American actor, director (1905?1968)
Franchot Tone
|
---|
|
Born
| Stanislaus Pascal Franchot Tone
(
1905-02-27
)
February 27, 1905
|
---|
Died
| September 18, 1968
(1968-09-18)
(aged 63)
|
---|
Alma mater
| Cornell University
|
---|
Occupations
| |
---|
Years active
| 1926?1968
|
---|
Spouses
|
(
m.
1935;
div.
1939)
(
m.
1941;
div.
1948)
(
m.
1951;
div.
1952)
(
m.
1956;
div.
1959)
|
---|
Children
| 2
|
---|
Stanislaus Pascal Franchot Tone
(February 27, 1905 ? September 18, 1968) was an American actor, producer, and director of stage, film and television. He was a leading man in the 1930s and early 1940s, and at the height of his career was known for his gentlemanly sophisticate roles, with supporting roles by the 1950s. His acting crossed many genres including
pre-Code
romantic leads to
noir
layered roles and
World War I
films. He appeared as a guest star in episodes of several
golden age
television series, including
The Twilight Zone
and
The Alfred Hitchcock Hour
while continuing to act and produce in the theater and movies throughout the 1960s.
Tone was nominated for an
Academy Award for Best Actor
for his role as Midshipman
Roger Byam
in
Mutiny on the Bounty
(1935),
[1]
along with his co-stars
Clark Gable
and
Charles Laughton
, making it the only film to have three simultaneous Best Actor nominations, and leading to the creation of the
Best Supporting Actor
category.
Early life and education
[
edit
]
Stanislaus Pascal Franchot Tone was born in
Niagara Falls, New York
, the youngest son of Dr. Frank Jerome Tone, the wealthy president of the Carborundum Company, and his socially prominent wife, Gertrude Van Vrancken Franchot.
[2]
Tone was also a distant relative of
Wolfe Tone
(the "father of
Irish Republicanism
").
[3]
Tone was of
French Canadian
, Irish, Dutch and English ancestry. Through his ancestor, the nobleman Gilbert L'Homme de Basque, translated to Basque Homme and finally Bascom, he was of French
Basque
descent.
[4]
Tone was educated at
The Hill School
in
Pottstown, Pennsylvania
, from which he was dismissed. He entered
Cornell University
,
[5]
where he was president of the drama club,
[6]
acting in productions of Shakespeare.
[7]
He was also elected to the
Sphinx Head Society
and joined the
Alpha Delta Phi
fraternity. After graduating in 1927, he gave up the family business to pursue an acting career, moving to
Greenwich Village
, New York.
[8]
Career
[
edit
]
1927?1932: Broadway
[
edit
]
Tone was in
The Belt
(1927),
Centuries
(1927?28),
The International
(1928), and a popular adaptation of
The Age of Innocence
(1928?29) with
Katherine Cornell
. He followed it with appearances in
Uncle Vanya
(1929),
Cross Roads
(1929),
Red Rust
(1929?30),
Hotel Universe
(1930), and
Pagan Lady
(1930?31).
He joined the
Theatre Guild
and played Curly in their production of
Green Grow the Lilacs
(1931)
,
where Tone sang, which later became the basis for the musical
Oklahoma!
[9]
Robert Benchley
of
The New Yorker
said that "Tone made lyrical love to [co-star] Walker" between the
Sammy Lee
chorus routines of the play.
[9]
The
Lynn Riggs
play received mixed reviews, mostly favorable, and was a popular success lasting 64 performances on Broadway in addition to its roa was also a founding member of the
Group Theatre
, when the Theater Guild disbanded, along with other former guild members
Harold Clurman
,
Cheryl Crawford
,
Lee Strasberg
,
Stella Adler
, and
Clifford Odets
.
[10]
[11]
Clifford Odets recalled of Tone's acting, "The two most talented young actors I have known in the American theater in my time have been Franchot Tone and
Marlon Brando
, and I think Franchot was the more talented."
[12]
Strasberg, who was a director in the Group during 1931?1941 and then teacher of "The Method" in the 1950s,
[13]
had been a castmate of Tone's in
Green Grow the Lilacs
.
[14]
These were intense and productive years for him; among the productions of the Group he acted in were
1931
(1931) lasting 12 performances, Maxwell Anderson's
Night Over Taos
(1932) a play in verse that lasted 10,
The House of Connelly
(1931) lasting 91 performances and
John Howard Lawson
's
Success Story
(1932) directed by Lee Strasberg.
[15]
[16]
Outside of Group productions, he was in
A Thousand Summers
(1932).
[17]
Tone made his film debut with
The Wiser Sex
(1932) starring
Claudette Colbert
, filmed by
Paramount
at their
Astoria Studios
.
[18]
1933?1939: The MGM years
[
edit
]
Tone was the first of the Group to go to Hollywood when
MGM
offered him a film contract. In his memoir on the Group Theater,
The Fervent Years
, Harold Clurman recalls Tone being the most confrontational and egocentric of the group in the beginning.
Burgess Meredith
credits Tone with informing him of the existence of "the Method" and what was soon to be the
Actors Studio
under Strasberg's teachings.
[19]
Tone himself considered cinema far more invasive to private life and paced differently from theater productions. He recalled his stage years with fondness,
[20]
financially supporting the Group Theater in its declining years.
[21]
MGM immediately gave Tone a series of impressive roles, casting him in six
pre-Code
film standards. Starting in 1933 with a support role in the romantic
WWI
drama
Today We Live
, written by
William Faulkner
in collaboration with director
Howard Hawks
. The script was first conceived as a WWI buddy film, but the studio executives wanted a vehicle for their popular leading lady
Joan Crawford
, forcing Faulkner and Hawks to work in the romance between co-stars
Gary Cooper
and Crawford.
[22]
[23]
Tone was then the romantic male lead in
Gabriel Over the White House
starring
Walter Huston
,
[24]
followed by a lead role with
Loretta Young
in
Midnight Mary
.
[25]
Tone romanced
Miriam Hopkins
in
King Vidor
's
The Stranger's Return
and was the male lead in
Stage Mother
. He also had a role in
Bombshell
, with
Jean Harlow
and
Lee Tracy
.
[26]
The last of the sequence of films was
Dancing Lady
, with an on-screen love triangle with his future wife Joan Crawford and
Clark Gable
, which was a "lavishly staged spectacle" with a solid performance by Tone.
[27]
Twentieth Century Pictures
borrowed Tone to romance
Constance Bennett
in
Moulin Rouge
(1934) as she played dual roles in which "she shines as a comedienne" and his performance was called "equally clever in a role that calls for a serious mein" by
The New York Times
.
[28]
Back at MGM, he was again co-starring with Crawford in
Sadie McKee
(1934), then was borrowed by
Fox
to co-star "commendably" with
Madeleine Carroll
in
John Ford
's French Foreign Legion picture,
The World Moves On
(1934).
[29]
After
The Girl from Missouri
(1934) with Harlow,
[30]
MGM finally gave Tone top billing in
Straight Is the Way
(1934), although it was considered a "B" film, one which didn't have a high publicity or production cost. Warner Bros. then borrowed him for
Gentlemen Are Born
(1934).
At
Paramount
, Tone co-starred in the Academy Award nominated hit movie,
The Lives of a Bengal Lancer
(1935) with Gary Cooper.
[31]
He was top billed in
One New York Night
(1935) but billed underneath Harlow and
William Powell
in
Reckless
(1935). He supported Crawford and
Robert Montgomery
in
No More Ladies
(1935) and had another box-office success with
Mutiny on the Bounty
, for which he was nominated for the
Academy Award for Best Actor
, along with co-stars Clark Gable and
Charles Laughton
.
[1]
Warner Bros. borrowed him again, this time to play
Bette Davis
' leading man in
Dangerous
(1935). Davis has stated this is the picture where she fell in love with Tone, although unreturned, which began difficulties between her and Crawford.
[32]
After a lead role in
Exclusive Story
(1935), he was again paired with friend Loretta Young in
The Unguarded Hour
(1936), and also starred with
Grace Moore
in Columbia's
The King Steps Out
(1936), notable for the debut of an eleven-year-old
Gwen Verdon
.
[33]
Tone and Harlow co-starred again in
Suzy
(1936) with then up and comer
Cary Grant
, who was billed third.
[30]
The film was popular with audiences, but reviews were less than kind with
The New York Times
negatively comparing it to other recent WWI movies calling it "balderdash", but thanked "Mr. Tone for the few honest moments of drama that the film possesses. His young Irishman is about the only convincing and natural character in the piece."
[34]
He then filmed
The Gorgeous Hussy
(1936) with Crawford, Robert Taylor and
Lionel Barrymore
with co-star
Beulah Bondi
earning an Academy award nomination for the
Andrew Jackson
period piece.
[35]
A Crawford and Gable film capitalizing on
It Happened One Night
by casting the pair in roles as fast talking journalists in
Love on the Run
(1936),
[36]
found Tone in a supporting role.
RKO
borrowed him to appear opposite
Katharine Hepburn
in
Quality Street
(1937), a costume drama that lost $248,000 at the box office.
[37]
Back at MGM he supported
Spencer Tracy
and
Gladys George
in
They Gave Him a Gun
(1937).
He had the lead in
Between Two Women
(1937) and co-starred for the final time with Crawford in
The Bride Wore Red
(1937), then joined
Myrna Loy
in
Man-Proof
(1938) and Gladys George in
Love Is a Headache
(1938).
In
Three Comrades
(1938) Tone was teamed with Robert Taylor and
Margaret Sullavan
in a film about disillusioned soldiers returning to Germany after World War I. He made
Three Loves Has Nancy
(1938) with
Janet Gaynor
and Robert Montgomery and co-starred with
Franciska Gaal
in
The Girl Downstairs
(1938), a Cinderella type story. He then starred in a "B" picture with
Ann Sothern
in
Fast and Furious
(1939) as married crime sleuths, the third movie in a series with different sets of actors in each, that were marketed towards the
Thin Man
films audiences.
[38]
After his contract ended, Tone left MGM in 1939 to act on Broadway in a return to his stage roots, often working with "the Group's" members of its formative years, and playwrights such as Eugene O'Neill.
[39]
He returned to Broadway for
Irwin Shaw
's
The Gentle People
(1939) and an adaptation of
Ernest Hemingway
's
The Fifth Column
(1940), which only had a short run.
1940?1949: The Universal, Columbia & Paramount combination
[
edit
]
Tone signed a contract with Universal, starring in his first Western there,
Trail of the Vigilantes
(1940), where he more than earns his spurs alongside the likes of
Broderick Crawford
and
Andy Devine
.
[40]
He was soon back supporting female stars though, making
Nice Girl?
(1941) with
Deanna Durbin
.
Tone also signed a multi-picture deal with Columbia, where he made two films with
Joan Bennett
,
She Knew All the Answers
(1941) and
The Wife Takes a Flyer
(1942).
Back at Universal he was top billed in
This Woman Is Mine
(1941). Tone went to Paramount to star in
Five Graves to Cairo
(1942), a
World War II
espionage story directed by
Billy Wilder
.
He also returned to MGM to star in
Pilot No. 5
(1943) then it was back to Universal for
His Butler's Sister
(1943) with Durbin.
Tone made two more films at Paramount,
True to Life
(1943) with
Mary Martin
and
The Hour Before the Dawn
(1944) with
Veronica Lake
. He had one of his best roles in Universal's
Phantom Lady
(1944) directed by
Robert Siodmak
, an early
film noir
picture and a villainous part for Tone.
[41]
Also impressive was his performance in
Dark Waters
(1944) with
Merle Oberon
for
Benedict Bogeaus
.
[42]
He continued his stage career by performing on Broadway in
Hope for the Best
(1945) with
Jane Wyatt
; the production ran for a little more than three months.
[43]
At Universal Tone did
That Night with You
(1945) with
Susanna Foster
and
Because of Him
(1946) with Durbin.
Tone made
Lost Honeymoon
(1947) at
Eagle-Lion Studios
and
Honeymoon
(1947) with
Shirley Temple
. While at Columbia he had roles in
Her Husband's Affairs
(1947) with
Lucille Ball
, and
I Love Trouble
(1947), then
Every Girl Should Be Married
(1948) reteamed with Grant at RKO. He had the lead as an assistant D.A. looking for the murderer of a journalist while being distracted by a beauty played by then wife Jean Wallace in the film noir thriller,
Jigsaw
(1949).
[44]
He then had a supporting part as a murder victim in
Without Honor
(1949), a noir film co-starring
Laraine Day
.
[45]
1949: Producer
[
edit
]
Tone produced and starred in
The Man on the Eiffel Tower
(1949), a troubled production suffering from filming delays on location, creative wrangling and the picture’s hard-to-transfer single-strip technicolor film stock.
[46]
It has benefited from restorations in the 2000s that have coincided with theatrical showings and vastly improved DVD releases.
[47]
Tone's tour de force role as a
manic depressive
sociopath
included performing many of his own stunts on the
Paris landmark
.
[48]
Burgess Meredith and Charles Laughton star with Tone. Meredith is credited as director, although Tone took over duties when Meredith was in front of the camera with Laughton sometimes directing himself.
[49]
The film has, according to French director
Jean Renior
, some of the best cinematic pictures of the
Eiffel Tower
.
[46]
1950?1959: Live theater television
[
edit
]
Tone relocated to New York and began appearing in New York City-based live theater television, including
The Philco-Goodyear Television Playhouse
,
Lux Video Theatre
,
Danger
,
Suspense
and
Starlight Theatre
. He returned to Hollywood to appear in
Here Comes the Groom
(1951).
[50]
Back on the small screen, Tone was in
Lights Out
,
Tales of Tomorrow
,
Hollywood Opening Night
,
The Revlon Mirror Theater
,
and
The Philip Morris Playhouse
. But he soon returned to Broadway, appearing in a big hit with
Oh, Men! Oh, Women!
(1953?54), which ran for 400 performances,
[51]
a revival of
The Time of Your Life
(1955) and Eugene O'Neill's
A Moon for the Misbegotten
with
Wendy Hiller
and
Cyril Cusack
in 1957.
[50]
During this time he continued to appear on TV adaptations of Broadway plays, in such original productions as
Twelve Angry Men
, as well as
The Elgin Hour
,
The Ford Television Theatre
, and in
The Best of Broadway
series in a production of
The Guardsman
with
Claudette Colbert
. Tone then continued in
Four Star Theatre
,
Robert Montgomery Presents
, a
Playwrights '56
production of
The Sound and the Fury
,
Omnibus
,
General Electric Theater
,
The United States Steel Hour
,
The Kaiser Aluminum Hour
,
The Alcoa Hour
,
Climax!
,
Armchair Theatre
,
Pursuit
,
Westinghouse Desilu Playhouse
,
Alfred Hitchcock Presents
,
Goodyear Theatre
,
Playhouse 90
, and
The DuPont Show of the Month
.
He did a TV adaptation of
The Little Foxes
(1956) with
Greer Garson
and played
Frank James
in
Bitter Heritage
(1958).
[52]
In 1957 Tone co-produced, co-directed, and starred in an adaptation of
Chekhov's
Uncle Vanya
, which was filmed concurrently with an
off-Broadway
revival
.
[53]
His performance as the Russian country doctor with "ennui" was praised and the preserving of the stage production to film only varied by the addition of then wife Dolores Dorn.
[54]
1960?1968: Final films and television
[
edit
]
In the early 1960s Tone was in episodes of
Bonanza
[55]
and
The Twilight Zone
("
The Silence
") and appeared on Broadway in an adaptation of
Mandingo
(1961). He then played the spent, dying president in the screen adaptation of the Pulitzer Prize-winning novel
Advise & Consent
(1962), an
Otto Preminger
film that the director had unsuccessfully lobbied
Martin Luther King
to portray a senator in, while two U.S. senators played extras on Capitol Hill locations previously used for
Mr. Smith Goes to Washington
.
[56]
[57]
On stage in 1963 he acted in a revival of O'Neill's
Strange Interlude
, with
Ben Gazzarra
and
Jane Fonda
, and
Bicycle Ride to Nevada
. The next year he appeared in
Lewis John Carlino
's
Double Talk
.
He was cast in TV shows such as
The Eleventh Hour
,
Dupont Show of the Week
,
The Reporter
,
Festival
,
The Alfred Hitchcock Hour
, and
The Virginian
. He appeared in what is possibly the first TV movie,
See How They Run
(1964).
[50]
In Europe, Tone made
La bonne soupe
(1965). He co-starred in the
Ben Casey
medical series from 1965 to 1966 as Casey's supervisor, Dr. Daniel Niles Freeland.
[58]
He had roles in
Otto Preminger
's film
In Harm's Way
(1965) in which he portrayed
Admiral
Husband E. Kimmel
and Arthur Penn's
Mickey One
(1965), and an episode of
Run for Your Life
.
[59]
He appeared off-Broadway in
Beyond Desire
(1967) and his last roles were in
Shadow Over Elveron
(1968) and
Nobody Runs Forever
(1968), a British film originally titled
The High Commissioner
.
[60]
Personal life
[
edit
]
In 1935 Tone married actress
Joan Crawford
; the couple were divorced in 1939.
[61]
They made seven films together ?
Today We Live
(1933),
Dancing Lady
(1933),
Sadie McKee
(1934),
No More Ladies
(1935),
The Gorgeous Hussy
(1936),
Love on the Run
(1936), and
The Bride Wore Red
(1937).
[62]
Their union produced no children; despite considerable effort, Crawford's pregnancies all ended in miscarriage.
Tone took their divorce hard, and his recollections of her were cynical ? "She's like that old joke about
Philadelphia
: first prize, four years with Joan; second prize, eight".
[63]
Many years later, however, when Tone was dying of lung cancer, Joan often cared for him, paying for medical treatments. Tone suggested they remarry, but she declined.
[64]
In 1941 Tone married fashion model-turned-actress
Jean Wallace
, who appeared with Tone in both
Jigsaw
and
The Man on the Eiffel Tower
. The couple had two sons and were divorced in 1948. She later married actor
Cornel Wilde
.
[65]
In 1951 Tone's relationship with actress
Barbara Payton
made headlines when he was rendered unconscious for 18 hours and sustained numerous facial injuries following a fistfight with actor
Tom Neal
, a rival for Payton's attention.
[66]
Plastic surgery nearly fully restored his broken nose and cheek. Tone subsequently married Payton, but divorced her in 1952, after obtaining photographic evidence she had continued her relationship with Neal.
[67]
[68]
Payton and Neal capitalized on the scandal touring with a production of
The
Postman Always Rings Twice
.
[69]
In 1956 Tone married
Dolores Dorn
, with whom he appeared in a film version of
Uncle Vanya
(1957) which Tone directed and produced. The couple divorced in 1959.
[
citation needed
]
Death
[
edit
]
Tone, a
chain smoker
, died of
lung cancer
in New York City on September 18, 1968.
[70]
[71]
He was cremated and his ashes kept on a shelf in his son's library, surrounded by the works of Shakespeare,
[72]
until July 24, 2022, when they were interred in the Point Comfort Cemetery of
Quebec, Canada
.
[73]
On February 8, 1960, Franchot Tone received a star on the
Hollywood Walk of Fame
for his contribution to the motion picture industry, located at 6558 Hollywood Blvd, on the south side of the 6500 block.
[
citation needed
]
Filmography
[
edit
]
Partial TV credits
[
edit
]
Theater appearances
[
edit
]
Date
|
Production
|
Role
|
October 19 ? November 1927
|
The Belt
|
Bunner
|
November 29?1, 928
|
Centuries
|
Yankel
|
January 12 ? February 1928
|
The International
|
David Fitch
|
November 27, 1928 ? May 1929
|
The Age of Innocence
|
Newland Archer, Jr.
|
May 24?1, 929
|
Uncle Vanya
|
Mikhail lvovich Astrov
|
November 11 ? December 1929
|
Cross Roads
|
Duke
|
December 17, 1929 ? February 1930
|
Red Rust
|
Fedor
|
April 14 ? June 1930
|
Hotel Universe
|
Tom Ames
|
October 20, 1930 ? March 1931
|
Pagan Lady
|
Ernest Todd
|
January 26 ? March 21, 1931
|
Green Grow the Lilacs
|
Curly McClain
|
September 28 ? December 1931
|
The House of Connelly
|
Will Connelly
|
December 10, 1931 ? December 1931
|
1931
|
|
March 9, 1932 ? March 1932
|
Night Over Taos
|
Federico
|
May 24 ? June 1932
|
A Thousand Summers
|
Neil Barton
|
September 26, 1932 ? January 1933
|
Success Story
|
Raymond Merritt
|
January 5 ? May 1939
|
The Gentle People
|
Harold Goff
|
March 6 ? May 18, 1940
|
The Fifth Column
|
Philip Rawlings
|
February 7 ? May 19, 1945
|
Hope for the Best
|
Michael Jordan
|
December 17, 1953 ? November 13, 1954
|
Oh, Men! Oh, Women!
|
Alan Coles
|
January 19?30, 1955
|
The Time of Your Life
|
Joe
|
May 2 ? June 29, 1957
|
A Moon for the Misbegotten
|
James Tyrone, Jr.
|
May 22?27, 1961
|
Mandingo
|
Warren Maxwell
|
March 11 ? June 29, 1963
|
Strange Interlude
|
Professor Henry Leeds
|
September 24, 1963
|
Bicycle Ride to Nevada
|
Winston Sawyer
|
Radio appearances
[
edit
]
References
[
edit
]
- ^
a
b
"The 8th Academy Awards | 1936"
.
Oscars.org | Academy of Motion Picture Arts and Sciences
. Retrieved
June 9,
2019
.
- ^
"F. Jerome Tone, 76, a Brother Of Franchot Tone, the Actor"
.
The New York Times
. October 15, 1977.
ISSN
0362-4331
. Retrieved
July 6,
2019
.
- ^
"Woman who inherited Tone's spirit"
.
The Irish Times
. Retrieved
July 8,
2019
.
- ^
Harris, Edward Doubleday (1870).
A genealogical record of Thomas Bascom and his descendants
. Boston Public Library. W. P. Lunt. p.
63
.
- ^
"The Cornell Daily Sun 24 March 1937 ? The Cornell Daily Sun"
.
cdsun.library.cornell.edu
. Retrieved
July 6,
2019
.
- ^
Peros, Mike (October 11, 2016).
Dan Duryea: Heel with a Heart
. University Press of Mississippi.
ISBN
978-1-4968-0995-7
.
- ^
Bishop, Morris (October 15, 2014).
A History of Cornell
. Cornell University Press.
ISBN
978-0-8014-5537-7
.
- ^
Chandler, Charlotte (2008).
Not the Girl Next Door: Joan Crawford, A Personal Biography
. Simon and Schuster. pp.
120
.
ISBN
978-1-4165-4751-8
.
- ^
a
b
Dietz, Dan (March 29, 2018).
The Complete Book of 1930s Broadway Musicals
. Rowman & Littlefield. p. 97.
ISBN
978-1-5381-0277-0
.
- ^
Kogan, Rick (June 26, 1989).
"BROADWAY REBELS"
.
Chicago Tribune
. Retrieved
August 12,
2019
.
- ^
Hardison Londre, Felicia; Berthold, Margot (1999).
The History of World Theater: From the English Restoration to the Present
. Continuum International Publishing Group. pp.
530
.
ISBN
0-8264-1167-3
.
- ^
Hethmon, Robert H. (Spring 2002). "Days with the Group Theatre: An Interview with Clifford Odets".
Michigan Quarterly Review
.
XLI
(2).
hdl
:
2027/spo.act2080.0041.201
.
ISSN
1558-7266
.
- ^
"Picks and Pans Review: Broadway Dreamers: the Legacy of the Group Theatre"
.
PEOPLE.com
. Retrieved
August 13,
2019
.
- ^
"The American Voice: A Brief History of Adaptation ? Trailers + More"
.
Playwrights Horizons
. Retrieved
August 12,
2019
.
- ^
Smith, Wendy (August 6, 2013).
Real Life Drama: The Group Theatre and America, 1931?1940
. Knopf Doubleday Publishing Group. p. 56.
ISBN
978-0-307-83098-2
.
- ^
Smith, Wendy (August 6, 2013).
Real Life Drama: The Group Theatre and America, 1931?1940
. Knopf Doubleday Publishing Group. p. 70.
ISBN
978-0-307-83098-2
.
- ^
Home Journal
. Hearst Corporation. 1932.
- ^
Hall, Mordaunt (March 12, 1932).
"Melvyn Douglas and Claudette Colbert in a Melodrama of Gangsters and the Inevitable Romance"
.
The New York Times
.
ISSN
0362-4331
. Retrieved
August 13,
2019
.
- ^
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