Edward, mein Sohn

"Edward, My Son" is a 1949 film based on the play that starred Robert Morley. Here the stars are Spencer Tracy, Deborah Kerr, and Ian Hunter.

The title role, Edward, is never seen. The movie is really about his father, Arnold Boult, who spoils the boy and ruins everything and everybody he touches.

There was a mention that Spencer Tracy was miscast, that the character shouldn't be so amiable but more acid. I think in a way, Tracy's amiability was more sinister - he threatened people and seemed so cheerful about it. It's quite effective.

The revelation, the stunning, knockout performance comes from Deborah Kerr as Arnold's unhappy wife Evelyn. Young, pretty, and cheerful in the beginning, her character development, in looks and personality, is remarkable - right down to her osteoporotic walk with the slightly stooped shoulders.

How often do we see really wonderful actors play older people with just a little gray in their hair, with nothing else changed? The only other "aging" performance I have seen to equal this was Emma Thompson at the end of "Remains of the Day."

I always knew Deborah Kerr was a fine actress, but obviously, she mostly did roles that were beneath her capability.

Ian Hunter is very good as the doctor s a man who see through Arnold's behavior, and who has always been in love with Evelyn.

Don't miss Kerr's performance in this film.

First of all, the Edward of the title is never actually seen, even though the story covers several decades of his life. Rather, the story concentrates on the destructive influences of his over-benevolent father (Spencer Tracy) whose selfishness and ambition destroy all the relationships about him and ruin his son's character. Spencer Tracy is somewhat miscast, a little too likable and amiable in a role that calls for acidity and tartness. One wonders just how much better Robert Morley would have been in the role he created on the stage. Alas, movie box office appeal ruled. Ian Hunter is good as the Harley Street doctor, Tracy's friend throughout, who carries more than a burning torch for Tracy's long-suffering wife. The one knockout performance, which really carries a punch, shattering in its portrayal, is delivered by Deborah Kerr - unquestionably one of the best she ever gave. Going from a loving young wife to a middle-aged, spurned, embittered alcoholic, her performance is heart-wrenching. One watches her range with surprise for the sheer professionalism at what must have been a relatively young age. Quite different from any of the other roles she played in a long career. An absorbing drama, unusual in that the lead character is not particularly likable or sympathetic. Worth watching for the snappy dialog and Kerr's performance.

Arnold Boult ( Spencer Tracy ) is a higher rank than just captain of industry as he dupes, browbeats and bribes his way to power in Twentieth century London. With limitless ambition and drive he is not concerned about being liked but having his way. Son Edward is another story however and he slavishly dotes over the boy spoiling him at every turn and using his considerable power, he holds the mortgage to the prep school Edward is about to be expelled from, to allow him to do as he pleases. With this kind of powerful enabling it is little surprise sonny grows into irresponsible adulthood.

Directed sluggishly by George Cukor, Edward, My Son has a stage feel to it as it trundles slowly from scene to scene. We never see the title character but the little he has is fleshed out excellently in conversation and argument between the parents. Tracy as a bullheaded industrialist from across the pond ( Canadian instead of Ugly American ) does a fine job of going against type, playing one of his many fatherly roles with reckless arrogance. Playing opposite Tracy as his wife Deborah Kerr simply walks away with the picture as she goes from housewife to millionaires wife with title before descending into the depths of alcoholism after the loss of her son and a lifetime with Arnold. It may well be the celebrated Kerr's most challenging and finest performance in a career that has had many.

Mid picture the film really begins to bog down as Boult begins an affair with his secretary (Lueen McGrath) that Cukor attempts to sum up in one long laborious scene at her apartment slowing the pace even more, though salvaged somewhat by Kerr who saves her best for last. The denouement is more than satisfying. It's the getting there that's the problem.

For years I resisted this movie because of the sobbing title. I expected a maudlin, embarrassing tale.

I should have known better. And while I've never been a particular fan of Spencer Tracy (his emotional range never interested me), this time he worked okay, in that he wasn't a god-damned hero, and there wasn't a bevy of minor actors sucking up to him. I liked him being a bad guy; I liked his covert, vaguely whimsical smile. For the first time, I found him believable, more than stock characterization.

Also, the movie was so well crafted that Tracy's ambitions were always credible. And when you understand the motivation, usually, you are sympathetic.

It was Deborah Kerr who stole my interest. Her character, toward the end of the film, is so broken, that she approached Greek classicism. She was ugly, tear-stained, stooped - and her lamentation carried throughout that great barn of a mansion of a home. She couldn't have been more than 35 (ca.), but she had become 80, in spirit. One knew, when she went upstairs that final time, that she would not be seen again, and would only be spoken of in past tense.

Although Kerr is a favorite, there's only one other film of hers that knocked me out: for her beauty, her rawness and her intact feminity - and that of course is "The Sundowners". These two films place her at the pinnacle of Britain's actors.

Some have commented that they felt that Spencer Tracy was miscast in this film, playing a character very different to the altruists that he typically plays, and being the only American among the principle cast. However, I believe that this perhaps is Tracy's strongest performance, partly because it is so different to his usual roles. Tracy plays a determined and unrelenting man with real strength, although as his wife, Deborah Kerr also has a number of strong scenes, particularly in the final half hour. The two lead performances are however the bulk of what makes this a good film. It is reasonably engaging, with gimmicks of the title character never on screen, and Tracy speaking to the viewer, to keep it interesting, but the plot is not too great in itself, and the story tires before the end. It is also a bit too stagy, which limits how involving it is to an extent. Nevertheless, despite any possible shortcomings, the powerhouse of acting, not only from Tracy and Kerr, but some of the supporting cast too, make this a film worth checking out.