John Dall: Film History Series

Photographer Unknown, “John Dall”, 1948, Publicity Shot for Universal International, Gelatin Silver Print

Born in New York City in May of 1920, John Dall Thompson was an American stage and film actor. The younger of two sons born to Charles Thompson and Henny Worthington, he moved with his family in the 1920s to Panama, where his father was employed as a civil engineer for airport construction. After performing at a local theater, Dall first gave thought to the possibility of acting as a career. Due to the death of Charles Thompson by suicide in 1929, the family chose to return to New York City.

John Dall attended the Horace Mann School, a private college-preparatory school in the Bronx, and enrolled at Columbia University with the intention of studying engineering. He soon left the university and studied at the Pasadena Playhouse and the Theodore Irvine School of Theater. Dall also took theater courses in New Orleans at the Petit Theatre, a historic French Quarter playhouse founded in 1916.

Dall performed for six years in various stock companies, primarily the Children’s Theater founded in New York City in 1924 by British actress and playwright Clare Tree Major. He also worked in several theater companies headed by such performers as Academy Award winner Aline MacMahon, actor Arthur William Byron, and stage and screen actress Edith Atwater. During the 1941-1942 season, Dall had small roles on Broadway which included the 1920 science-fiction play “R.U.R.” by Czech writer Karel Čapek. In 1942-1943, Dall had the lead role of Quizz Martin in the touring production of Maxwell Anderson’s “The Eve of St Mark” which later moved to Broadway.

John Dall’s performance in the Broadway version of “The Eve of St Mark” caught the attention of the wife of Jack Warner, founder of Warner Brothers Pictures. This resulted in a film contract with the studio; a proviso was added to the contract that allowed Dall personal time for stage performances. Dall’s first film with Warner Brothers was director Irving Rapper’s 1945 “The Corn is Green”, a drama starring Bette Davis as a schoolteacher bringing education to a Welsh coal mining town. Dall played the lead role of miner Morgan Evans and was nominated for the 1946 Academy Award / Best Supporting Actor.

Impressed with the film rushes for “The Corn is Green”, Warner Brothers signed Dall to a new contract. He became one of the studio’s six contract players that were to be built into stars; the others included Lauren Bacall, Dane Clark, Faye Emerson, Robert Hutton and William Prince. In 1944, Dall returned to the stage with the lead role in playwright Norman Krasna’s highly successful “Dear Ruth”, which eventually ran for six-hundred and eighty performances. The film rights to the play, however, were purchased by Paramount Studio which cast William Holden in Dall’s original role.

Warner Brothers purchased the film rights to John Patrick’s play “Hasty Heart” with the intention of giving the lead film role to John Dall. In 1945, Dall performed “Hasty Heart” on a three-month stage tour. However as it took several more years before the film was started, casting changes gave the lead role to Irish-British actor Richard Todd. In May of 1946, Warners released Dall from his contract after filming only one role for the studio.

Although Paramount Studio cited interest in signing Dall for an adaption of ”The Wayfarers” based on Becky Chambers’s series of books, Dall signed a seven-year contract with David Selznick’s Vanguard Films in May of 1946. He performed “Hasty Heart” during the summer theater season but was never given any roles by Selznick. Signing with Universal International, he played Canadian actress Deanna Durbin’s love interest in Irving Pichel’s 1947 musical comedy “Something in the Wind”. Dall next appeared in a supporting role in Michael Gordon’s 1948 post-Civil War drama “Another Part of the Forest”.

Founded by Alfred Hitchcock and his longtime associate Sidney Bernstein at the end of World War II, Transatlantic Pictures chose John Dall for one of the lead roles in its first production. Dall and actor Farley Granger played the two killers who matched wits with James Stewart in Alfred Hitchcock’s Technicolor 1948 crime thriller “Rope”. On its theatrical release, the film performed poorly at the box office; screenwriter Arthur Laurents attributed the poor performance to audience uneasiness with the homosexual undertones between the characters played by Dall and Granger.

Dall did an hour episode for the ABC anthology radio series “Theater Guild on the Air” and then appeared on Broadway in an adaption of Jean-Paul Satre’s “Red Gloves” with Charles Boyer. In 1949, he made his television debut in The Chevolet Tele-Theatre’s production “Miracle in the Rain”. Dall appeared as one of the leads in Joseph H. Lewis’s 1950 crime film-noir “Gun Crazy” playing opposite femme-fatale actress Peggy Cummins. He later had supporting roles in the 1950 crime film-noir “The Man Who Cheated Himself”, playing opposite Lee J. Cobb and Jane Wyatt, and in a revival on Broadway of the romantic drama “The Heiress”, playing alongside Basil Rathbone.

Throughout the 1950s, John Dall appeared in stock productions of such plays as “Gramercy Ghost”, “The Hasty Heart”, “Born Yesterday” and “The Man Who Came to Dinner”. He worked extensively in television and appeared in guest roles on such shows as Studio One in Hollywood, General Electric Theater, Schlitz Playhouse, The Clock, Broadway Television Theater, and Lights Out. In 1955, Dall returned to Broadway for writer and director Leslie Stevens’s “Champagne Complex”.

Dall’s first film role after a span of eight years was that of the Roman soldier Marcus Glabus, based on the life of Roman military commander Gaius Claudius Glaber, in Stanley Kubrick’s 1960 epic historical drama “Spartacus”. This film won four Academy Awards and had the highest ranking box office in Universal Studio’s history until “Airport” in 1970. Dall’s final film performance was as the villain Zaren in George Pal’s 1961 science-fiction film “Atlantis, the Lost Continent”.

As to John Dall’s personal life, there is very little verifiable written record. According to music journalist Phil Milstein, at the time of his death Dall had lapsed into alcoholism and was living with his partner, actor Clement Brace. While visiting London in October of 1970, John Dall sustained a serious fall. He died three months later of cardiac arrest, a complication of myocarditis, at his Beverly Hills home in January of 1971 at the age of fifty. His body was donated to medical science. Dall’s papers and correspondence are housed at the Margaret Herrick Library in Beverly Hills, California.

Top Insert Image: Photographer Unknown, “John Dall”, Date Unknown, Studio Publicity Shot, Gelatin Silver Print

Second Insert Image: Joseph A. Valentine, “John Dall, James Stewart and Farley Granger”, 1948, Film Shot from “Rope”, Director Alfred Hitchcock

Third Insert Image: Photographer Unknown, “Donald O’Connor, Deanna Durbin and John Dall”, 1947, Pulicity Shot for “Something in the Wind”, Director Irving Pichel, Cinematographer Milton R. Krasner

Fourth Insert Image: Sol Polito, “John Dall and Bette Davis”, 1945, Film Shot from “The Corn is Green”, Director Irving Rapper

Fifth Insert Image: Photographer Unknown, “John Dall”, Date Unknown, Publicity Shot, Gelatin Silver Print

Bottom Insert Image: Russell Harlan, “John Dall”, 1950, Film Shot from “Gun Crazy”, Director Joseph H. Lewis

Calendar: September 1

A Year: Day to Day Men: 1st of September

Vacation Spot

September 1, 1954 marks the release of Alfred Hitchcock’s “Rear Window”.

Alfred Hitchcock’s 1954 ‘Rear Window’ is a film full of symbolism, narratives, voyeurism and characterization. Hitchcock, a strong filmmaker, used similiar themes and specific signature motifs, such as character parallels and heavy use of vertical lines, as well as a strong protagonist. Hitchcock made a career out of indulging our voyeuristic tendencies. “Rear Window” is perhaps his most skillful and gleefully self-aware production.

“Rear Window” focuses around the main protagonist Jefferies, a photographer who recently broke his leg and is restricted to a wheelchair. In the opening scene where the credits are shown, the forthcoming storyline is presented and Hitchcock has created an opportunity to set the tone of the film. He also creates a great ambience, as a bamboo curtain is raised and the courtyard is shown, around which the whole film revolves.

The audience is shown life through Jefferies’ eyes. His window looks out onto a courtyard and displays a number of different windows representative of different lives in America in the 1950s. Each window represents a different style of living; and snippets of these characters lives with their different backgrounds are presented to Jefferies’ viewing.

These characters of “Rear Window”, although living so close to each other, barely interact or ever meet. All the actions of these different people through the windows and their stories flow together seamlessly: the music proceeding each scene leads the viewer to what will happen next. The noises and sounds in the film are a narrative device: a radio blaring or playing music, an alarm clock ringing, which shift the attention of the viewer from one apartment to another. Shots of panning and zooming by the cameramen make it more realistic as Jefferies shifts his binoculars from each apartment scene to another.

“Rear Window”s audience is constantly shown natural framing, which is a well-known theme in Hitchcocks films and truly represents him as a master filmmaker. There are constantly shots which are framed by openings such as; window frames, door frames and hallways. The use of binoculars by Hitchcock is symbolic; they intensify what Jefferies is seeing and isolate him from the actions that he observes. The setting in the film is also symbolic; Jefferies’ apartment, the courtyard, and the small alleyway are the only areas he can see, ultimately confining and trapping him.

The whole film was shot inside a Hollywood studio: yet the sense of the city’s atmosphere, noisy and breathless with its humid air, still is conveyed strongly to the viewer. The everyday domestic dramas unfold and James Stewart is their captive audience. The intensity of Stewart’s helplessness is subtly shown in one small ominous film scene unfolding before his eyes: the tip of the wife-killer Lars Thorwald’s cigar glowing red in the darkness of his living room after the neighbors’ strangled dog is found in the garden.

Calendar: May 9

A Year: Day to Day Men: 9th of May

The Stag Tattoo

May 9, 1959 was the release date of Alfred Hitchcock’s psychological thriller “Vertigo”.

The film noir “Vettigo”, produced and directed by Hitchcock, was based on the 1954 novel “From Among the Dead” by Boileau-Narcejac. The star of the film James Stewart plays Scottie, a detective forced into early retirement, because an incident in the line of duty, causing him to develop a fear of heights, resulted in the death of a policeman. He is hired as a private investigator to follow an acquaintance’s wife, played by Kim Novack, who is behaving strangely.

“Vertigo” was filmed from September to December 1957, with the principal photography beginning on location in San Francisco. The film uses extensive location footage of the Bay Area, with its steep hills and tall, arching bridges. In the driving scenes shot in the city, the main characters’ cars are almost always pictured heading down the city’s steeply inclined streets.

The scene in which Madeleine falls from the tower was filmed at Mission San Juan Bautista. A steeple, added sometime after the mission’s original construction and secularization, had been demolished following a fire. So Hitchcock added a bell tower using scale models, matte paintings, and trick photography at the Paramount studio in Los Angeles.The original tower was much smaller and less dramatic than the film’s version. The tower’s staircase was later assembled inside a studio.

Hitchcock popularized the dolly zoom in this film, leading to the technique’s nickname “the Vertigo effect”. This “dolly-out/zoom-in” method involves the camera physically moving away from a subject whilst simultaneously zooming in, so that the subject retains its size in the frame, but the background’s perspective changes. Hitchcock used the effect to look down the tower shaft to emphasize its height and Scottie’s disorientation. Following difficulties filming the shot on a full-sized set, a model of the tower shaft was constructed, and the dolly zoom was filmed horizontally.

“Vertigo” premiered in San Francisco on May 9, 1958 at the Stage Door Theater. While the film did break even upon its original release, it earned less than other Hitchcock productions. Tghe film was nominated for two Academy Awards in the technical categories: Best Art Direction and Best Sound. Upon Hitchcock’s death in 1973, “Vertigo” was one of five Hitchcock films taken out of circulation. It wasn’t until ten years later that it was re-released after restoration and reprinting on 35mm stock.

Calendar: February 27

A Year: Day to Day Men: 27th of February

Straw Hat

February 27, 1940, was the general release of Alfred Hitchcock’s “Rebecca”.

The film “Rebecca” is a 1940 American romantic psychological thriller directed by Alfred Hitchcock. It was Hitchcock’s first American project under contract with David O. Selznick. It was based on the book of the same name by Daphne du Maurier with an adaption by Philip MacDonald and Michael Hogan. The film star Laurence Olivier played the aristocratic widower Maxim de Winter and Joan Fontaine played the young woman who became his second wife.

The film is a gothic tale shot in black and white. Maxim de Winter’s first wife Rebecca, who died before the events of the film, is never seen. Her reputation and recollections of her, however, are a constant presence in the lives of Maxim, the housekeeper Mrs Danvers (Judith Anderson), and especially the new wife, Mrs. de Winter. The young bride’s first name is never mentioned in the film; she is always referred to as Mrs. de Winter.

At the 13th Academy Awards in 1941, “Rebecca” won two awards, ‘Best Picture’ and ‘Best Cinematography, Black and White’, out of a total 11 nominations. Olivier, Fontaine and Anderson also were Oscar-nominated for their respective roles as were Hitchcock and the screenwriters. It is the only film since 1936 (when awards for actors in supporting roles were first introduced) that, despite winning Best Picture, received no Academy Award for acting, directing or writing.

Selznick insisted that the film be faithful to the novel. According to the book “It’s Only a Movie”, Selznick wanted the smoke from the burning Manderley to spell out a huge “R”. Hitchcock thought the touch lacked subtlety. While Selznick was preoccupied by the production of “Gone with the Wind”, Hitchcock was able to replace the smoky “R” with the burning of a monogrammed négligée case lying atop a bed pillow.

According to Leonard J. Leff’s book “Hitchcock and Selznick”, Selznick took control of the film once Hitchcock had completed filming, reshooting many sequences and re-recording many performances. Some sources say this experience led Hitchcock to edit future pictures “in camera” -shooting only what he wanted to see in the final film, a method of filmmaking that restricts a producer’s power to re-edit the picture.