Edouard, mon fils

When it was originally presented on the London stage, Robert Morley starred and wrote Edward My Son and I believe he had Lord Beaverbrook in mind. If that is the case Edward My Son was as daring in its way as Sweet Smell of Success was in America taking dead aim at Walter Winchell.

Lord Beaverbrook for those on this side of the Atlantic was a Canadian industrialist Max Aitken who settled in the UK and purchased a string of tabloid like newspapers. He was a very powerful force in the post World War I United Kingdom and served in the War Cabinet of Winston Churchill. He was every bit as cunning and as ruthless as we Sir Arnold Boult made out to be.

And to accommodate Spencer Tracy's North American speech, Sir Arnold is made Canadian. That was making it more daring. Beaverbrook was not a man to cross.

We never see Edward at any time in the film, the picture we form of him is through the eyes of the other characters. A kid spoiled rotten by his ever indulgent father. Boult, ruthless in business and finance, is just as ruthless at getting whatever for his son, giving him everything but a decent set of values to live by.

Tracy's portrayal rings true for me because I actually knew someone like Arnold Boult in my life. He was a political person who spoiled his son absolutely rotten, used up favor after favor for him. When the son developed a drug problem he never tried to deal with it, but actually schemed to give him jobs he couldn't handle. I look at Tracy as Sir Arnold Boult and see this man staring right back at me.

Deborah Kerr is Tracy's wife and Edward's mother and Leueen McGrath is his secretary and mistress. They are the major female roles in Edward My Son and both are captured well. Others to look for in the cast are Felix Aylmer as the prep schoolmaster, Mervyn Johns as Tracy's tragic former business partner, and Ian Hunter as Tracy's friend and eventual second husband to Kerr.

Look at Tracy's methods in dealing with his personal and professional life and it's small wonder Edward turned out to be the spoiled brat he was.

Arnold Boult ( Spencer Tracy ) is a higher rank than just captain of industry as he dupes, browbeats and bribes his way to power in Twentieth century London. With limitless ambition and drive he is not concerned about being liked but having his way. Son Edward is another story however and he slavishly dotes over the boy spoiling him at every turn and using his considerable power, he holds the mortgage to the prep school Edward is about to be expelled from, to allow him to do as he pleases. With this kind of powerful enabling it is little surprise sonny grows into irresponsible adulthood.

Directed sluggishly by George Cukor, Edward, My Son has a stage feel to it as it trundles slowly from scene to scene. We never see the title character but the little he has is fleshed out excellently in conversation and argument between the parents. Tracy as a bullheaded industrialist from across the pond ( Canadian instead of Ugly American ) does a fine job of going against type, playing one of his many fatherly roles with reckless arrogance. Playing opposite Tracy as his wife Deborah Kerr simply walks away with the picture as she goes from housewife to millionaires wife with title before descending into the depths of alcoholism after the loss of her son and a lifetime with Arnold. It may well be the celebrated Kerr's most challenging and finest performance in a career that has had many.

Mid picture the film really begins to bog down as Boult begins an affair with his secretary (Lueen McGrath) that Cukor attempts to sum up in one long laborious scene at her apartment slowing the pace even more, though salvaged somewhat by Kerr who saves her best for last. The denouement is more than satisfying. It's the getting there that's the problem.

First of all, the Edward of the title is never actually seen, even though the story covers several decades of his life. Rather, the story concentrates on the destructive influences of his over-benevolent father (Spencer Tracy) whose selfishness and ambition destroy all the relationships about him and ruin his son's character. Spencer Tracy is somewhat miscast, a little too likable and amiable in a role that calls for acidity and tartness. One wonders just how much better Robert Morley would have been in the role he created on the stage. Alas, movie box office appeal ruled. Ian Hunter is good as the Harley Street doctor, Tracy's friend throughout, who carries more than a burning torch for Tracy's long-suffering wife. The one knockout performance, which really carries a punch, shattering in its portrayal, is delivered by Deborah Kerr - unquestionably one of the best she ever gave. Going from a loving young wife to a middle-aged, spurned, embittered alcoholic, her performance is heart-wrenching. One watches her range with surprise for the sheer professionalism at what must have been a relatively young age. Quite different from any of the other roles she played in a long career. An absorbing drama, unusual in that the lead character is not particularly likable or sympathetic. Worth watching for the snappy dialog and Kerr's performance.

My parents were movie buffs and I grew up watching films. I am a devoted Deborah Kerr fan since childhood, and I thought I had seen all her important films; but I had missed "Edward, My Son", which I watched recently on TV. An admirer of Miss Kerr's poise, beauty, and professionalism, of her subtly conveyed emotional intensity and compassionate lucidity (undoubtedly buttressed by her choice of roles, especially in the fifties and sixties), I was blown away by the sheer brilliance of her performance in this film. I give part of the credit for her success to George Cukor's directorial efforts; Mr. Cukor was indeed a "women's director", largely responsible for Katharine Hepburn's early success, and for guiding (among others) Vivien Leigh, Judy Holliday, and Miss Kerr through Oscar-winning or nominated screen performances.

The film's plot, in my opinion, is clever. Edward is a strong a presence as Sebastian in "Suddenly Last Summer", although his face is never shown. The moral disintegration of a marriage and of a loving wife is effectively narrated, particularly thanks to Deborah Kerr's stunning performance. It is sad to think this is only the first of many Oscars stolen from her throughout her movie career.

It has always appeared as a mystery to me why Hollywood moguls believed Spencer Tracy was a versatile actor. Although he is always believable as a nice, warm "everyman" in most of his films, I think his range was (to say the least) limited. One can't help but wonder what a more expressive actor of his generation, such as Fredric March, would have done with the character of Sir Arnold Boult. Among English actors, my personal choices would have been Michael Redgrave or Ralph Richardson; but it was, after all, an MGM movie. At least Tracy is not as miscast as, for example, Gregory Peck (another actor of limited range)playing an English barrister in "The Paradine Case".

The supporting cast was excellent,in my opinion; especially the actress who played Sir Arnold's secretary and mistress, and the dependable Felix Aylmer.

"Edward, My Son" does not betray its theatrical origins and is an unusually somber film, considering MGM's usual emphasis on visual charm and gloss.

Good grief, Robert Morley and Noel Langley must have been in a bad mood indeed when they wrote the nihilistic play upon which this film was based.

"Edward, My Son" is a bitter pill of a movie about an absolutely detestable jackass played by Spencer Tracy and the mess he makes of his life and the lives of those he loves in his campaign to spoil his son rotten. Tracy deserves kudos for playing this character at all, one who finds not a hint of redemption by the movie's end. The real reason to watch the film, though, is for Deborah Kerr's tragic performance as Tracy's wife, who begins the film as a vivacious if overly-dependent young mother and ends it as a shattered alcoholic. Her part is fairly small in relation to Tracy's, but she makes the most of every moment on screen and earned her first Best Actress Academy Award nomination for her efforts.

In a conceit that clearly comes from the stage, we never see Edward, the son who serves as the catalyst for this married couple's disastrous end. Director George Cukor never succeeds in opening this film up and making it feel like anything more than a filmed version of the play. There's a monotony to its rhythms and it feels longer than it is.

Grade: B-