Charles Laughton (/' l ?? t ? n / ;[1] 1 July 1899 – 15 December 1962) was an English actor. He was trained in London at the Royal Academy of Dramatic Art and first appeared professionally on the stage in 1926. In 1927, he was cast in a play with his future wife Elsa Lanchester, with whom he lived and worked until his death.
He played a wide range of classical and modern roles, making an impact in Shakespeare at the Old Vic. His film career took him to Broadway and then Hollywood, but he also collaborated with Alexander Korda on notable British films of the era, including The Private Life of Henry VIII , for which he won the Academy Award for Best Actor for his portrayal of the title character. He portrayed everything from monsters and misfits to kings.[2] Among Laughton's biggest film hits were The Barretts of Wimpole Street , Mutiny on the Bounty , Ruggles of Red Gap , Jamaica Inn , The Hunchback of Notre Dame , The Big Clock , and Witness for the Prosecution . Daniel Day-Lewis cited Laughton as one of his inspirations, saying: "He was probably the greatest film actor who came from that period of time. He had something quite remarkable. His generosity as an actor; he fed himself into that work. As an actor, you cannot take your eyes off him."[3]
In his later career, he took up stage directing, notably in The Caine Mutiny Court-Martial , and George Bernard Shaw's Don Juan in Hell , in which he also starred. He directed one film, the thriller The Night of the Hunter , which after an initially disappointing reception is acclaimed today as a film classic.
Early life and career [ edit ]
Laughton was born on 1 July 1899 in Scarborough, North Riding of Yorkshire, the son of Robert Laughton (1869–1924) and Eliza (née Conlon; 1869–1953), Yorkshire hotel keepers.[4] A blue plaque marks his birthplace.[5] His mother was a devout Roman Catholic of Irish descent, and she sent him to briefly attend a local boys' school, Scarborough College,[6] before sending him to Stonyhurst College, the pre-eminent English Jesuit school.[7] Laughton served in World War I, during which he was gassed, serving first with the 2/1st Battalion of the Huntingdonshire Cyclist Battalion,[8] and then with the 7th Battalion of the Northamptonshire Regiment.
He started work in the family hotel, though also participating in amateur theatrical productions in Scarborough. He was permitted by his family to become a drama student at RADA in 1925, where actor Claude Rains was one of his teachers. Laughton made his first professional appearance on 28 April 1926 at the Barnes Theatre, as Osip in the comedy The Government Inspector , in which he also appeared at London's Gaiety Theatre in May. He impressed audiences with his talent and had classical roles in two Chekov plays, The Cherry Orchard and The Three Sisters . Laughton played the lead role as Harry Hegan in the world premiere of Seán O'Casey's The Silver Tassie in 1928 in London. He played the title roles in Arnold Bennett's Mr Prohack (Elsa Lanchester was also in the cast) and as Samuel Pickwick in Mr. Pickwick at the Theatre Royal (1928–29) in London.[9][10]
He played Tony Perelli in Edgar Wallace's On the Spot and William Marble in Payment Deferred . He took the last role across the Atlantic and made his United States debut on 24 September 1931, at the Lyceum Theatre. He returned to London for the 1933–34 Old Vic season and was engaged in four Shakespeare roles (as Macbeth, Henry VIII, Angelo in Measure for Measure and Prospero in The Tempest ) and also as Lopakhin in The Cherry Orchard , Canon Chasuble in The Importance of Being Earnest , and Tattle in Love for Love . In 1936, he went to Paris and on 9 May appeared at the Comédie-Française as Sganarelle in the second act of Molière's Le Médecin malgré lui , the first English actor to appear at that theatre, where he performed the role in French and received an ovation.[citation needed ]
Laughton commenced his film career in Great Britain while still acting on the London stage. He also accepted small roles in three short silent comedies starring his wife Elsa Lanchester, Daydreams, Blue Bottles, and The Tonic (all 1928), which had been specially written for her by H. G. Wells and were directed by Ivor Montagu. He made a brief appearance as a disgruntled diner in another silent film Piccadilly with Anna May Wong in 1929. He appeared with Lanchester again in a "film revue," featuring assorted British variety acts, called Comets (1930) in which they sang a duet, "The Ballad of Frankie and Johnnie." He made two other early British talkies: Wolves with Dorothy Gish (1930) from a play set in a whaling camp in the frozen north, and Down River (1931), in which he played a drug-smuggling ship's captain.
His New York stage debut in 1931 immediately led to film offers, and Laughton's first Hollywood film, The Old Dark House (1932) with Boris Karloff, in which he played a bluff Yorkshire businessman marooned during a storm with other travelers in a creepy remote Welsh manor. He then played a demented submarine commander in Devil and the Deep with Tallulah Bankhead, Gary Cooper and Cary Grant, and followed this with his best-remembered film role of that year as Nero in Cecil B. DeMille's The Sign of the Cross. Laughton gave other memorable performances during that first Hollywood trip, repeating his stage role as a murderer in Payment Deferred , playing H.G. Wells' mad vivisectionist Dr. Moreau in Island of Lost Souls , and the meek raspberry-blowing clerk in the brief segment of If I Had A Million , directed by Ernst Lubitsch. He appeared in six Hollywood films in 1932. His association with director Alexander Korda began in 1933 with the hugely successful The Private Life of Henry VIII (loosely based on the life of King Henry VIII), for which Laughton won the Academy Award for Best Actor. He also continued to act occasionally on stage, including a US production of The Life of Galileo by (and with) Bertolt Brecht.[citation needed ]
Film career [ edit ]
1933–1943 [ edit ]
After his smashing success in The Private Life of Henry VIII , Laughton soon abandoned the stage for films and returned to Hollywood, where his next film was White Woman (1933) in which he co-starred with Carole Lombard as a Cockney river trader in the Malayan jungle. Then came The Barretts of Wimpole Street (1934) as the malevolent father of Norma Shearer's character (although Laughton was only three years older than Shearer); Les Misérables (1935) as Inspector Javert; one of his most famous screen roles in Mutiny on the Bounty (1935) as Captain William Bligh, co-starring with Clark Gable as Fletcher Christian; and Ruggles of Red Gap (1935) as the very English butler transported to early 1900s America. He signed to play Micawber in David Copperfield (1934), but after a few days shooting asked to be released from the role and was replaced by W. C. Fields.[citation needed ]
Back in the UK, and again with Korda, he played the title role in Rembrandt (1936). In 1937, also for Korda, he starred in an ill-fated film version of the classic novel, I, Claudius , by Robert Graves, which was abandoned during filming owing to the injuries suffered by co-star Merle Oberon in a car crash. After I, Claudius , he and the expatriate German film producer Erich Pommer founded the production company Mayflower Pictures in the UK, which produced three films starring Laughton: Vessel of Wrath (US title The Beachcomber ) (1938), based on a story by W. Somerset Maugham, in which his wife, Elsa Lanchester, co-starred; St. Martin's Lane (US title Sidewalks of London ), about London street entertainers, which featured Vivien Leigh and Rex Harrison; and Jamaica Inn , with Maureen O'Hara and Robert Newton, about Cornish shipwreckers, based on Daphne du Maurier's novel, and the last film Alfred Hitchcock directed in Britain before moving to Hollywood in the late 1930s.
The films produced were not commercially successful enough, and the company was rescued from bankruptcy only when RKO Pictures offered Laughton the title role (Quasimodo) in The Hunchback of Notre Dame (1939), with Jamaica Inn co-star O'Hara. Laughton and Pommer had plans to make further films, but the outbreak of World War II, which implied the loss of many foreign markets, meant the end of the company. Laughton's early success in The Private Life of Henry VIII established him as one of the leading interpreters of the costume and historical drama roles for which he is best remembered (Nero, Henry VIII, Mr. Barrett, Inspector Javert, Captain Bligh, Rembrandt, Quasimodo, and others); he was also type-cast as arrogant, unscrupulous characters.[citation needed ]
He largely moved away from historical roles when he played an Italian vineyard owner in California in They Knew What They Wanted (1940); a South Seas patriarch in The Tuttles of Tahiti (1942); and a U.S. admiral during World War II in Stand By for Action (1942). He played a Victorian butler in Forever and a Day (1943) and an Australian bar-owner in The Man from Down Under (1943). Simon Callow's 1987 biography quotes a number of contemporary reviews of Laughton's performances in these films. James Agate, reviewing Forever and a Day , wrote: "Is there no-one at RKO to tell Charles Laughton when he is being plain bad?" On the other hand, Bosley Crowther of The New York Times declared that Forever and a Day boasted "superb performances".[11]
C. A. Lejeune, wrote Callow, was "shocked" by the poor quality of Laughton's work of that period: "One of the most painful screen phenomena of latter years", she wrote in The Observer , "has been the decline and fall of Charles Laughton." On the other hand, David Shipman, in his book The Great Movie Stars: The Golden Years , said "Laughton was a total actor. His range was wide".[12]
1943–1962 [ edit ]
Laughton played a cowardly schoolmaster in occupied France in This Land is Mine (1943), by Jean Renoir, in which he engaged himself most actively;[13] in fact, while Renoir was still working on an early script, Laughton would talk about Alphonse Daudet's story "The Last Lesson", which suggested to Renoir a relevant scene for the film.[14] Laughton played a henpecked husband who eventually murders his wife in The Suspect (1944), directed by Robert Siodmak, who would become a good friend.[15] He played sympathetically an impoverished composer-pianist in Tales of Manhattan (1942) and starred in The Canterville Ghost , based on the Oscar Wilde story in 1944.
Laughton appeared in two comedies with Deanna Durbin, It Started with Eve (1941) and Because of Him (1946). He portrayed a bloodthirsty pirate in Captain Kidd (1945) and a malevolent judge in Alfred Hitchcock's The Paradine Case (1947). Laughton played a megalomaniac press tycoon in The Big Clock (1948). He had supporting roles as a Nazi in pre-war Paris in Arch of Triumph (1948), as a bishop in The Girl from Manhattan (1948), as a seedy go-between in The Bribe (1949), and as a kindly widower in The Blue Veil (1951). He played a Bible-reading pastor in the multi-story A Miracle Can Happen (1947), but his piece wound up being cut and replaced with another featuring Dorothy Lamour, and in this form the film was retitled as On Our Merry Way . However, an original print of A Miracle Can Happen was sent abroad for dubbing before the Laughton sequence was deleted, and in this form it was shown in Spain as Una Encuesta Llamada Milagro .
Laughton made his first colour film in Paris as Inspector Maigret in The Man on the Eiffel Tower (1949) and, wrote the Monthly Film Bulletin , "appeared to overact" alongside Boris Karloff as a mad French nobleman in a version of Robert Louis Stevenson's The Strange Door in 1951. He played a tramp in O. Henry's Full House (1952). He became the pirate Captain Kidd again, this time for comic effect, in Abbott and Costello Meet Captain Kidd (1952). Laughton made a guest appearance on the Colgate Comedy Hour (featuring Abbott and Costello), in which he delivered the Gettysburg Address. In 1953 he played Herod Antipas in Salome , and he reprised his role as Henry VIII in Young Bess , a 1953 drama about Henry's children.
He returned to Britain to star in Hobson's Choice (1954), directed by David Lean. Laughton received Academy Award and Golden Globe nominations for his role in Witness for the Prosecution (1957). He played a British admiral in Under Ten Flags (1960) and worked with Laurence Olivier in Spartacus (1960). His final film was Advise & Consent (1962), for which he received favourable comments for his performance as a Southern US Senator (for which accent he studied recordings of Mississippi Senator John C. Stennis).
The Night of the Hunter and other projects [ edit ]
Main article: The Night of the Hunter (film)
In 1955, Laughton directed The Night of the Hunter , starring Robert Mitchum, Shelley Winters and Lillian Gish, and produced by his friend Paul Gregory. The film has been cited among critics as one of the best of the 1950s,[16] and has been selected by the United States National Film Registry for preservation in the Library of Congress. At the time of its original release it was a critical and box-office failure, and Laughton never directed again. The documentary Charles Laughton Directs The Night of the Hunter by Robert Gitt (2002) features preserved rushes and outtakes with Laughton's audible off-camera direction.[17]
Laughton had intended to follow up The Night of the Hunter with an adaptation of Norman Mailer's The Naked and the Dead . Terry and Dennis Sanders were hired as writers, and press releases announced that Robert Mitchum was to star and that Walter Schumann would compose the score.[18][19] Following the box-office failure of The Night of the Hunter , Laughton was replaced by Raoul Walsh as director on the film and recruited an uncredited writer to rewrite the Sanders brothers' screenplay.[20][21]
Laughton also developed a remake of the 1927 silent film White Gold .[22]
Theatre [ edit ]
Laughton made his London stage debut in Gogol's The Government Inspector (1926). He appeared in many West End plays in the following few years and his earliest successes on the stage were as Hercule Poirot in Alibi (1928); he was the first actor to portray the Belgian detective in this stage adaptation of The Murder of Roger Ackroyd , and as William Marble in Payment Deferred , making his Lyceum Theatre (New York) debut in 1931.[citation needed ]
Charles Laughton in 194In 1926, he played the role of the criminal Ficsur in the original London production of Ferenc Molnár's Liliom (The play became a musical in 1945 by Rodgers and Hammerstein as Carousel , where Ficsur became Jigger Craigin, but Laughton never appeared in the musical version). While Laughton is most remembered for his film career, he continued to work in the theatre, as when, after the success of The Private Life of Henry VIII he appeared at the Old Vic Theatre in 1933 as Macbeth, Lopakin in The Cherry Orchard , Prospero in The Tempest and Angelo in Measure for Measure . In the US, Laughton worked with Bertolt Brecht on a new English version of Brecht's play Galileo . Laughton played the title role at the play's premiere in Los Angeles on 30 July 1947 and later that year in New York. This staging was directed by Joseph Losey. The processes by which Laughton painstakingly, over many weeks, created his Galileo—and incidentally, edited and translated the play along with Brecht—are detailed in an essay by Brecht, "Building Up A Part: Laughton's Galileo."[23]
Laughton had one of his most notable successes in the theatre by directing and playing the Devil in Don Juan in Hell beginning in 1950. The piece is actually the third act sequence from George Bernard Shaw's play Man and Superman , frequently cut from productions to reduce its playing time, consisting of a philosophical debate between Don Juan and the Devil with contributions from Doña Ana and the statue of Ana's father. Laughton conceived the piece as a staged reading and cast Charles Boyer, Cedric Hardwicke and Agnes Moorehead (billed as "The First Drama Quartette") in the other roles. Boyer won a special Tony Award for his performance. [24]
He directed several plays on Broadway, mostly under the production of his friend and Broadway producer Paul Gregory. His most notable box-office success as a director came in 1954, with The Caine Mutiny Court-Martial , a full-length stage dramatisation by Herman Wouk of the court-martial scene in Wouk's novel The Caine Mutiny . The play, starring Henry Fonda as defence attorney Barney Greenwald, opened the same year as the film starring Humphrey Bogart as Captain Queeg and José Ferrer as Greenwald based on the original novel, but did not affect that film's box-office performance. Laughton also directed a staged reading in 1953 of Stephen Vincent Benét's John Brown's Body , a full-length poem about the American Civil War and its aftermath. The production starred Tyrone Power, Raymond Massey (re-creating his film characterisations of Abraham Lincoln and John Brown), and Judith Anderson. Laughton did not appear himself in either production, but John Brown's Body was recorded complete by Columbia Masterworks.[citation needed ] He directed and starred in George Bernard Shaw's, Major Barbara which ran on Broadway from approximately November 1, 1956, to May 18, 1957. Others in the cast were Glynis Johns, Burgess Meredith, Cornelia Otis Skinner, and Eli Wallach.[25]
Laughton returned to the London stage in May 1958 to direct and star in Jane Arden's The Party at the New Theatre which also had Elsa Lanchester and Albert Finney in the cast. He made his final appearances on stage as Nick Bottom in A Midsummer Night's Dream , and as King Lear at the Shakespeare Memorial Theatre in 1959, although failing health resulted in both performances being disappointing, according to some British critics. His performance as King Lear was lambasted by critics, and Kenneth Tynan wrote that Laughton's Nick Bottom "... behaves in a manner that has nothing to do with acting, although it perfectly hits off the demeanor of a rapscallion uncle dressed up to entertain the children at a Christmas party". Although he did not appear in any later plays, Laughton toured the US with staged readings, including a successful appearance on the Stanford University campus in 1960.[citation needed ]
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