he needed the money.

 

He did, however, own property in Jamaica, which included a somewhat rundown hotel and bar. (I think he quite enjoyed the thought of being the proprietor of such an establishment).

 

That property was a part of his inheritance and is, to the best of my knowledge, still run by Flynn's widow, actress Patrice Wymore. She put the estate up for sale a few years ago but I haven't heard that she sold it, though I could be wrong about that.

 

Wymore has actually now lived on Flynn's Jamaican property (a place where he had wished to be buried) more years than Flynn himself was alive.

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I am not alone in my enjoyment of THE RAINS CAME. This movie was a Bob`s pick in June 2013. The plusses are the performances of Myrna Loy and George Brent along with the amazing special effects which won an Academy Award.

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>I am not alone in my enjoyment of THE RAINS CAME. This movie was a Bob`s pick in June 2013. The plusses are the performances of Myrna Loy and George Brent along with the amazing special effects which won an Academy Award.

 

And don't forget character actress Maria Ouspenskaya who gives a splendid performance.

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!

 

Now that is a character actress!

 

The Rains Came is a sumptuous Fox production, with stunning photography, art direction, matte paintings and special effects creating a wonderfully exotic Hollywoodized portrayal of India, complete with a sense of mystery and romance. While I could quibble about the screenplay, I have no problem in acknowledging the splendor of its handsome cast and, in particular, the performance of George Brent.

 

As for Ty as the good doctor, that "copper Apollo," Major Rama Safti, well, he sure does look great in that turban.

 

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!

 

Even the titles in this film are spectacular:

 

Screen%2Bshot%2B2011-05-17%2Bat%2B12.36.

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I agree that the titles are spectacular. Just like the titles for MILDRED PIERCE. Love 'em!

 

And yes, Ouspenskaya was a truly special talent. I'd like to think that an actress like her could exist in today's Hollywood.

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Tom (and TB):

 

BRIGHAM YOUNG is most certainly in the tradition of the early classic silent westerns such as THE COVERED WAGON and THE IRON HORSE, namely the westward trek. And besides UNTAMED, Power did another Western in all but name only, KING OF THE KHYBER RIFLES, his first cinemascope production.

 

One of the reasons Powers movies became more and more routine by the end of the 40s and early 50s, was that Fox was giving its more prestige assgnments to Gregory Peck. Power should have fought for the roles that Peck did in GENTLEMENS AGREEMENT, TWELVE OCLOCK HIGH, and THE GUNFIGHTER. Along with the latter, Power could have gotten Pecks bad guy role in another very good western, YELLOW SKY. Buf he probably missed getting cast in some of these due to his staying abroad to film for the requisite minimum 18 months to receive tax breaks; this he did in 1948 and 1949.

 

Other bad guy roles he could have done, had the studio been amenable in the wake of NA, were the Jose Ferrer role in WHIRLPOOL, as well as some of the leads that Richard Widmark was doing at this time.

 

Finally, too bad he turned down THE FOXES OF HARROW and LYDIA BAILEY, on the grounds of not wanting to do costume adventures. In the former, he would have been reunited witb Gene Tierney (she turned it down after he did), and it would hsve given him a role similar to what he would do later in MISSISSIPPI GAMBLER. And in the latter, he would have reunited with Linda Darnell. He would later turn down the likes of MY COUSIN RACHEL and THE ROBE, for being costume films; these would give Richard Burton a toehold in Hollywood as well as

Successive oscar nominations.

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Myrna Loy wrote the following about working with Ty Power in The Rains Came:

 

"He used to invent games for us to play on the set, just to keep my mind off other things. "If you weren't who you are," he asked, "what would you like to be?"

 

"I haven't the slightest idea," I replied. "Do you know what you'd like to be if you weren't Ty?"

 

He made a graceful sweeping gesture with his hands: "I would like to be the wind, so I could be light and free and be anywhere I want at any time. I could go all around the world and look in people's windows and share their joys and sorrows. "When he died, that's all I could think of. I said to myself, "Well, all right, he's the wind."

 

-From Being and Becoming by Myrna Loy

 

It sounds like there was a bit of a romantic poet in Tyrone Power.

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FYI....in the next couple of weeks, Fox Movie Channel.will.air the.last.of Errol Flynn's three late performances as a drunk, in 1958s THE ROOTS OF HEAVEN. I will post.the date and time on the"Upcoming 20th Century Fox Clsssics..." thread in fhe Hot Topics forum, and hopefully will remember to do so here as well.

 

PS......speaking.of.THE RAINS CAME, I always felt tha Errol Flynn would have been perfect in George.Brents part in the remake,.as.the dissipated roue, much better.than Fred.MacMurray.

 

Edited by: Arturo on Nov 20, 2013 4:08 PM

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Tyrone made a costume drama in 1951 entitled " I`LL NEVER FORGET YOU" 1951. The movie was made in London after Ty finished performing on stage in MISTER ROBERTS.The movie is so so, but the beginning and end are in black and white. The period section is in color and features the beautiful Ann Blyth.Maybe the tax breaks were still in effect also.

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Max, Thank you for the photo from HOLLYWOOD STEPS OUT. I have not seen the figure skating movies THIN ICE or SECOND FIDDLE. The Errrol Flynn Tyrone Power comparison has been exciting to read. I learned many new interesting facts from this thread.

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I much preferred the original THE RAINS CAME to the remake THE RAINS OF RANCHIPUR. Myrna said it right when on seeing Tyrone she said "Who is the pale copper Apollo." A few years Tyrone Power III and Stephen Bogart had a reunion at Malabar Farm in Mansfield, Ohio. They came for a fundraiser for the farm. Louis Bromfield the original owner wrote "THE RAINS CAME" and a story which a Bogart film IT ALL CAME TRUE was made. OF course, the farm was the setting for the wedding of Bogie and Bacall.

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Max, thanks for the imformation on the documentary. I enjoyed listening to some of Tyrone` s costars on working with him. The Biography Channel is not the same as when A & E broadcast the lives of various stars as Biography.

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I cannot decide between LOVE IS NEWS and CAFE METROPLE. LOVE IS NEWS has more physical comedy, Don Ameche and character actor Walter Catlett, and is superior to the remake THAT WONDERFUL URGE. Caf? Metropole has lovely set design, Gregory Ratoff in a acting role, and Tyrone`s Russian accent that comes and goes, comes and goes.

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I always thought Tyrone and Loretta Young made a good team/couple. I wonder how TP would have fared if he were cast in the Cary Grant role as the angle in "The Bishop's Wife" opposite Loretta?

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*Tyrone made a costume drama in 1951 entitled " I`LL NEVER FORGET YOU" 1951. The movie was made in London after Ty finished performing on stage in MISTER ROBERTS.The movie is so so, but the beginning and end are in black and white. The period section is in color and features the beautiful Ann Blyth. Maybe the tax breaks were still in effect also.*

 

This movie is a remake of BERKELEY SQUARE. Power's original costar was supposed to be Jeanne Crain, who dropped out because she (again) became pregnant. Then it was assigned to Maureen O'Hara, then to new contractee leading lady Constance Smith, but both were reassigned to other projects. Ultimately, the studio borrowed Ann Blyth for the role.

 

I don't think this was part of Ty's tax break stint, which was done in 1948 and 1949. While overseas, he filmed PRINCE OF FOXES, THE BLACK ROSE, and I believe AMERICAN GUERRILLA IN THE PHILIPPINES. He did RAWHIDE in early 1950 in California, and INFY was done subsequent to that one, so it would not have been done during that 18 month period.

 

Edited by: Arturo on Nov 21, 2013 2:26 PM

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*Probably Zanuck put newcomers as co-stars with Power as a strategy to give their careers an initial impetus, the same way MGM put newcomers in the Andy Hardy movies.*

 

All of the studios would employ similar procedures to this in getting their promising new faces exposure on the screen, and gauge audience response. The difference in the Hardy series and some Fox movies, was that at MGM the starlet was tested in a featured role in a modestly budgeted film. Fox had a tendency to give new starlets leading roles in big features, as happened with Linda Darnell and Gene Tierney, to name two that went on to fame. However, Fox could also employ a more gradual build up, as with Ty Power. His first role there was a bit at the end of GIRLS' DORMITORY, his second as a featured role in LADIES IN LOVE. Apparently, the audience response was immediate and decisive, because Zanuck and director Henry King cast him next in the lead of the big budget LLOYDS OF LONDON, instead of the previously announced Don Ameche (then also just getting started as a leading man).

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