The Male Animal

Henry Fonda is a college professor in danger of losing his job and his wife in "The Male Animal," also starring Olivia de Havilland, Jack Carson, and Joan Leslie.

Fonda plays a happily married intellectual. On the weekend of college homecoming, his wife's former beau (Jack Carson), a jock, shows up, giving rise to the professor's insecurities.

He's having problems in his teaching life as well when an editorial states that he plans to read a letter from Bartolomeo Vanzetti (of Sacco and Vanzetti) in his English composition class. The trustees aren't happy and want him to state that the article is incorrect.

As he is up for a full professorship, his wife hopes he will back down also since three teachers have been fired for being "reds."

This is an odd film with a very timely message about censorship and its dangers that by itself would have made a good movie, especially with wonderful actors like Fonda and de Havilland.

However, the home situation was played for comedy. This film didn't seem to know which it was. If I were to guess, I would say the studio wanted a comedy and the dramatic part was downplayed. It's a shame, because there was nothing special about that part of the film, except that Jack Carson was very good.

The Henry Fonda character discovers that he has to become "the male animal," i.e., one who fiercely protects his home, and not only his home, but his role as a teacher as well.

Today, when "Brokeback Mountain" isn't being shown in all areas, and more censorship is being urged, this is a good movie to see if only to remind us that the this is a war that has been fought for years. Nowadays I wonder if we're winning.

Henry Fonda is our intellectual, idealistic professor at Midwestern University. He is married to a woman much younger than him played by Olivia de Havilland. Fonda is going to read a letter as an example in his English class to give an example of great speeches written by illiterate people. The problem is, the man was condemned as an anarchist and traitor and sentenced to death. This gets the trustees of the University bent out of shape and try to stop him. His wife, an ex-cheerleader is being romanced by this ex-football QB played by Jack Carson. They once dated and he feels less of a man around him. The trouble in his professional and domestic life propel this comic satire. This film is based on the play by Elliot Nugent who also directs. Obviously, this movie is taking on current issues of the day to which I am unfamiliar but eager to research. It is so current that it can be applied to today's environment and politics; people who are fearful and criticize things they haven't heard or seen as the letter Fonda intends to read; nobody knows the contents. The pressure to conform and governments who censor political opinion that is dissenting or alternative, school bodies who train our students to focus on the material issues over the immaterial ones. For, the Chancellor is only interested in the winning football team they have and he feels that has ensured his greatness and reputation making him a man to be reckoned with. But other things make a man and Fonda who probably has delivered the best monologues in movies in such movies as The Grapes of Wrath, 12 Angry men, Ox-bow incident, Mister Roberts and Fail-safe delivers another one here that makes the movie. Study this movie for its take today on the follies of censorship.

The lyrics of Jerome Kern's "Who" resonate throughout this movie as the lead characters battle one another, both rhetorically and physically, for answers to the big question "Who?" Who does Ellen Turner (Olivia de Havilland) really love? Who does Ed Keller (Eugene Palette) like? Who invited Joe Ferguson (Jack Carson), erstwhile beau to Ellen and football hero/legend at Midwestern U.? Who will save Ellen and Tommy from themselves? Who can save Michael Barnes (Herbert Anderson) from "Hot Garters" Gardner (Jean Ames)? Who is Wally Myers (Don DeFoe), the current football hero, really courting? Joe or Patricia (Joan Leslie)? And who is Bartolomeo Vanzetti? and what does he have in common with people like these? Tune in to the song: i.e. "Who stole my heart away?/Who makes me dream all day,/Dreams I know will never come true,/Seems like I'll always be blue./Who makes my happiness?/Who would I answer yes to?/Well, you oughta guess, Who? No one but you." Don't guess.

See the movie. You not only gotta see the movie, but you gotta hear it, too.

When college English professor Tommy Turner (Henry Fonda) says that he's going to read aloud letters from controversial figures in his class, the school bosses threaten to have him thrown out. This happens during the buildup to a major football game which sees the return to campus of former sports great Joe Ferguson (Jack Carson), who seems to be making time with Tommy's wife Ellen (Olivia De Havilland).

The script by Julius and Philip Epstein and Stephen Morehouse Avery was based on a play by James Thurber and director Elliott Nugent. There's a lot that can be said about the clash between the academic and the athletic on college campuses, and the subject of free speech and what is and what is not appropriate for students to hear is something that seems to be in the news every week. Unfortunately, the movie is more interested in tired rom-com tropes, with the Fonda-De Havilland-Carson love triangle competing with the Herbert Anderson-Joan Leslie-Don DeFore love triangle for cliched banality. The performances are all fine for what they wanted to accomplish, but Eugene Pallette was maybe a little too annoying as an alumni blowhard. And it's hard to make Eugene Pallette anything but humorous.

On the outside, "The Male Animal" works most of the time as a lightweight comedy starring two heavyweight actors, Henry Fonda and Olivia de Havilland. However, from the inside, 'The Male Animal' is more than just a 'brain vs. brawn' type of film, it is a convoluted mess of love triangles, rival jealousies, and a liberal viewing of the moral ideals that separate liberal America from conservative America. And if that's not enough to chew on, there's also a superfluous sub plot that features a love triangle mirroring the lead love triangle.

This sub plot is one of the weakest parts of the film, perhaps because the supporting parts in it end up being largely inconsequential to the main plot and therefore just become lighter and younger copies of the main characters. Does it really matter that Patricia Stanley (Joan Leslie) finds herself caught between two college crushes, the first being the current football star Wally Meyers (Don DeFore) and the second being a nerdy journalism major named Michael Barnes (Herbert Anderson)? Not really, but I have the feeling it was supposed to.

The strongest attribute from this film comes by the way of the comedic interplay through the leading love triangle between the ex-football player Joe Ferguson (Jack Carson), his old cheerleader flame Ellen Turner (Olivia de Havilland) and her husband Tommy Turner (Henry Fonda). Much of the film centers on the homecoming of Ferguson and the subsequent home wrecking of the Turners. Ferguson's arrival brings out the young romantic dreamer in Ellen and the insecure jealousy in Tommy. Ellen and Tommy keep a smiling facade for Ferguson and school boosters who traipse in and out of the house, but behind closed doors lurk a lot of pent up questions that quickly turn to accusations. This love triangle works well through a good part of the film; however the impending, or rather, the implied and impending divorce arrangement that is understood, or better yet, misunderstood by the lead characters quickly becomes monotonous. One wonders how better this film would have been had it been directed by Preston Sturgess instead of Elliott Nugent. The funniest line in the film centers on the response Tommy gives Ellen when discussing Tommy's irritability at having to entertain house guests. Ellen suggests that Tommy have a soda to calm his nerves, to which Tommy calmly replies, "let's not bring this down to the level of bicarbonate of soda".

If the dizzy love triangles account for the comedy in this film, then it is the threat of a letter being read by Turner to his English Literature class, penned from the hand of a convicted criminal and communist, that makes up the drama of the film. Ed Keller (Eugene Palette), the chairman of the board of trustees at the college mentions to Turner that their college isn't a place for "too many ideas". Keller, although never having read the letter, thinks this type of letter goes against all that he sees as good in America; namely 'Abraham Lincoln', 'right guys, stand up guys', 'pep rallies with bonfires' and of course, 'The big game'.

Turner could always watch from the safety of his porch the yearly mob mentality of a pep rally during homecoming, when all that was at stake was a football game. However, this mob has assembled to burn him at the stake. His job, his marriage, and his safety all hinge upon whether he can make the whipped up mob not only listen, but try to understand the beauty and composition of the letter. Before Turner starts to read from the letter, his wife, in the audience with Joe Ferguson, looks on with pitying eyes. By the time that Turner has finished his letter and calmly walked off stage, she feels she's made a terrible mistake by not standing by her man.

What happens next is a very clean and tidy ending. Everyone in the film is in smiles and Turner finally gets to enjoy a rally away from his porch and his bicarbonate of soda.

Everyone in the cast has their moment to shine. Fonda and Carson get the bulk of what is good. Fonda seems at his best when he's in a film where he is standing up for what is right, whether it be as a juror in '12 Angry Men' or the voice of reason in 'The Ox-Bow Incident'. 'The Male Animal' is no different; his reading of the letter is brilliant. I didn't care too much for his drunken buffoonery that lead up to the end, but the letter reading at the end more than makes up for it. Carson is always a solid second banana. He is outstanding as the ex-footballer and ex-boyfriend to Olivia de Havilland. I always like to see Olivia de Havilland, she's always good, but she seemed just a tad wasted by the end of this film. She was great whenever she would become emotional at the realization of how difficult Fonda was making her decision to run away. She's a terrific actress who is easy on the eyes, but mixing comedy and drama in this film was not her highest moment.

Just like the trick 'Statue of Liberty' play employed by the school to win the big game, you might not appear to have had a ball watching this movie, but it still features a few extra kicks in it, and after all, that could be the small difference in the big game.

8/10. Clark Richards