Prince of Players (1955): A Shakespearean Ode to the Beauty and Pain of Life

Edwin Booth lived a life few can ever imagine. Born into a renowned theatrical family, he inherits both his father’s genius for stage acting and the demons that plagued him. His success on the stage stirs the envy of his brother, John Wilkes, driving him to a terrible deed that will echo throughout history.

As personal tragedy strikes, will Edwin be able to weather the turbulence in his life or will the angry winds overtake him?

Prince of Players tells this story.

20th Century Fox’s lavish production gains its source material from the best-selling 1953 biography of the same name by Eleanor Ruggles.

The Patriarch – Junius Brutus Booth

Raymond Massey introduces us to the world of Shakespeare when the curtains rise on Prince of Players. Massey doesn’t just play the character of Junius Brutus, the famed, eccentric nineteenth century actor, he becomes him.

Massey carries himself with an air of grandeur as I’m sure a great Shakespearean actor from the past would, and when he is in a drunken stupor and young Edwin must drag him home and tend to him, his affecting performance brings the gravitas of the film to its center, setting in motion the battles Edwin must face.

The Prince of Players – Edwin Booth

Talk about perfect casting, in the 1950’s, Richard Burton was busy establishing himself as a Shakespearean actor, being hailed as the next Olivier, and completed a season with the Old Vic including a successful run of his popular “moody, virile, baleful” Hamlet.

Richard Burton is impeccable in the role of Edwin Booth. I am of the opinion that no other actor of the time could do the complex man justice while fitting seamlessly into the nineteenth century setting.

Sure, Burton is no American. But he possessed a mesmerizing presence, intensity, tortured quality, and a mastery of Shakespeare that even Olivier praised. Also, the way he can hold an audience without saying a word is something to behold/experience.

The Traitor – John Wilkes Booth

John Derek plays the infamous John Wilkes Booth. Since the film focuses on Edwin, we only get a brief outline of John Wilkes and his nefarious motives and actions, but what is there, is done well.

Derek’s characterization contrasts perfectly with Burton. Derek is outspoken, flashy, with an unbridled madness, whereas Burton is quiet, self possessed, and portrays an inward struggle.

The Peacemaker – Mary Devlin

Maggie McNamara is the Juliet who tames Burton’s Romeo with her gentle, comforting presence. You can sense the belief she has in Edwin’s abilities as an actor and as a man.

Burton’s trust in her to be there for him and his love for her is quite moving as he’s had to go it alone for most of his life and he cherishes the relationship that they share. The connection between the two is beautifully portrayed and convincing.

The Bard – William Shakespeare

Prince of Players treats its audience to monologues from Richard III, Romeo and Juliet, and Edwin Booth’s signature role as Hamlet, among others.

Since playwright Moss Hart is on board as screenwriter and long time screenwriter Phillip Dunne is at the director’s helm, these scenes don’t feel like add-ons, necessary evils, nor do they stop the action. On the contrary, rather they add relevant poignancy due to their thoughtful placement in the narrative.

For instance when Junius does not want to go on stage, Edwin gives his father a pep talk and pleads with him, “I’m proud of you, father. They’ll be seeing you for the first time. They built this theater for you. You’re going on tour where no great actor has been seen before. They’ve waited a year for your coming.” To which Junius responds positively.

While on stage though, Junius begins to forget his lines, leading to this heart wrenching scene while Junius and Edwin are playing Richard III.

Richard (Massey):

And thy assistance is King Richard seated.
But shall we wear these glories for a day,
Or shall they last and we rejoice in them?


Buckingham (Burton):
Still live they, and forever let them last.

Richard (Massey):
Ah, Buckingham, now do I play the touch,
To try if thou be current gold indeed:
Young Edward lives…

(Junius, forgetting his lines, is prompted by Edwin)

Think now what I would speak.

Buckingham (Burton):
Say on, my loving lord.

(Whispering admiringly and sadly) Say on, my loving lord.

(Another prompt from Edwin)

Richard (Massey):
Why, Buckingham, I say I would be king.


Buckingham (Burton):
Why so you are, my thrice-renownèd lord.


Richard (Massey):
Ha! Am I king?

(Searchingly, to his son) Edwin, am I…king?

The Supporting Players

The reliable Charles Bickford gives a solid performance as Dave Prescott, the Booth’s crusty, demanding manager who over time becomes their trusted friend.

Elizabeth Sellars plays Asia Booth, the sister caught between the opposing brothers, and gives a sincere portrayal of concern and care.

Esteemed stage actress, director, producer Eva La Gallienne is credited as the technical consultant for the Shakespearean scenes. She also appears opposite Burton as a fiery Queen Gertrude in Hamlet, marking her film debut.

The Score – Bernard Herrmann

Director Phillip Dune chose Bernard Herrmann to provide the score for Prince of Players based on his experience with the composer on The Ghost and Mrs. Muir, and as usual, Herrmann’s stirring music fits like hand in glove.

According to Herrmann’s biographer, Steven Smith, since childhood Herrmann had nurtured a love of English literature and theater and relished working on the project.

The opening titles sound a fanfare of trumpets and a dignified American march that sets the tone for what’s to come – the grandeur of the theater.

The music takes a different turn as the film goes on underlining the overwhelming drama. Herrmann’s cues resemble Vertigo in the scenes between Junius and Edwin, and Herrmann nails the psychological tensions that belie their relationship.

The love theme for Edwin and Mary is bittersweet and portrays the blissful love and devotion they share.

The Visual Style

Prince of Players handsomely recreates the mid-late nineteenth century through Mary Wills’s costumes (Hans Christian Andersen) and Lyle Wheeler’s art direction (Gone With the Wind), and includes a recreation of the fateful night at Ford’s Theatre. Charles G. Clarke’s cinematography (Miracle on 34th Street) has some particularly striking moments and is very appealing.

Conclusion

Prince of Players is a moving depiction of Edwin Booth’s early-mid life and the emotional pain that befell him as he endured a miserable childhood, struggled to maintain his own sanity and the guilt and shame of his family name, and the ray of light that helped him overcome.

In this way, Prince of Players is a fine study of the struggle of managing and overcoming family ghosts and one’s own personal demons, the importance of purpose, and finally, acceptance of life and that purpose.

Edwin Booth as Hamlet

Edwin’s daughter, Edwina Booth Grossman, on her famous father and his defining role:

…It was long before I could thoroughly disassociate him from the character of Hamlet, it seemed so entirely a part of himself. Indeed, in that impersonation, I think, his confined nature and pent-up sorrows found vent. He told me that the philosophy of Hamlet had taught him to bear life’s vicissitudes.

If that isn’t beautiful, I don’t know what is.

To buy or not to buy

You can find this film here on Amazon. Hopefully one day the powers that be will restore Prince of Players to its former glory and present it as it was originally filmed in Cinemascope. But for now, any form of this hidden gem is worth seeing. Enjoy!

(Note: I am not an Amazon affiliate.)

About Edwin Booth

Enjoy this informative video and learn more about the Booth family’s history while touring Edwin’s beautiful home in which he established The Players – a private social club bringing together creatives and industrialists – in Gramercy Park, New York.

This is my contribution to The Biopic Blogathon hosted by Hometowns to Hollywood.

Thanks for having me, Annette! Head on over and read the rest of the entries here.

Hans Christian Andersen (1952): A Fairy-Tale Feast for the Eyes, Ears, and Soul

“Everything you look at can become a fairy tale and you can get a story from everything you touch.”

H. C. Andersen

This movie is about a spinner of tales, a dreamer of dreams. In order to appreciate the delightful, colorful, smorgasbord that awaits, one must remember that this movie makes no claim in being an accurate biographical account of Andersen’s life. In fact, the title card says it is a fairy tale about the author himself.

Danny Kaye plays the title character. He is lovable, innocent, and optimistic. He is also sensitive and dreamy-eyed and this is where the plot of the film comes in.

Hans disrupts the town he lives in by distracting the children from their schoolwork with his stories. Kicked out of town, he leaves for the grand city of Copenhagen only to fall for Doro, a beautiful ballerina (Zizi Jeanmaire in her film debut) who is wed to her demanding choreographer (Farley Granger). Where and when will outsider Hans find his place in the world?

I love how this film clearly illustrates the impact Hans’s stories have on those around him. To the children he imparts joy, adding more to life than just schoolwork in “The Emperor’s New Clothes.” To some he gives comfort as in “The Ugly Duckling” and “Thumbelina.” When Hans writes “The Little Mermaid” ballet for Doro it becomes a hit for the ballet company and a turning point in their relationship.

For me this movie is like a warm hug. I grew up watching it and singing along to the many delightful songs. Its beauty comes from the simplicity in the story line and Hans’s amiable nature wonderfully displayed by Danny Kaye. The gorgeous Technicolor, stunning direction by Charles Vidor, and cinematography by Harry Stradling doesn’t hurt either 😉 The Little Mermaid Ballet is one of my favorite dance sequences in the movies. The staging is unique, creative, and the choreography beautifully suggests a mermaid’s underwater movements.

Frank Loesser’s memorable score brilliantly inhabit Hans’s world adding to the dreamy quality that blurs reality and fantasy. Composer-lyricist Loesser, whose star was ascending in the music world, was Goldwyn’s choice to write the songs for the film. In 1949, he won the Oscar for “Baby, Its Cold Outside” and the following year he had tremendous success with Guys and Dolls on Broadway. When Goldwyn bought the film rights for the show, he also signed Loesser for Hans Christian Andersen.

In a few ways this movie reminds me of The Red Shoes (1948). The tale of “The Red Shoes” was written by Andersen. Both movies were filmed in Technicolor, contain gorgeous ballet sequences, and share similar themes. If you enjoy The Red Shoes (and who doesn’t?) you might enjoy Hans Christian Andersen as well.

Lastly, I would recommend this movie even for those who aren’t fans of Danny Kaye’s comedic style. The way he interacts with children is a joy to behold and the drama in the script allows him to show more range as an actor, giving one a better picture of the man of many talents.

This movie is perfect for a rainy day, and for those inevitable days when you and I feel lower than low. It will perk you right up and give you something to smile about. Who could ask for more than that?

This post is my contribution to The Classic Literature on Film Blogathon hosted by Paul of Silver Screen Classics. My thanks go out to Paul for letting me participate in this event. Click here, here, and here to read the rest of the entries.

Thanks for reading and for visiting The Classic Movie Muse!