Letter of Introduction

Watching Adolph Menjou, Andrea Leeds, and Eve Arden you might have thought you came in on some restored scenes from Stage Door. All three were in that classic and all three star in Letter Of Introduction.

Adolph Menjou is a John Barrymore type actor, once a great stage actor, but who lately has been doing a lot of mediocre films has returned to New York with an unknown future. Andrea Leeds has a Letter Of Introduction from her mother for him and Menjou discovers that despite being married our times and about to go for number five it's with the author of the letter with whom he has a daughter.

Who wants to be an actress. The rather arrogant Menjou discovers a tender side when he discovers fatherhood. His scenes with Leeds have some real poignancy to them. Menjou who could ham it up outrageously when called for is most subdued and effective here. The two keep the relationship a secret and it's rumored that Menjou snagged himself some new young quail. All rather disconcerting to George Murphy who Leeds has been seeing.

Both Murphy and Leeds live in a boardinghouse not unlike the one in Stage Door. Among the other residents are Eve Arden in an Eve Arden type part, Ann Sheridan, and Edgar Bergen&Charlie McCarthy&Mortimer Snerd. Bergen and his wooden alter egos supply the comedy.

No doubt John and Diana Barrymore saw Letter Of Introduction. Wonder what they thought? No matter what they thought the film is a good one.

Sorry. Anyways, I just saw this, it was pretty good-pretty serious plotline of aging actor Adolphe Menjou, his estranged daughter Leeds and his trying to make it back onto Broadway while hiding her existence from the press-gets undermined somewhat by the oddly large roles of Snerd and McCarthy. They are funny-but it's kinda like sticking Fozzie Bear and Grover into the middle of a 'A Brilliant Mind'...maybe not something you would see now but then? It was par for the chorus.

Fine character actors-George Murphy, young Anne Sheriden, etc all add to the mix. I liked it, it's an interesting period piece if nothing else.

**1/2 outta ****

An actor from a family with long and illustrious tradition of theaters (Shakespearean? it is mentioned his parents played Romeo and Juliet to packed houses for ages) has left theater and migrated to Hollywood. Now, in his fifties, trying desperately to hide his age, suddenly is introduced to his daughter, a struggling actress, in her twenties., around the age his latest fiancee, about to become his fourth wife.

The daughter wants his help in starting her career on stage, and he has to struggle to do it, without divulging the relationship, lest the Casanova's real age is known to public. Without the clarifications, gossip magazines have a field day, destroying the romances of both father and daughter.

This has too interesting to be a mere coincidence similarity with the great but equally tragic (alcohol curse) actor John Barrymore - of the revered Barrymore family (here the name is changed to Mannering family), and the daughter Diana (here Kay martin) is from first wife, instead of real-life second wife. This movie (1938) precedes what happened in real life - and the difference isn't too far. Diana, also beset with tragedy as her father, was estranged from John, and landed up in Broadway one year later, in 1939. John was married four times, here Mannering's just missed the fourth. The fourth wife, Elaine was 21, and he was 54 (in this movie, it was 22 and 52, not too far away). Even the last stage appearance of John has remarkable similarity with this - only that happened four years after this movie was released. One of the comments here talks of what Diana and John thought about it - it should be in fact other way - they didn't learn from it - and in fact followed what was depicted here.

Accomplished Director John M. Stahl commendably engineers this well-designed screen play revolving around a striving young actress who clings with hope onto a "Letter of Introduction" to present to a veteran theatrical star.

In conjunction with a "visiting card" or "calling card," a letter of introduction would play an important role in the social graces of yesteryear, as one would not interact socially with an individual of distinction, without having been introduced by a peer who shares a connection with either party.

But, in this case, that one opportunity appears jeopardized one winter evening, as crowds congregate around New York City to revel in New Year's Eve.

Katherine 'Kay' Martin (Andrea Leeds) and Edgar Bergen (Edgar Bergen as Himself) pace through the outdoor celebration to witness a stream of smoke's billowing from their residence apartment building. When Edgar defies guards to rush onto his cement staircase and into the building, Katherine pleads with him to salvage a folder in her bureau of drawers.

Edgar manages to rescue his ventriloquism partner, Charlie McCarthy (Himself) from their second story unit, but deems it unsafe to attempt to climb another floor to Katherine's room.

But another spectator, neighbor Barry Paige (George Murphy) dares to accommodate Katherine's wish, by escorting her onto the third floor of the building aflame, to retrieve her "Letter of Introduction," for nothing else does she wish to salvage among her possessions, before they rush for sanctuary via a fire escape.

Honey (Rita Johnson), the dancing partner and admirer of Barry Paige, plus house-mate Cora Phelps (Eve Arden), welcome Katherine, Edgar and Charlie into their residence and circle, as they celebrate the arrival of a brand new year. Honey puts on a brave front when Barry admits his admiration from afar of Katherine, quite possibly hoping that Katherine sets her designs elsewhere, as Cora remarks that she prefers waiting for Charlie McCarthy rather than for Edgar Bergen.

Everyone among this newly-expanded troupe of striving performers, with the exception of Barry, expresses delight in Katherine's plan to pay a visit to the residence of established actor John Mannering (Adolphe Menjou), at which she is received by his valet, Andrews, the Butler (Ernest Cossart), but vehemently resented by Lydia Hoyt (Ann Sheridan), the young fiancée of John Mannering.

John, however, receives Katherine with a grain of caution, but, after reading the correspondence which she present, embraces her sympathetically. He aspires to mentor her fledging stage career, as his has experienced a decline upon returning to Broadway in the aftermath of a ten-year stint in Hollywood, acting in motion pictures.

The theatre in those days would maintain itself as the legitimate venue for the Performing Arts and snub film acting (as film may have turned its chin away from television during its infancy and beyond to an extent, and, perhaps, as television quite possibly would to the stage, in a sort of "full circle fashion").

At any rate, these characters, who portray performers in "plays within a play" fashion, find their lives undergoing a variety of ups and downs, causing a series of ins and outs among their relationships, as a result of one influential "Letter of Introduction." Edgar Bergan, as we may have noticed, portrays himself, along with Charlie McCarthy and Mortimer Snerd, who appears toward the climax of the film.

(Films of the 1930's and 40's sometimes feature an event as a performer portraying himself/herself aside from the Biopics and Backlot Pictures, but this also inflicts a certain restriction for the direction of the character, as it mustn't change history, as it were. But the ever-cordial Edgar and company add a nice touch of vitality and authenticity to the presentation.)

Most of these other stars also shine in roles akin to type, with Andrea Leeds, handling her aspirations while dwelling upon an unfortunate past in outstanding fashion; Rita Johnson, shining as a complaisant ingénue who realizes that she may draw the short straw; Eve Arden, flinging her customary wisecracks from one side of town to another; Adolphe Menjou and George Murphy playing their recurring "borderline cads," who must face the results of their errors; Ernest Cossart in his polite supporting way, and Ann Sheridan a bit wild as the excessively jealous fiancée. Neither Charlie McCarthy nor Mortimer Snerd change very much over the years.

Frank Jenks has a role as Joe, theatre prompter, in a supporting cast which consists of many character performers of the day, including John Archer, Irving Bacon, Brooks Benedict, Don Brodie, Dorothy Granger, Jonathan Hale, Grace Hayle, Eddie Hall, Constance Moore, Phillip Trent, Richard Tucker, Ray Walker, Morgan Wallace and Dick Winslow.

One point which seems to border on the "goofs" coincides with Barry's declaration of having stared from his window into Katherine's room on several occasions before they meet, but from the exteriors, their apartment buildings stand flush with each other, without the slightest width of a lot between them.

All in all, a pleasant film experience, a little downbeat in places, but unpredictable, and featuring a wonderful cast, who, naturally, add a great deal to its fine entertainment value.

Struggling actress Andrea Leeds (Kay) has a letter of introduction to hand to successful actor Adolphe Mange-Tout (Mannering) to help her with her career. The letter of introduction has more significance than just a letter of introduction. It's confirmation that they are father and daughter. We anticipate a happy and helpful relationship and we get it. However, other relationships seem to fall by the wayside.

Given the cast, the film should have been better. It loses its way and just becomes boring. There is also too much screen time given to a tedious ventriloquist. Leeds, Mange-Tout and Eve Arden (Cora) all starred in the much better film in a similar setting - Stage Door - the year before. Rita Johnson (Honey) is treated unfairly in this film and her future is unresolved. It is sad to read about her real-life story - death by hairdryer accident! More like assault with hairdryer. I don't use a hairdryer preferring to just dry naturally with a towel. Wash and go.