The Duke of West Point

I saw this movie on television in New York about 1950. About twelve years after its release. To a ten year old boy it was fun, exciting and got me gung ho about West Point and its traditions. Yes, it was another Hollywood version of life at the academy. This movie was never intended as a documentary. I saw the movie again years later.At that point I enjoyed the actors. Louis Hayward who I had the pleasure of meeting(about 1975) was a really nice guy. He certainly never entertained thoughts that this movie would win critical acclaim. The movie did however provide grounds to hone his skills as an actor...which he became quite accomplished at. Two years later he was a very capable actor/star playing the dual role in The Man in The Iron Mask, followed by THe Son of Monte Cristo. Both were swashbuckler roles. He was a rather modest gentleman, and a decorated marine during WWII. I met Don Barry on location in Del Rio, Tx in 1968 for the movie Bandolero. He had a bit part in the movie...his better days behind him. We talked at great length because I was very familiar with many of the movies he had made. He was surprised that someone would know so much of his career. (As a movie buff, it was natural for me to know). For Richard Carlsen, this was also another early role to hone his skills. All in all, this movie was entertaining.......it is a movie I will watch again if given the opportunity

In the 1920s to the mid-1930s, William Haines was one of the most popular leading men in Hollywood. MGM found a formula and they put Haines in the same sort of film again and again....and again. In each of them, Haines played a very talented guy who had a HUGE ego. He would alienate those around him and eventually he would crash and burn. But by the end of the film, he would do something selfless and regain everybody's trust and respect. However, despite these films being popular with audiences, MGM stopped making them in 1934. Why? Because Haines was openly gay, and the new, tougher Production Code called for Hollywood to 'clean up its act'...and that meant gay actors had to hide very deep in the closet. Haines refused...and his film career was over at that point.

I mention all this because although Haines was gone from the screen by 1938, this sort of movie still existed. While "The Duke of West Point" was not made by MGM and didn't have Haines, it was in every way another Haines movie. The plot here is exactly the same...the only big difference was that this one starred Louis Hayward.

Steven Early is an American raised in England...which would account for Hayward's accent. Following his graduation from Cambridge, he arrives at West Point to become a cadet...which is odd, since he already would have a bachelor's degree. Regardless, he makes a pain of himself with his brashness although in most cases he's able to back it up. His grades are good and he's a valuable member of the football team. However, he's so arrogant and flaunts the rules...and you know eventually he (like Haines in his films) would get his comeuppance. The only question is how bad will he fall and what does he do to gain everyone's respect?

It's interesting that Steven's love interest was played by Joan Fontaine. He played a Brit...but Fontaine was also British and she hides her accent quite well. Both are very good.

The film, because it is so formulaic and predictable, it's not a great movie....it's more an agreeable and familiar time-passer. Not a bad film...just nothing all that new despite the change in leading man.

In a great tradition of films about the Army Military Academy like The Long Gray Line, Flirtation Walk and The West Point Story steps The Duke At West Point. It's about three roommates at West Point, Louis Hayward, Richard Carlson, and Tom Brown and their first two years at the Academy.

Brown has gone to a military school and is gung ho army. Carlson is the son of a war hero killed in the first World War and has a presidential appointment. Hayward is the son of the military attaché at the American Embassy in London and has gone to Cambridge where he starred in Rugby, arguably tougher than American football.

If this had been done at 20th Century Fox Hayward's part would have been a lock for Tyrone Power. Hayward's a cocky arrogant sort who rubs his upper classmates the wrong way. But he has a great deal more character than they realize. He's caught off grounds after hours and doesn't reveal his reason for doing so. I won't reveal it here because it's centerpiece of the whole plot.

In fact Louis Hayward did many roles as a free lance actor that would have been done by Power over at Fox and Errol Flynn at Warner Brothers. Certainly those two are better known to film fans today, but Hayward is someone waiting to be discovered.

Producer Edward Small not having a major studio backing never got to West Point it seems. But with a lot of establishing shots the film has the look and feel of the Military Academy.

This film holds up as well as those others in portraying the tradition of West Point.

Louis Hayward is the fifth generation of his family to attend Wet Point, but with his British accent -- explained by eight years in English Public Schools -- athletic achievements, and cocky attitude, upperclassmen like Alan Curtis look to clip his wings, without success. Nonetheless, his room mates, Tom Brown and Richard Carlson, like him, and he tears up the football gridiron because of his skill at rugby. But when Carlson's mother falls sick, and Carlson feels he must resign, Hayward telegraphs her the money with orders not to tell Carlson, lest he resign anyway.... and he's caught out while doing so. He refuses to resign, so the cadets subject him to the Silence; no one will speak to him. Only his room mates are exempt.

Alfred Green does his typically good job directing this movie, which never talks about service or patriotism, just loyalty to the Army. Still, despite its length, it's good to watch, and the way editor Grant Whytock manages to make Hayward a great football and ice hockey player is fascinating for those on the look for it. With Joan Fontaine, Don Barry, Charles D. Brown, Jed Prouty, and Jonathan Hale.

Approximately 10-15 min into this movie, technical issues such as lighting & other (minor) aspects problematic to most films leading up to the late 30's, prompted an urge to search elsewhere, for yet another 'oldie but a goodie'...., succumbed to these little gold nuggets of compelling brilliance, followed by a well-structured & fascinating, human-interest story.

Personally, it was one of (if not) the, best directorial {and acting} presentations, for having communicated, the often misunderstood notion, of accurately defining what is, authentic character. Love finding hidden treasures like this film that are decades old, but still have a relevant connection almost 80 years later.