Remembering Martin Balsam On His Birthday

[Martin Balsam in Psycho, 1960]

Martin Balsam (4 November 1919 - 13 February 1996) was one of those great character actors I loved watching. You know the kind. They seem to appear in all your favorite films, the ones you have on DVD and have watched so many times you know the dialogue word for word.

Balsam was the ardent detective, Milton Arbogast, in Psycho (1960) whose agonizing fall down those stairs went on forever. He was the calm and controlled Juror #1 in 12 Angry Men (1957). The way Balsam stood up after the jury had taken one more of those secret votes, you just knew Henry Fonda had finally turned the jury. His portrayal of O.J. Berman in Breakfast at Tiffany's always sticks in my mind, "She's a phoney. But she's a real phoney." Balsam played the sympathetic but ineffectual cop, Police Chief Mark Dutton, in Cape Fear (1962). And when he sneezed that last time in The Taking of Pelham One Two Three (1974) and Walter Matthau realized he had gotten his man...well, what can I say?

Happy Birthday, Martin Balsam.

Martin Balsam's Obituary, The New York Times, 14 February 1996

Programming Note

[Leslie Howard and Kay Francis in British Agent, 1934]

British Agent (1934) to air on TCM Friday, October 28, 10:45 AM EST, 7:45 AM PST [Please check your local listings]

British Agent is a film based on the autobiography of R. H. Bruce Lockhart, a member of the British Secret Service. Lockhart's book, Memoirs of a British Agent, was also said to have inspired one of the

A Very Surprising Man

[Leslie Howard as Peter Standish in Berkeley Square, 1933]

When I first decided to start my Leslie Howard Fan Page on Facebook I had only intended to post some pictures. But in my search for new photos my natural curiosity was piqued and I wanted to know the stories behind the images. This launched me on an almost compulsive search for information about Leslie Howard—The Man. I soon realized that I needed a blog to contain all the information I was discovering and that is how LeslieHowardSteiner.blogspot.com came into being.

Murray Hill

[Leslie Howard pictured in Film Weekly, September 30, 1932]

Most people remember Leslie Howard as Ashley Wilkes from Gone With The Wind (1939) or as Sir Percy Blakeney from The Scarlet Pimpernel (1935). What most people don't know is that Howard was also a writer and had many articles and stories published in The New Yorker, Vanity Fair, The New York Times and many trade magazines. Howard's first published story appeared in The Penny Weekly when he was in his early teens. But Howard didn't limit himself to stories for magazines. He was also a playwright. Two of the first plays he produced, staged and appeared in were of his own composition: The True Artist—of which little is known—and Deception—the story of a private detective on his quest to track down stolen jewels.

Remembering James Whitmore On His Birthday

[The Next Voice You Hear Trailer, 1950]

James Whitmore's (1 October 1921 - 6 February 2009) career spanned radio, stage, film and television. He is one of only a handful of performers to have won three of the four EGOT honors. His 1999 Emmy for Outstanding Guest Actor - Drama Series came for his appearance as Raymond Oz in The Practice. Whitmore won the Golden Globe Award for Best Supporting Actor for his performance in Battleground in 1949, probably my favorite WWII movie. He was also nominated in the same category by the Academy Awards but lost out to Walter Huston for his role in The Treasure of the Sierra Madre (1948). And Whitmore won a Tony for Best Newcomer in 1948's Command Decision.

But my absolute favorite James Whitmore performance was as Joe Smith, average man, in The Next Voice You Hear (1950) co-starring Nancy Davis, soon to be Nancy Reagan. In it, Whitmore hears a voice on the radio claiming to be God who speaks to humanity for several wonderful but terrifying days. I watch the movie at least once a year.

Happy Birthday, James Whitmore.

James Whitmore's Obituary, The New York Times, 7 February 2009

Berkeley Square

[Leslie Howard as Peter Standish in
Berkeley Square, Lyric Theatre, London]

After years of disappointments on Broadway, Leslie Howard finally had a string of successes. It had been ten years since Howard made the decision to "try" acting and he was finally seeing the rewards. Howard had received rave reviews for The Green Hat and Her Cardboard Lover and was now an actor in demand. He got his first chance to star in a purely dramatic role in Escape, touted (due to a misunderstanding) as the last play John Galsworthy would ever write.

Captured!

[Leslie Howard in Captured! 1933]

In March 1933 Leslie Howard was filming Captured! for Warner Brothers. The film co-starred Howard's friend, Douglas Fairbanks Jr. Howard had met Fairbanks during the summer of 1925 when the two happened to be crossing the Atlantic aboard the RMS Majestic at the same time. Fairbanks was just fifteen years old and hadn't yet made his first film.

Programming Note

[Leslie Howard and Bette Davis in Of Human Bondage, 1934]

Of Human Bondage (1934), directed by John Cromwell and produced by Pandro S. Berman and RKO Radio Pictures, stars Leslie Howard in the finest screen performance of his career up to that time and Bette Davis in her breakout role. Of Human Bondage is based on the 1915 novel of W. Somerset Maugham, a novel which has never been out of print since

Vague Leslie

[Leslie Howard in John Galsworthy's Escape, Booth Theatre,
New York, 26 October 1927 - March 1928, 173 Performances]

By 1927 Leslie Howard had become very well known as one of Broadway's best comedic actors. But it wasn't until his appearance as Matt Denant in John Galsworthy's Escape that he was fully accepted as a dramatic actor. And his reviews were the best of his ten-year career:

"One of the fine performances of our day in the theatre is

Leslie Howard's Rules of Theatre Etiquette

[Leslie Howard as Oliver Blayds-Conway in The Truth About Blayds
by A. A. Milne, Booth Theatre, New York, March 14 to June 1922,
108 Performances]

Leslie Howard's Rules of Theatre Etiquette:

1. Don't ask the box office man if it's a good play.
2. Don't have any faith in dramatic critics, the star system, press agents, photographs in the newspapers, or articles by actors.
3. Don't try to buy tickets for a play an hour before the performance.

Real or Imagined?

[Leslie Howard with Archie Mayo
on the set of It's Love I'm After, 1937]

Leslie Howard's son, Ronald "Wink" Howard, talks about his father's shyness:

"As far as living in Hollywood was concerned Leslie had always kept a pretty low profile, not from any innate hostility to the place, but simply because he was not a very social animal. He was rarely seen 'around and

My Chronology of Leslie Howard's Life

[Leslie Howard with his children, Doodie and Wink,
at their home Stowe Maries, at Dorking in Surrey c. 1939]

I have now been working on my "Chronology of Leslie Howard's Life" for months and have just made it halfway through his professional life—to 1930, where his movie career now begins. This is monumental for me. I cannot tell you how difficult it has been to put the pieces of Howard's life together in a meaningful sequence. I have outlined the reasons this is so arduous in a note which can only be viewed by clicking the link in the Chronology, or by clicking here. I am not going to rehash all those reasons in this post, but I will talk about the most primary among them.

I Know What It's Like to Be in Human Bondage, Continued

[Leslie Howard with his daughter Leslie Ruth "Doodie," c. 1926]

"He was not a great party-lover, which also endeared him to his children, and most parties, when I was small, found him sneaking up to my room like a conspirator and again dozing off on my bed. He was usually found out; someone would miss him, and my poor mother then had to play the villain and come searching for him. Suddenly, her voice would be heard

I Know What It's Like to Be in Human Bondage, Continued

[Leslie Howard with his children, Ronald and Leslie Ruth, c. 1930]

In August 1934, Gladys Hall interviewed Leslie Howard for Motion Picture Magazine. I do not know if Ms Hall realized before the interview began that Howard was at that moment so preoccupied with thoughts of his children, but she definitely knew it afterward. In one of the longest interviews Howard ever gave, he talks exclusively about his feelings on

I Know What It's Like to Be in Human Bondage

[Leslie Howard with his son and daughter, Ronald "Wink"
and Leslie Ruth "Doodie," in one of the last pictures they
took together before the start of WWII]

Following is an excerpt from an interview with Gladys Hall for Motion Picture Magazine printed in the August, 1934, issue:

I was reminded, as he talked, of a little incident Bette Davis told me about him when they were working on Of Human Bondage together. She said that Leslie was standing just off

Leslie Howard In Sing-Sing

[Leslie Howard, New York Public Library,
Billy Rose Collection, c. 1924]

On 1 January 1924 Leslie Howard began to keep a diary. Whether it was because he received a leather-bound journal for Christmas, or he had made a New Year's Resolution, or he merely wanted to keep a record of his life and the people he met, we don't know. Howard and his family were living just a block away from Scott and Zelda Fitzgerald in Great Neck, New York, at the time.

Ronald "Wink" Howard included the first six months of entries in Trivial Fond Records (1982), the book of Leslie Howard's own writings with

Not Leaving Anything to Chance

[Leslie Howard, 1924]

Excerpt from my Leslie Howard Biography:

Weeks passed, with the job at Cox's still being held open(3), when Howard finally visited the office of Ackerman May, Theatrical Agent. May, who liked the sound of Howard's voice, referred Howard to the fifth touring company of Peg O' My Heart. Howard managed to secure an audition but he wasn't taking any chances on his performance. While waiting for the day of his audition to arrive he and Ruth saw the show every night until he had every word, every move, every inflection memorized. The producer was amazed and convinced he had found a star. But in the words of Leslie Ruth Howard(6), all he really had was a "well-trained monkey." Howard was offered the part of "Jerry" at a salary of £4.4.0 per week. Fortunately, his wife, Ruth, was also hired as understudy to the ladies of the company which meant that she could also go on tour and be paid as well.(3)


(3) Fletcher, Adele Whitely. "Love In The Life Of Leslie Howard." Modern Screen, October, 1933. Dell Publishing Company, Incorporated, New Jersey.
(6) Howard, Leslie Ruth. A Quite Remarkable Father: A Biography of Leslie Howard. New York: Harcourt Brace and Co., 1959.

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Leslie Howard - His Own Man

[Leslie Howard, c. 1920s]

Roland Pertwee remembers Leslie Howard after his death in a letter to Ronald Howard, Leslie Howard's son:

"I have very tender, soft-edged memories of Leslie who, untouched by success, moved gently through life and always contrived to appear just a scrap out of focus. Unlike the majority of stars in that particular

Leslie Howard Clairvoyant, Or Just Good Businessman?

[Leslie Howard, c. 1920]

Excerpt from my Leslie Howard Biography:

Based on Leslie Howard's later success in managing his career, he would have made a fine businessman. Howard had the foresight to give up lucrative salaries as actor and instead take minimum wage to become co-producer in many of the plays in which he appeared—co-producer with half the profits and movie rights for any play that sold, and in those days, most of the talking pictures were just transplanted plays from Broadway.(3) But the idea of life as a businessman stuck at a desk in a dreary office seemed tedious and dull to Howard, and he still held firm to his dream of becoming a writer.


(3) Fletcher, Adele Whitely. "Love In The Life Of Leslie Howard." Modern Screen, October, 1933. Dell Publishing Company, Incorporated, New Jersey.

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Programming Note

[Leslie Howard and Olivia de Havilland in It's Love I'm After, 1937]

It's Love I'm After to air on TCM this Sunday, August 21, 7:30 AM EST, 4:30 AM PST [Please check your local listings]

If you missed the chance last month to see Leslie Howard, Bette Davis and Olivia de Havilland in this 1937 "rippling farce, brightly written and deftly directed," you have another chance this Sunday. It's Bette Davis Day on TCM.

Says Frank S. Nugent in The New York Times review of 11 November 1937: "Mr. Howard's Basil Underwood is a gem of conceit, self-delusion and calculated posturing, but he shyly confesses in every bit of character shading that there is a very human chap beneath the veneer." "This [farce] spins delightfully." "Mr. Howard and Miss Davis must give us other farces and Archie Mayo must direct them again. It's good to find a comedy with people in it instead of whimsies."

In the vernacular of today—It's funny! It's a delight! Watch it!

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