The Magnificent Yankee

Louis Calhern who was in demand right up to his death in 1956 on both stage and screen gets a chance to repeat his most famous stage role as Oliver Wendell Holmes, The Magnificent Yankee. He appeared on Broadway with this play by Emmett Lavery in 1946 for 159 performances with Dorothy Gish playing his wise and patient wife Fanny Dixwell Holmes.

For those who think that this play and movie is about the Great Dissenter on the Supreme Court Oliver Wendell Holmes, author of some of the best known and most quoted legal opinions ever rendered by the US Supreme Court you are wrong. It is instead about a love story between two elderly people, Wendell and Fanny, who embark on a new adventure when at the ripe old age of 60, Wendell gets a major new job in his chosen profession.

If Holmes had never been put on the Supreme Court by Theodore Roosevelt in 1902 his reputation would rest on being the author of The Common Law which is a history of and Holmes view of same. It's a classic in jurisprudence published in many languages. In 1902 Holmes was three years into the job of Chief Justice of the Massachusetts Supreme Court when he got the call which insurance actuarists would have given him a decade tops on his new job.

Yet we first meet Mr. Justice Holmes and his lady right after that appointment, buying a new home for themselves in Washington, DC. They were one of the great love stories in history. Fanny Dixwell was the daughter of the man who ran Dixwell's Latin School in Boston which was THE place to be sending your young Yankee children for their education. They met as children and it was love at first sight. They had eyes for no others.

Taking Dorothy Gish's place for the screen version is Ann Harding. She and Calhern perfectly fit my conception of what the Holmeses must have been like in their private moments. Eduard Franz plays Holmes friend and colleague Louis D. Brandeis who was his partner in dissent on many occasion replacing Edgar Barrier who did the role on stage.

It's sad that while Calhern was given an Oscar nomination for Best Actor, Ann Harding was not similarly honored. The two roles are so entwined that I don't think you can honor one without the other. I made a similar comment on William Powell being nominated for Nick Charles in The Thin Man and Myrna Loy being snubbed for the same film.

The Holmeses had no children, they did in fact raise a niece who was out of the picture when they moved to the capital, but the legend about his law clerks from Harvard becoming surrogate sons is quite true. You can spot such players as Jimmy Lydon, Richard Anderson, and Herbert Anderson in brief roles as the many clerks Holmes had over the years.

Oliver Wendell Holmes was possibly our most distinguished man of the law and Louis Calhern brings him vividly alive with the wit and grace Holmes was known for in his life. Don't ever miss The Magnificent Yankee played by a magnificent actor about a magnificent man.

I caught this on Turner last night. I happen to be in the history business, in a way, and was surprised at how good this still was. Like most films-adapted-from-plays of the 30s and 40s, it never really transcends its stage origins, but I thought it dealt with the big issues of law, justice, morality, life and death in a way inconceivable in a politically correct age such as ours. We are much smaller people now. The conversation Holmes has with his wife while she lies dying in her bed is a masterpiece of really mature human communication, it's not sappy or sentimental, it's just heartbreaking in its honesty.

The Justice Holmes of this film was Oliver Wendell Holmes Jr., the son of the famous poet-doctor of the same name who wrote "Old Ironsides" and "The Autocrat of the Breakfast Table." The father and son are often confused. I was also delighted by Eduard Franz's underplayed portrayal of Louis Brandeis, the first Jewish justice on the US Supreme Court, after whom Brandeis University was named.

I didn't want this film to end, and will now look up the original stage play.

There's not much substance here, at least in terms of the legal side of Oliver Wendell Holmes. This is more about the man as husband, with a few doses of patriotism. It'd downright sentimental.

I've always liked Louis Calhern in old films, but I'm not quite sure. He's, at best, a good character actor. It is said that he was given the title role here as thanks from the studio for being a good soldier and accepting so many character roles. Perhaps the best acting in this picture comes from Ann Harding as the wife.

The social importance of Holmes' years on the Supreme Court is mentioned, but almost in passing. But, as Bosley Crowther put it in his review at the time, it's a "gentle screen drama". It really is more about marital companionship than law, as Crowther pointed out. It is most touching as Mr. & Mrs. Holmes reach their sunset years.

At first I was surprised at the number of votes for this film, but on reflection, it becomes all too clear why this is so. This film may be too literate for contemporary audiences. How many people now know who Henry Adams, Owen Wister, and Louis Brandeis WERE? Still, one shouldn't have to be a constitutional law scholar to love a film so well acted and so rich in Human interest. Yes, the film does occasionally sentimentalise Holmes. So? I find it fascinating that Emmett Lavery, a devout Catholic, educated by Jesuits, was able to paint such a warm portrait of the atheist (and lets not mince words-he WAS an atheist) Holmes, who had little use for moral absolutes or the Natural Law. In short, a very fine film, of the sort that is impossible to make nowadays.

The story of the making of this genteel biopic is almost as quietly heartwarming as the movie itself: Louis Calhern had been giving small, perfect performances for MGM for years. He went off to Broadway to do this stately biography of Oliver Wendell Holmes. It was a hit. More out of gratitude to Calhern than anything, MGM bought the film rights for him, budgeting it modestly and expecting a low-grossing "prestige picture." It did garner prestige, and even made a little money.

It's a sweet, low-key, moving character portrait, not "opened up" much from the stage and reeking of mid-century theatrical conventions -- you can tell which lines were the scene-enders onstage. The themes are Holmes's unfulfilled desire for sons, his abiding love for his wife, and his thoughtfulness and moral decency as a Supreme Court justice. Episodic and on the slow side, it has a civics-lesson mustiness, and yet it's satisfyingly sincere; the earnestness that MGM so often lent to its Americana works in its favor for a change. Calhern's performance is a model for aspiring actors, and he's matched at every step by Harding, who strikes unusual notes of fire and resolve in the standard behind-every-man loving-spouse part. Not a showy or brilliant movie, but a thoroughly satisfying one.