Favorite Actors, #1: Spencer Tracy

First Movie I Saw Him In: Father of the Bride (1950)

Three Favorite Movies: Father of the Bride (1950); The Last Hurrah (1958); Inherit the Wind (1960).

Honorable Mention: Bad Day at Black Rock (1955)

Favorite Movie with Katharine Hepburn: Adam’s Rib (1949).

Favorite Performance: Father of the Bride (1950)

Why I Like Him: For years, all I heard about Spencer Tracy was that he was widely considered the greatest American screen actor. Everyone from Anthony Hopkins to Bruce Willis raved about him. Tracy was The Actor. As so often with these things, I had to do a little maturing to understand what all the hoopla was about. I was about twenty six when I first watched Father of the Bride and at first I was taken with the witty and literate script, the uniformly excellent cast, and the tasteful direction by Vincente Minnelli.

It was also the film where I understood what was so great about Spencer Tracy. I never saw him acting. He just was. That’s what makes Spencer Tracy so good. You notice and accept the character first and never consider the man. Ideally, that’s how acting should be. It’s a towering achievement, especially since Tracy lacked the typical attributes that make a screen actor memorable. He didn’t have a distinctive voice-- certainly not like the top four of this list-- he wasn’t considered handsome, wasn’t tall, overtly funny, and couldn’t sing or dance. He rarely raised his voice to get his point across, yet everything was present that made Spencer Tracy great and worthy of that adulation; he was natural. Tracy didn’t have the belabored acting mannerisms of the later conspicuous “method actors” with their superfluous gestures and cries of “What’s my motivation?” When watching Tracy on screen, notice how he listens—great actors are great listeners. He doesn’t think about what he’s going to say, but rather he’s in character and the person he’s playing is thinking and reacting as if in actual conversation. Tracy excelled at natural, unselfconscious acts and it was he before anyone else who discovered how important it was not to be “caught” acting. Tracy’s own advice: “Learn your lines and don’t trip over the furniture.”

His best performances are the films set in contemporary times. Tracy typifies the man of the 1930s and 1940s. Not the high-gloss glamour of those decades, but the man working as a newspaperman, coach, politician, and as a father. I often wonder if many men from the Greatest Generation modeled themselves after Spencer Tracy. Perhaps they didn’t, but I like to think otherwise; must be my tenuous grasp of reality.

Tracy’s films with Katharine Hepburn chronicle an accomplished, cosmopolitan couple and much of that Tracy-Hepburn magic chronicles a surprisingly-modern and still-relevant depiction of married relationships. We see Tracy’s difficulty in grasping a strong female in Woman of the Year and Adam’s Rib and there's that final statement of the couple’s history in Guess Who’s Coming to Dinner? I've always viewed these three movies as chronicling the beginning, middle, and end of their onscreen partnership, as if it were the same couple in all three films. There’s never been a couple whose on-screen collaborations have produced such a rich, deep, and meaningful body of work.

Spencer Tracy was a giant among movie stars. His peers respected his talent, and Tracy received nine Oscar nominations for Best Actor, winning back-to-back awards in 1937-38. It would be nearly sixty years before that feat was duplicated. By the early sixties, Tracy was the craggy face and weathered voice of wisdom. Who else could have been the voice of reason in Inherit the Wind or Judgment at Nuremberg? Or the narrator of the American experience in How the West Was Won? Tracy’s stature as an actor and a screen presence were unparalleled within the movie industry. Spencer Tracy was a tormented and unhappy man and no one knew exactly why. Tracy was prone to sudden rages and odd behavior, and was plagued by alcoholism, which hastened his decline; I choose to remember Spencer Tracy the artist. His brilliant, low-key, and unaffected performances put him at the very top of this list.

Random Info: Lived in a rented bungalow on director George Cukor’s estate for several years.

So there you have it, Hollywood Dreamland's Top Ten Favorite Actors. There are eight million lists in the Classic Movie Blog-o-sphere; this has been one of them…

None Better: Spencer Tracy.

Favorite Actors, #2: James Stewart

First Movie I Saw Him In: The Stratton Story (1949)

Three Favorite Movies: The Philadelphia Story (1940); Anatomy of a Murder (1959); Mr. Hobbs Takes a Vacation (1962)

Honorable Mention: Bend of the River (1952)

Favorite Performance [this week, anyway]: Anatomy of a Murder (1959)

Why I Like Him: I was stunned by my babbling incoherence in the previous entry, so I’ll taper back on this one.

Do you know how hard it is to pick only three favorite James Stewart movies? Choosing a single favorite performance is even more difficult. I’m staggered by the amount of great movies he’s done and the directors with whom he’s worked. He’s also well-known enough that I know that what I like about James Stewart is most likely what everyone likes about him.

Stewart’s career was so rich and varied that his career can be divided into separate periods: The young, idealistic Jimmy that dazzled us as an everyman in the 30s and 40s; the hard, tightly-wound Stewart of the early 1950s whose psychological torment as seen in all those Anthony Mann westerns reflected the dark, unpleasant side of America; and there’s the elder statesman, whose man-of-the-establishment, folksy wisdom and “seen it all” attitude, which was representative of a generation of Americans who had endured the most horrific conflict the world has ever known. Every decade of Stewart’s career is fascinating and for a man who was often labeled the everyman, Stewart himself was, too.

With Stewart, I’d want to be like his greatest screen characters. To be thoughtful, reflective, and even-handed enough in my beliefs and judgments that it would result in my attaining a decency and dignity like Stewart himself idealized in his greatest roles. I love the elder statesman Stewart the best, which is why the otherwise fluffy Mr. Hobbs Takes a Vacation is among my favorite movies of his. He’s a rock of the establishment and still possesses those great qualities that made him one of the most beloved stars in movies. By the time that film was made, James Stewart was an icon and an institution. Actually, he became that icon the moment he completed Mr. Smith Goes to Washington in 1939. After that, he would catapult himself into the legion of immortal actors—but not before serving his country and performing the most dangerous duty of World War II—bomber pilot over Germany. At the start of his career as a leading man, Stewart put that promising career aside, serving in the military and remained in the reserves for two decades. It’s as though Stewart was the common man of the Greatest Generation and that his growth in his film career reflected the changes both he and his country faced. That sounds heavy-handed but that’s how I see him.

Big concepts aside, I just like his folksy, aw-shucks manner, and average Joe characterizations; he’s just so darn likable! When I see his early movies and then flash forward to his latter period, I see the same character. It’s like having a grandfather who’s older and wiser, but you also know that he was once a young firebrand like Jefferson Smith or a man down on his luck like George Bailey, or the cagey lawyer in Anatomy of a Murder. But it’s more than that; his best roles are when he’s the regular guy who ends up doing things that are more important than things in his own self interest: whether it was a filibuster in Congress, defending settlers from predatory outlaws, protecting his family from the encroaching Civil War, or dealing with his own personal demons.


Random Info: In his later years, Stewart appeared on The Tonight Show and recited some of his original poetry. He was also amusing when he poked fun at his reputation for stammering.

James Stewart in Mr. Smith Goes to Washington (1939)

Favorite Actors, #3: John Wayne

First Movie I Saw Him In: I don’t know; the Duke’s always been around. The Alamo (1960) comes to mind, though I know that's not it.

Three Favorite Movies: The Searchers (1956); El Dorado (1967); The Shootist (1976)

Honorable Mention: Rio Grande (1950)

Favorite Performance: The Searchers (1956)

Why I Like Him: You either love him or you don’t. It’s that simple. Now that that’s out of the way…

This is the toughest entry because I can’t remember a time when I wasn’t watching a John Wayne movie. But the Duke was a simple, direct man so my admiration for his movies should make for a simple entry. Early on, I probably tuned in because parents or grandparents were watching, so his presence in my movie-viewing life goes way back. Before I even knew about movie stars or movie genres, I was watching John Wayne. You couldn’t get me to sit still for a Cary Grant movie, but if it was a western and John Wayne was in it, I was there. John Wayne was the first “action hero” I can recall and he’s the only movie star who became a genre unto himself. His continued popularity is amazing. Wayne was such a force of nature that when the Western was in decline in the early 1970s, he was the only major star making them—his westerns continued to earn money at the box office. I remember trips to a video store—not a rental store, but where all videos are for sale—and John Wayne had his own section! He remains the most-popular movie star ever and was a top ten attraction for twenty-five years. His appeal is primarily to men, for his no-nonsense, rugged individualism, and his penchant for kicking ass, though not in that order. If there are any female John Wayne fans reading this, please comment! I refuse to believe that his popularity lies squarely in the realm of macho.

I honestly can’t describe all my reasons for liking John Wayne.; his movies are “comforting.” I also enjoy the stock company of actors he often appeared with, whether it is in his films with director John Ford or later on when Duke was a producer of his own films. He is and will always be a vastly underrated performer, despite all of his career accomplishments and popularity. One thing that gets me angry is when people parrot what Wayne’s critics say or things people they know say about Wayne: “He can’t act; he’s the same character in every movie.” Give his movies a try and you’ll see an excellent screen actor who excelled at comedy, both with wild slapstick as well as the subtler humor of his more serious pictures. Of course, it was always within the John Wayne screen character, but you could make that same claim against 99% of all actors throughout film history. And face it: any actor who John Ford sees fit to cast in his greatest films has to have considerable ability. John Ford didn't suffer anyone gladly, least of all someone who could be dismissed as not being able to act! And if Wayne couldn't act, then he's still the greatest actor of all time, because he fooled the world all of those years he was top of the heap. And Wayne continues to bamboozle the masses thirty years after his death. Hey, that John Wayne was good! The bottom line about movie stars is that their success is measured in how well that performer can work within his or her definitions and Wayne is no exception. In fact, he’s the rule. It’s an argument I’ll not continue here; the man's polarizing enough without me having to defend his very ability!

A couple things that keep John Wayne from being my all-time favorite actor is that he didn’t do romantic comedies and he was rarely in movies set in contemporary times. I’d love to have seen the Duke as a Frank Capra everyman; he would have been great in such a role. Wayne was wonderful in what he did; too bad he didn't do some different things outside of war and western movies. Of course, he may have had a few more box-office flops…but it’d be interesting to see.

Random Thoughts: The greatest Wayne quote comes from The Shootist:

“I won’t be wronged. I won’t be insulted. I won’t be laid a-hand on. I don’t do these things to other people and I require the same from them.”

Greatest Movie Ending Ever.

Favorite Actors, #4: Cary Grant

First Movie I Saw Him In: North By Northwest (1959; age 11 with my grandparents)

Three Favorite Movies: The Awful Truth (1937); The Philadelphia Story (1940); North By Northwest (1959)

Honorable Mention: His Girl Friday (1946)

Favorite Performance: The Awful Truth (1937)

Why I Like Him: [Cue Masterpiece Theater music] A sign that a lad is growing up is when he starts to appreciate movies where something doesn’t have to explode every second or have his ears insulted by constant gunfire only interrupted by a thick Austrian accent barely getting out a “catchy” one liner. Instead, the growing lad finds it stimulating when he can savor an actor with impeccable comic timing, a dark side when the material calls for it, and a well-attired gent with every hair on his head perfectly coiffed, as well as a wardrobe that does not consist of ragged, stained logo t-shirts and jeans. No, the maturation process begins with appreciating an actor with splendid sophistication and an appeal to women and an effortless charm and suavity. He’s also the template for any man to emulate. My dear boy, welcome to Cary Grant.

Cary Grant is another actor I’ve scrawled on and on about in these pages, so I won’t repeat what I’ve already posted. I use the name of one of his characters in one of his many, many great films. I’m sure there were dozens of leading men who should’ve sent Cary a case of his favorite liquor every year for the many roles that Cary didn’t accept—with the exception of a slow start in the early 1950s, Grant’s body of work is among the most impressive careers in the history of film. Once he got his start with 1937’s The Awful Truth, the Grant screen image was set. Here was a dashing, handsome, yet funny guy who wasn’t afraid to fall down for a gag and get that great head of hair disheveled. He’d play second fiddle to a wire-haired Terrier named Mr. Smith or George, be made a fool of by a screwball heiress. Here was a leading man who didn’t seem to take himself all that seriously on screen. But Grant could dangle on the darker end of the spectrum, too. He'd break down in tears and beg to keep his child or twist himself up emotionally over a love affair. Grant’s approach was unique and still modern. You could reach the moon climbing the also-rans who were labeled “The Next Cary Grant.” (The latest rung on that ladder is named Clooney).


Random Info: Was the opposite of his worldly, sophisticated screen image. Grant preferred pub food and casual clothes.