Arrowsmith

On paper, 'Arrowsmith' sounded like it had potential to be a great film. Great source material courtesy of Sinclair Lewis. A fine director in John Ford, though he was early on in his career at this point, who went on to direct some of cinema's finest westerns. That it was a box office hit in the day. And a gifted cast in Ronald Colman, Helen Hayes and pre-stardom Myrna Loy. Did have a couple of reservations though, as the length did sound far too short for such a big and meaty book and the reviews here were very mixed.

Can totally understand the mixed critical reception here and am very mixed in 'Arrowsmith' myself. It is not a terrible film as there are good things, but there are just too many things wrong with it to consider it a good film. There are books that would either leant themselves much better to a mini-series or should have been left alone and 'Arrowsmith' is a case of both instances. In honesty though, one doesn't really to have read the book to see how heavily flawed it is. As far as Ford's films go this is a lesser effort.

'Arrowsmith' does benefit from some good things. Will agree that in some ways that Colman is miscast, but he does bring freshness and sincerity to the lead role. Hayes is noble and poignant and Loy is suitably vivacious in a rather underwritten role. The relationship between Arrowsmith and Joyce was quite bold back then and has spark. Richard Bennett is also very good in his role.

The production values are quite good too, especially the photography. Dark, vivid and atmospheric, plus Hayes and especially Loy look fantastic in their shots. The settings are handsome and evocative. The music score sweeps without being intrusive.

However, the film just feels far too rushed and choppy, which a couple of my friends who had not read the source material also felt. The heavily condensed story is very rushed in pace and with such a lot glossed over there is a sense of incompleteness which gives off a choppy feel structurally and a lack of coherence. The characters are underwritten, especially Joyce, and their motivations vague at best.

Furthermore, the script is very Cliff notes, a case of introducing one event and character and then moving onto the next without development. It is also very stilted. Ford went on to be a fine director, but here he didn't seem to know what to do with the material or seem right for it, too routine and lightweight while at other times too heavy. Do agree that although Colman does give his all, he was too old and artistocratic.

In summary, watchable but really doesn't live up to its potential. 5/10

The student of medical school Martin Arrowsmith (Ronald Colman) dreams on becoming a researcher. He seeks out Professor Max Gottlieb (A.E. Anson) that promises the position when Arrowsmith is an undergraduate doctor. Meanwhile Arrowsmith meets the nurse Leora (Helen Hayes) and they fall in love with each other. When Prof. Gottlieb invites Arrowsmith to work with him in New York, he declines since the salary is not enough to support Leora and him. He marries Leora and becomes a countryside doctor. After a while, the frustrated Arrowsmith decides to move with Leora to New York to work with Gottlieb. Soon he is invited to go to a Caribbean Island where there is an outbreak of bubonic plague to test a serum he has developed in the population and Leora decides to go with him despite the danger. Will Arrowsmith succeed in saving the inhabitants?

"Arrowsmith" is a deceptive film directed by John Ford. The story seems to be incomplete missing explanation, for example, about Mrs. Joyce Lanyon, performed by the gorgeous Myrna Loy. The relationship between Arrowsmith and his wife is also underdeveloped. Ronald Colman is too old for the role of a young idealistic doctor. Maybe the viewer that has read the novel may like this film more than one that has never read it. Last but not the least, the Brazilian title is awful. My vote is five.

Title (Brazil): "Médico e Amante" ("Doctor and Lover")

Sinclair Lewis wrote ARROWSMITH in 1923, after the first two of his blockbuster novels that dissected American Society (MAIN STREET and BABBITT). Lewis decided to make a complete study about the medical profession. As such it was brilliant - far more brilliant than this movie is. If one can think of the novel as what it is - an expose about what is wrong concerning the medical profession - the novel is a glass of fine champagne, and this movie version is a glass of lemonade! Lewis takes us along the entire career of Martin Arrowsmith - through medical school, through practice in a small town, through his marriage to Leora Tozer, through his going to the big city (New York) where he is connected to a large, well-known Foundation, to his battling the plague (and losing his wife and his co-worker), and his finally coming to terms with what he wants from his profession. For the key to the novel is that medicine is extremely lucrative, but Martin is very idealistic. He does not seek riches, but wants to help his fellow man.

The problem, as the film proceeds, is that the people who run or control the profession (or society, for that matter) can care less for the idealistic goal. For one reason or another they want results that are pragmatic or banal. For example, one would think that the Foundation (a swipe at the Rockefeller Foundation, by the way) would be really gung ho about an idealistic medical researcher. They certainly have the laboratories and talent for real progress. But they also have a strong desire for immediate results that can be used for propaganda purposes. So they keep pushing aside certain desires for private testing that Arrowsmith and his mentor Max Gottlieb (A.E. Anson) are requesting on the bubonic plague serum. The director of the foundation insists that Arrowsmith goes to a plague saturated island with his co-discoverer, for immediate SUCCESSFUL results. This leads to massive tragedy in the novel and the film.

This doesn't come across too clearly in the film. Instead it looks like Martin (Colman) would like more time to test, but the emergency prevents it. This weakens the novel's criticism. And this is not the only example.

When Martin starts out in the small town, the local medical community has this idiot running it who knows squat about modern medicine, but is great at self-advertising. The man, who looks like Theodore Roosevelt, thinks that the height of local medical activity is running a "health day" parade. This too is not in the movie.

The film, in short, short-changes Lewis's wonderful novel. In fact, more of the spirit of Lewis's attack can be found in the Robert Donat - Rosalind Russell - Ralph Richardson film THE CITADEL (based on an A. J. Cronin expose novel). That's rough, considering how important the critique by Lewis really was.

The film's cast gives it their all, particularly Helen Hayes (still the young actress who won her first Oscar that same year for THE SIN OF MADELON CLAUDETTE), Myrna Loy (in a heavily cut role) and Colman. John Ford's directing was somewhat mediocre in this film, unlike later works of his. So I give it a "6" out of "10".

Even though only around a third of John Ford's pictures are westerns, it's still undeniable that his forte or, if you prefer, his comfort zone was in historical pictures of some sort. Arrowsmith is unusual in that it is a contemporary drama that Ford both directed and co-produced.

In spite of the above, you might think this was indeed a western from the opening scene, in which we see an ancestor of the protagonist as a good ol' covered wagon pioneer. This bit of family history is not brought up again, but it was obviously judged by Ford and Sam Goldwyn to be significant enough to open the film with, even though it would have been one of the most expensive scenes of the shoot (unless that opening shot is lifted from somewhere else, which it may well be). The point seems to be to draw a line between the struggles of the pioneers and the main story of a medical scientist torn between his home life and his career. It seems a rather tenuous comparison.

On the other hand, there could be parallels between Dr Arrowsmith and a typical Fordian westerner. Not in the character as written – I'm no auteur theorist – but in the way Ford shoots their environments. In the majority of Ford films he exaggerates the smallness of interiors and the vastness of exteriors. The homestead is safe, yet dull, and the great outdoors is exciting yet dangerous. The village where Arrowsmith practices as a country doctor is shot in much the same way as Ford would a western settlement – cramped interiors, foreground clutter and heavy use of framing. However the medical research centre, while it may be another interior, is shot so as to show off its openness and stark cleanliness, with corridors and waiting rooms so vast they look almost surreal. This is Arrowsmith's "wild west", where he is free to be a pioneer of another sort. Another tenuous comparison? Maybe, but remember directors have many choices of how to shoot a place, regardless of the script or the set design, and these choices will reflect how they view that space and what they feel it means to the story.

While Ford's use of space developed incredibly early on, the camera movement at this stage is not yet of the "invisible camera" technique that later became his standard. For those that don't know, invisible camera means you only move the camera when it's following an action, say for example a character walking to the other end of the room. If everyone in the scene is sitting still, the camera sits still. If it's done properly the audience doesn't notice the camera movement, hence "invisible camera". And yet here there is rather a lot of obtrusive camera movement. This is pretty much in line with the general style of the time, in spite of the myth that cameras were immobilised in the early sound era. Despite a few teething problems that were mostly solved by the end of 1929, cameras of the early talkies zipped around just as giddily of those of the late silents.

Ford is not known to have given his actors much coaching, nor allow them rehearsals or repeated takes to hone their performance. For this reason the acting in his pictures tends to be only as good as the raw talent of the performers. Ronald Coleman and Helen Hayes were both good dramatic actors, and here they give good – but not outstanding – dramatic performances. Richard Bennett however just gives a fairly standard, slightly comical supporting-player performance as Sondelius, and the part should either have been cast differently or he should have been prompted to play it with more conviction.

The story goes that the hard-drinking Ford was contracted by Goldwyn to remain teetotal until the production wrapped. Apparently Ford, eager to get back to the bottle, rushed the shooting even more than usual, tearing pages out of the script wherever he could get away with it. Whether this is true or just another bit of Ford mythology, it certainly makes sense. In particular the love story, crucial to the picture's impact, is massively underdeveloped. Downplaying the romantic angle is actually very typical of Ford, but even the usual Fordian semi-improvised comedy diversions are absent – with the exception of a couple of nice gags in a scene where a boy has his tooth pulled, and an almost surreal moment where a comedy drunk inexplicably wanders on and off the set. The resultant picture is full of great moments, but overall seems a little undernourished. Arrowsmith could have been an intense and poignant drama, but Ford was the wrong man for the job.

The fact that an idealistic medical doctor was the protagonist in Arrowsmith is the reason why John Ford must have been attracted to this story and agreed to film it for Sam Goldwyn.

Allegedly it was not a happy collaboration. Two very individualistic men wanted to have their imprimatur on the film. They never worked together on a finished product again, though Ford did start filming The Adventures of Marco Polo for Goldwyn and quit.

I read the novel way back in the day when I was in high school and we only get the second half of it. There's a great deal in the book before Ronald Colman as Martin Arrowsmith goes to work for the Research Foundation and A.E. Anson as Max Gottlieb. You miss quite a lot of the character development of Arrowsmith.

Of course the plot mostly centers on Colman and his other mentor, Richard Bennett going to a Caribbean Island where there has been an outbreak of plague. Along for the trip is Helen Hayes who is Colman's wife Leora.

Colman is there to test a new serum and he's under orders as a researcher to only administer the real stuff to half his patient and a placebo to the others as a control group. This is where the racism of the time kicks in as these human guinea pigs are black, probably the descendants of runaway slaves. There is a black doctor named Marchand in the cast played by Oliver Brooks and it is a rarity among black performers at the time in that the role was hardly servile at all. Brooks seems to go along with the controlled experiment, but he becomes one of many in the cast to meet a tragic end.

With some of what came out about the Tuskegee experiments later on Arrowsmith may have been quite on target without knowing it. A harrowing thought.

Colman and Hayes are an attractive pair of leads. Myrna Loy has a much abbreviated role in the film as a New York socialite that Colman meets down in the islands. In the book he has an affair with her and marries her later on. You won't see that here.

Arrowsmith is a good film though I wish more of Lewis's story got into the final product. But it probably would have run for three hours and films just didn't do that back then.