The Power and the Glory

The film begins with a funeral to the sound of "nearer my God to thee" and the soundtrack includes Gounod's "Ave Maria" as well.

This is the story of a self-made man,the American dream come true.From a track walker to a railway society tycoon,through the strikes and the strife of life ,Tom makes his way of life,abetted by wife Sally who taught him reading,writing and arithmetic when he was already a grown-up.

This is some kind of "Citizen Kane" in miniature ,relatively speaking ,a decade before Orson Welles' masterpiece happened.The story is told by Tom's good friend Henry,with wife making frequently unsympathetic comments .The movie alternates between present and past,back to childhood's days when Tom taught Henry to swim and to dive.

The story is a bit melodramatic ,mainly towards the end when the son falls in love with his stepmother and illustrates the famous sentence "you gain the world and lose your soul" ,which Tom's last word reinforces.

Henry was an educated man whereas Tom was essentially a self taught person .Tom got it made ,but in the end ,according to Sturges' screenplay,it's Henry's way which leads to true happiness.

A precursor to "Citizen Kane" in its analysis of the life of a just deceased tycoon, here reviewed by his faithful secretary in a series of interlocking flashbacks. In Spencer Tracy's 15th film he already looks middle-aged even in the scenes where he is meant to be young!

A little silent-screen type emoting is understandable given the vintage but this is a most enjoyable, well-written drama.

When I first saw Colleen Moore it was in the excellent series about silent films called "Hollywood". There she was in 1980, her hair defiantly bobbed as it was in the Twenties, a sparkling, witty and charismatic elderly lady - the very definition of "presence". Then I saw her fabulous silent comedy work in films like "Ella Cinders" and "Orchids and Ermine". Then the disappointingly sombre talkie "The Scarlet Letter". And now here she is in "The Power and the Glory" giving a performance of staggering power, working expertly alongside one of the talking cinema's finest actors - Spencer Tracy.

I found the movie a little lack lustre story-wise, but Moore and Tracy give such brilliant performances that the story hardly seems to matter. Both actors age from youth to old age in the course of the film - and this is done mostly through acting alone with minimal make-up and hair changes. Moore is almost unrecognisable as the elderly wife, and the scene where she finds out her husband is seeing a younger woman is one of the most magnificently performed scenes I have ever seen. She does most of the scene without dialogue, which is where her silent acting experience gives her the edge, even over Tracy. Contrast this with her delightful comic playing in another silent sequence when she is a young woman and Tracy is struggling to propose to her. Astonishing! What this film reveals more than anything else is how shameful it is that Hollywood let this remarkable actress slip through its fingers and spend most of her life in retirement.

After despised railway tycoon Spencer Tracy (as Tom Garner) dies, boyhood pal Ralph Morgan (as Henry) recounts his friend's life. As we flashback, the young lads become friends during a near-drowning incident. Growing up illiterate, Mr. Tracy meets his perfect match in schoolteacher Colleen Moore (as Sally). Alas, Tracy's life is filled with triumph and tragedy. With Ms. Moore's edging, he rises to the top but becomes corrupt. Despite denials, "The Power and the Glory" provided Orson Welles with the blueprint for a revered classic; he needn't have worried, this does not diminish "Citizen Kane" (1941) in any way. Proving films can inspire without being innately inspirational, "The Power and the Glory" has the prerequisite flawed classic qualities...

Tracy is terrific, but does not really excite; however, this is a technical concern. A former "silent movie" star taking a few years off, Moore contributes a notably adroit supporting performance. Director William K. Howard gets to work with photographer James Wong Howe and an innovative Preston Sturges story. The non-linear narrative was new to talking films, and thus disarmed contemporary viewers. There looks to have been an unwelcome studio-ordered edit as the story seems shortened; and, of course, Mr. Wells (and I) would have ended it differently - the scene with Tracy kneeling by his bed, bathed in sunlight, with son Phillip Trent (as Tommy) and Mr. Morgan, should have ended with a close-up of the scar on Tracy's outstretched hand...

******** The Power and the Glory (8/16/33) William K. Howard ~ Spencer Tracy, Colleen Moore, Ralph Morgan, Helen Vinson

THE POWER AND THE GLORY (Fox, 1933), directed by William K. Howard, is not so much a religious movie, hence its title, but a narrative story about a fictional character as recalled by a friend who knew him best. Categorized as something ahead of its time where stories told in flashback were commonly stylized a decade later, the original screenplay written by future comedy movie director, Preston Sturges, is noteworthy more for its early screen performance by Spencer Tracy, along with an atypical role by former silent screen flapper of the twenties, Colleen Moore. Though Tracy and Moore have the nominal leads, it's Ralph Morgan whose character participates throughout in both story and voice-over narration through various episodes.

The narrative opens at a church funeral of Tom Garner. As the camera pans around those in attendance, it then captures the presence of an old man named Henry (Ralph Morgan) with bushy mustache, wire glasses and gray hair. Leaving the service as the minister continues officiating about the deceased, Henry comes to the Chicago & Southwestern Railway Company building where he worked under the Tom, the company president. Henry then finds and takes an old photo of Tom and his little boy that rests upon his office desk. Later that evening, Henry, after helping his wife (Sarah Padden) with the dinner dishes, takes out the photograph to then share his memories of a true friend. Henry starts by telling his wife, "It's funny that our friendship began with a fight." Flashbacks recall the initial meeting of Henry (Cullen Johnson) and Tom (Billy O'Brien), and how the older boy was to become an influence in his life. Years later, Tom (Spencer Tracy), who never had any formal education, meets Sally (Colleen Moore), a mountain schoolteacher, who not only tutors him to read and write, but becomes wife and mother to his infant son. As Tom rises from track walker to construction worker to president of a railroad company, his marriage slowly starts to fall apart. Aside from heated arguments with Sally revolving around his pampered adult son (Clifford Jones) being expelled from college, his uncontrollable boozing and wild-living, Tom not only "humiliates" Junior by having him work as a bookkeeper at his company, but ends up having an illicit affair with Eve Borden (Helen Vinson), daughter of a rival railroad magnate (Henry Kolker). After Sally meets with a sad end, Tom marries Eve, who becomes untrue to him. As Tom reaches the pinnacle point to the power and the glory of Tom's life, Henry resumes his memory of a true friend with situations leading to his downfall.

A very interesting premise that tells its story in 76 minutes rather than what possibly could been captured in two hours, Spencer Tracy gives a masterful performance, especially when challenging roles come his way. Playing a natural born leader with unafraid tendencies, his only fear happens to be within himself. Scenes depicting him the silver haired cigar smoking businessman comes to mind of Tracy's later years from the mid-1950s onward when his dark hair turned prematurely white. Colleen Moore, whose character goes through the aging process as well, at one point, makes one think of Margaret Sullavan's golden age sequence from her 1941 edition to Universal's BACK STREET. The similarity between Moore and Sullavan is close to remarkable. While the power of Tracy's super-stardom lay ahead during his peak years at MGM (1935-1954), the glory days of Colleen Moore's era came to an end by 1934. Ralph Morgan, playing the third party, nearly steals the show through his narrative and devotion to a friend he defends to those speaking out against him, even his wife who calls Tom Garner a ruthless egotist. Henry's loyalty of friendship is felt throughout, from their Tom Sawyer-Huckleberry Finn type boyhood summer days by the old swimming hole to their business association during their senior years. Another honorable mention comes from Helen Vinson as the social climbing second wife.

As good as the actors are, there's something amiss to what should have become a celebrated masterpiece and a Academy Award nomination for Tracy, that being the often confusing story structure presented in jumbled fashion rather than in chronological order. Interestingly, it's Morgan's character who, through his narration, puts the pieces together even if not in any round-about way. Whether or not the actual intention of the narrative, chances are possibly deletions of certain key sequences leaving certain questions unanswered could have had something to do with some of its confusion. Take note that the familiar presence of veteran character actor, J. Farrell MacDonald, is briefly spotted that he can easily be missed by anyone familiar by his presence through a blink of an eye. No doubt, this narrative idea was good enough to have been duplicated and improved upon by future film directors who might have used this particular movie as its basic tool.

Long unseen, largely forgotten and at one point feared lost to film history, THE POWER AND THE GLORY finally turned up after many years in revival movie houses before being televised first on public television stations (notably New York City's own WNET, Channel 13, where it premiered in July 1992) and later on cable TV networks as the Fox Movie Channel and Turner Classic Movies (TCM premiere: September 18, 2011). Through its availability and occasional television revivals, this production from the neglected Fox Film era (1929-1935) should still be of some interest to film scholars and classic movie lovers of modern times. All the power to you. (***)