The Man Who Found Himself

The Man Who Found Himself is the kind of film that is light and enjoyable, but very easy to forget. John Beal, best remembered for his role as The Little Minister (1934), is likeable as a young surgeon disillusioned with his profession after a scandal earns him a suspension. Despite his character's inherent cockiness, Beal manages to maintain our sympathy throughout. This marked the film debut of Joan Fontaine, who is charming, if a little uncertain, as the pretty nurse who helps Beal's doctor "find himself". The rest of the cast is fine, particularly Billy Gilbert as a loquacious hobo and Jimmy Conlin as a "nosey" reporter. It is also interesting to note that the film is a reunion, of sorts, for Dwight Frye and Edward Van Sloan, who had co-starred several years earlier in Dracula (1931) and Frankenstein (1931). [Unfortunately, they don't get a chance to interact and their roles are woefully undernourished.] Despite the basic formulaic nature of the story, the script manages to be surprisingly fresh at times, particularly in the very "grown up" speech Jim's fiance (Jane Walsh) delivers when he asks her to run away with him. ["I'm sorry, Jim, I can't do it. I promised to marry Dr. James Stanton of Park Avenue. I'm not interested in country doctors."] And some of the special effect miniatures, like a train derailment and a hospital plane landing near the wreckage, while primitive by modern standards, are fun nonetheless. A nice little film and a diverting 67 minutes.

Young New York City surgeon, and amateur pilot, John Beal (as James Stanton) rubs the older doctors at "General Hospital" the wrong way. Most of all, they consider his interest in flying an inappropriate hobby. After Mr. Beal gives the wife of another doctor a lift in his plane, it crashes; and, the young woman dies. The accident becomes a national scandal, with the unwed Beal becoming romantically linked with his married passenger. After being put on probation, Beal gives up his privileged life, hitchhikes to California, and becomes a hobo. He is recognized by pilot friend Philip Huston (as Dick Miller), who helps Beal get back up on his feet. Then, Mr. Huston, and pretty blonde nurse Joan Fontaine (as Doris King) help Beal turn his life around.

Ms. Fontaine receives a special introduction in this, her first co-starring role. She is not only very obviously like her famous sister, but also very engaging. Fontaine's performances would grow more individual and adept, with increasingly better material. Although never growing into stars of Fontaine's stature, Beal and Huston are also quite good. It's nice to see the expressive Beal, who presided over the witchcraft trial of Quentin Collins on "Dark Shadows", as a leading man. And, Huston essays a very convincing "drunk" scene.

***** The Man Who Found Himself (1937) Lew Landers ~ John Beal, Joan Fontaine, Philip Huston

The Depression Era drama is harmed by badly contrived screenplay and lackluster direction. The basic idea is a good one, consistent with its time. Dr. Stanton Jr. is captive of his upscale class and the family tradition of being doctors. In short, he's had little chance to define himself, being dutiful to his social class instead. So, when tragedy strikes, he's unfairly penalized, causing him to reject both his class and profession. Understandably, he strikes out on his own, looking now to find himself. On his way from New York to LA he experiences a different kind of life, one on the downside. But once employed, he develops his fondness for piloting aircraft. Now he seems to have found himself. But can he stay away from medicine, which is more a calling than a job.

Too bad that the film lacks the grit to go with the times. It's filmed in straightforward fashion, without needed emotion that would dramatize Stanton's dilemma. At the same time, Beal may well lack the depth needed to be convincing, though I've not seen enough of the actor to be conclusive. Then too, events are directed by Lew Landers who was well known for coming in reliably under-budget but in pedestrian fashion. That may have made him a natural for TV, but not for material showing promise. What the film does have is a sparkling Joan Fontaine at her most attractive and just starting out in her illustrious career. That's probably the main reason to catch this otherwise forgettable programmer.

RKO was trying to boost its starlet JOAN FONTAINE when they cast her as a flying nurse who is strong-willed enough to make a doctor (JOHN BEAL) come to terms with running away from responsibilities in this little programmer. TCM aired it as a stepping-stone in the career of Joan Fontaine.

Fontaine is earnest and does an acceptable job, nothing more, and John Beal is okay as her love interest. But it's obvious that PHILIP HUSTON (who has the appearance and cocky manners of a young James Garner) is the actor who should have shared top billing with Fontaine. Whatever happened to this handsome actor? Why didn't RKO promote him, along with Fontaine? He showed skill as a light comedian.

These are the kind of thoughts that went through my head as I watched this rather tepid drama which never quite lives up to the stark promise of its title. The story itself is rather tiresome, only occasionally coming to life because of Fontaine's spirited heroine.

She photographs prettily as the nurse and wears her serious expressions skillfully, suggesting that there was more to be tapped at a future date. Beal never did go on to a distinguished career and his performance here shows why. Strictly lackluster.

But whatever happened to Philip Huston? Evidence here is that he should have had a worthwhile film career.

Trivia note: Watch for Dwight Frye (of "Dracula") as the out of control patient aboard the airplane.

A young and rather unwise doctor gets into trouble through no fault of his own. However, considering his past impulsiveness, everyone believes the worst and so the doctor disappears--taking to the road as a hobo. While this is a bit tough to believe since the difference between society doctor and hobo is so extreme, the film is a rather entertaining yarn about his gradual rise to respectability. In many ways, it's reminiscent of LORD JIM, though in Jim's case, he HAD done the dirty deed he was accused of and in this case the doctor really is innocent and oddly chose to become a drop-out.

Anyone looking for sophisticated and believable entertainment should probably look elsewhere, as the plot of this drama is a bit contrived and predictable. Yet, despite this, I found the film to be very watchable and fun--probably because it had rather modest pretensions and was a low-budget (or "B") film. Given its pedigree and cast of unknowns, it was a decent film that is a bit better than just a time-passer. The only big name in the movie is Joan Fontaine--and this was made before she was an established star. You can tell this, by the way, because she speaks with her normal British accent--something you really don't hear in later films. In the films she made just a few years later, she either spoke in perfectly annunciated upper-class English or in an American accent.