Il romanzo di una vita

The more things change, the more they remain the same. We hear current scandals and corporate ruthlessness now and in past history. This picture paints the "Hollywood" side of Edison, but he too has a ruthless side.

Edison certainly deserves much credit, but he had his vices. He invested heavily in Direct Current (DC) technology; good for many applications, but not for the needed power and lighting applications Edison envisioned. No mention is made in the movie of Nikola Tesla. Edison invited him to the USA from Croatia to work in Edison's labs. Edison made him work from 10:30 am to 5:00 the next morning, seven days per week. Even though Tesla did not believe in Edison's direct current motors he worked hard to improve them. Edison told him if he could do that he would give him a bonus of $50,000. He came up with twenty-four new designs to replace the old ones of Edison's. Edison was delighted with the results but did not pay Tesla the $50,000 he had promised. When Tesla finally asked him about it, it is said that Edison told him, "Tesla, you don't understand our American humor." That is when Tesla left the Edison Co. and eventually worked for Edison's rival George Westinghouse. Westinghouse was ruthless as well, but he and Tesla got along, and secured the contract to supply generators at Niagara Falls.

Films such as these are great to bring initial awareness. My hope would be they prompt more investigation. That in mind, I'll take these "Hollywood biographies" over what often comes from the current film industry: recycled garbage.

Edison in this version comes across as a kindly soul, sort of "Santa the inventor" -- kind to one and all.

Don't look for historical accuracy of any kind in this film. Although the acting is nicely done. Spencer Tracy is a constant delight. He even gets to play the organ in one scene! Tracy and Co.'s contributions rate it a six, but it certainly doesn't deserve anything more.

I especially loved the one-handed Morse-code tapping Edison. One doesn't need to know much about Edison to realize pretty quickly that this is sheer hagiography.

There is even a court room scene between gas and electrical lighting. Pretty fun.

I like the fact that Edison was nominated for the Oscar for best Original Story. How many biopics can claim that honour ?

Spencer Tracy is excellent as the dynamic American inventor. Although he was a 40 year old playing a 25 year old he produced sufficient energy to overcome the obstacle of years. This is a fine piece of acting and is well supported by the bit-parts and by the director who clearly enjoys telling the story of Edison's finest achievements, the invention of the light bulb and of the recording device.

The main problem with the film is its lack of balance. We don't hear enough about his theft of patents and his failure to give credit to his co-workers. Edison is a metaphor for America in the early twentieth century, exciting, inventive, thrusting, dynamic but also shallow and lacking in grace.

Spencer Tracy rarely played real people. He played a character based on Arnold Rothstein in an early film for Fox, and Henry Morton Stanley in STANLEY AND LIVINGSTON, and Rogers of Rogers' Rangers in NORTHWEST PASSAGE, and Clarence Darrow (Henry Drummond) in INHERIT THE WIND, and the Captain of the Mayflower in PLYMOUTH ADVENTURE. It seems like a large number of films, but it is really less than three percent of his movies. He also appeared in this film as the great inventor (over 1,000 patents) Thomas Alva Edison (1847 - 1931).

In 1940 Edison was a national hero. Nobody was quite like him, although Alexander Graham Bell (soon to be subject of a film starring Don Ameche) was a figure of great interest too. So was Samuel Morse, inventor of the telegraph, and Eli Whitney, inventor of the Cotton Gin. However no films were made about them. There was a film with Fred MacMurray and Alice Faye about Robert Fulton and his steamboat, but none about the Wright brothers.

Because of the period of history it was made in, film biography rarely was totally dispassionate. All Americans heroes were flawless, so all questions about Edison's stealing credit from assistants or other inventors was pushed aside (his involvement in the patent battles about the telephone is not mentioned). Nor were his flop inventions: pre-fabricated houses made of cement (actually a good idea, but ahead of it's time), the attempt to be the biggest gold ore refiner in the East (using huge machines to grind the ore out of rocks), the electric car motor. His bigoted feelings towards foreigners (Jews, rival inventors like Nicola Tesla) were not mentioned, nor was his rejection of the offer of a joint 1911 Nobel Prize for Physics (for the accidental discovery of the Edison Affect of carbonization in electricity) because he had to have it with Tesla for discovering alternating current. None of this is mentioned...only the string of great inventions he had a major hand in from 1868 to 1894. As a surface study of his career it is passable, and Tracy and the cast (in particular Gene Lockhart as his critic and nemesis Taggart) are splendid. You'll be entertained, but read A STREAK OF LUCK by Robert Conot for the true story.

Spencer Tracy stars as the famous inventor Thomas Edison. This movie deals primarily with his struggles to invent the electric light. Beautiful Rita Johnson plays Edison's wife. Excellent supporting cast includes Henry Travers, Charles Coburn, Grant Mitchell, Felix Bressart, and Gene Lockhart -- solid character actors all. Grand MGM polish and production values make for a great-looking picture.

This is the second MGM biopic of Edison released in 1940. The first, Young Tom Edison, starred Mickey Rooney and covered the inventor's early years. Edison, the Man is sort of a sequel to that film. Both are excellent. These old biopics were usually solid, uplifting character-driven stories. Yes they take liberties with the details but the more cynical defamatory biopics we get these days do the same. I'll take an inspirational biography that builds people up and leaves you with the warm fuzzies over some deconstructionist tabloid trash any day.