Skip to main content

Happy Birthday, Tyrone Power!

The strikingly handsome matinee idol of Hollywood's Golden Age was born Tyrone Edmund Power, Jr. on May 5, 1914 in Cincinatti, Ohio, into an illustrious theatrical family. His Irish great-grandfather, William Tyrone Power, had achieved great success throughout the world as a comedian in the 19th century, while his father, Tyrone Power Sr., was a well-known Shakespearian actor who moved into silent films the year Ty was born. His mother, Patia, was also a respected stage actress and drama coach. Encouraged by his family's tradition, Ty grew up with a determination to follow his father's footsteps and pursue an acting career. Upon his graduation from Purcell High School in 1931, he travelled to Hollywood to try his luck at the movies, but struggled to find work. After appearing as an extra in Tom Brown of Culver (1932) and Flirtation Walk (1934), he decided to go to New York to get experience as a stage performer under the tutelage of the prestigious actress and theater producer Katharine Cornell.

With Madeleine Carroll in Lloyds of London
Ty's big break came when Cornell cast him in her landmark production of Shakespeare's Romeo and Juliet, which premiered in Los Angeles in 1935. On opening night, he was approached by a talent scout from Universal Pictures, who offered him a standard seven-year contract. Cornell, however, advised the 21-year-old actor to gain more stage experience before giving Hollywood another chance, so he declined the offer in favor of a lead role in her revival of George Bernard Shaw's play Saint Joan. At the end of the season, 20th Century Fox called on him and invited him for a screen test, which he passed with flying colors.

Power's first assignment at Fox was Girls' Dormitory (1936), starring Herbert Marshall, Ruth Chatterton and French actress Simone Simon in her American debut. Although given just a few lines at the end of the picture, Ty captured the hearts of many women across the nation, including the powerful gossip columnist Hedda Hopper, who claimed to have sat through the film twice just to learn the dashing young actor's name. After a slightly larger part in Edwin H. Griffith's Ladies in Love (1936), which marked the beginning of a highly successful screen partnership with Loretta Young, Ty was finally given an opportunity to shine when director Henry King cast him in the big-budget costume drama Lloyds of London (1936). Though fourth-billed, he had by far the most screen time of any other actor in the film and was at last able to showcase his talents. Lloyds of London eventually became Fox's biggest moneymaker of that year and turned Tyrone Power into a bona fide Hollywood star.

In a publicity still for Jesse James
The following year, Ty's career reached another high point when he appeared opposite Don Ameche and Alice Faye in the Best Picture-nominated drama In Old Chicago (1937). After reuniting with Ameche and Faye in the musical Alexander's Ragtime Band (1938), also a Best Picture nominee, Fox agreed to loan him out to MGM to be Norma Shearer's leading man in W. S. Van Dyke's lavish costume drama Marie Antoinette (1938). Realizing that his biggest star was virtually a supporting player in the film, Darryl F. Zanuck, head of production at Fox, vowed never to loan Power out again not even to play Ashley Wilkes in David O. Selznick's Gone with the Wind (1939).

Upon his return to Fox, Power was assigned to yet another historical drama, Suez (1938). One of his leading ladies in the film was French actress Annabella, whom he soon became romantically involved with. Much to Zanuck's chagrin, Ty and Annabella were married in April 1939. The union, however, was marred by his infidelities and her inability to give him the son he had always wanted, which eventually led to their separation in 1946 and divorce two years later. In the meantime, with the massive success of Jesse James (1939), his first Technicolor picture, Rose of Washington Square (1939) and The Rains Came (1939), Power became one of America's top box-office draws, surpassing established stars like Clark Gable and Spencer Tracy. In 1939, Ty and Jeanette MacDonald were voted "King and Queen of Hollywood" in a nationwide newspaper poll.

With Linda Darnell in The Mark of Zorro
Ty began the 1940s playing the title role in what is arguably the most iconic film of his career, Rouben Mamoulian's The Mark of Zorro (1940), based on Johnston McCulley's story about the apparently foppish Californio nobleman Don Diego Vega who moonlights as a defender of the common people as the masked outlaw Zorro. Co-starring Linda Darnell, his leading lady in four pictures, The Mark of Zorro was a smashing success, sealing Power's status as a swashbuckling hero, an image he soon revisited in Blood and Sand (1941), Son of Fury: The Story of Benjamin Blake (1942) and The Black Swan (1942).

In August 1942, Power enlisted as a pilot in the U. S. Marine Corps, but was sent back at the request of 20th Century Fox to appear opposite Dana Andrews and Anne Baxter in the patriotic war film Crash Dive (1943), which served as a vehicle to increase the number of volunteers for military service. On January 1, 1943, he finally reported for active duty at Camp Pendleton in San Diego, California. As he had already logged 180 solo hours as a pilot before enlisting, he was able to do a short, intense flight training program at the Naval Air Station Corpus Christi, Texas. In mid-1944, after earning his wings and a promotion to First Lieutenant, he was assigned as a transport pilot to the Pacific Theater of war, where he flew perilous missions carrying supplies in and wounded soldiers out of Iwo Jima and Okinawa. For his efforts during World War II, Power received the American Campaign Medal, the Asiatic-Pacific Campaign Medal with two bronze stars and the World War II Victory Medal. He stayed with the Marines until 1951, retiring as a Captain in the reserves.

Lieutenant Power getting a cup of coffee at the Omura Naval Air Station in Japan in October 1945

Power's first film after the war was Edmund Goulding's The Razor's Edge (1946), with Gene Tierney and Anne Baxter. This powerful adaptation of W. Somerset Maugham's best-selling novel of the same name was a hit among audiences and critics alike and received an Academy Award nomination for Best Picture. With his status as "King of the Fox Lot" still secured, Power next begged Zanuck to let him star in the gritty film noir Nightmare Alley (1947), which he believed would not only challenge his acting abilities, but also present him to the public in a completely different way. Although the film failed to make an impact at the box-office, due to the studio's lack of promotion, Ty's role as an ambitious and scheming carnival worker earned him the best reviews of his career and became his personal favorite.

Around the same time as his divorce from Annabella was being  finalized, Ty decided to embark on a goodwill trip across the world piloting his own plane, "The Geek," a name intrinsically associated with Nightmare Alley. During a visit to Italy in 1948, he fell in love with Linda Christian, a 25-year-old MGM contract player who happened to be staying at the same hotel. Ty and Linda had briefly met in early 1947 while doing location shooting in Acapulco, Mexico for Captain from Castile (1947) and Tarzan and the Mermaids (1948), respectively. They had been introduced by Lana Turner, who was carrying an affair with Power at the time and had just worked with Linda in Green Dolphin Street (1947). Following a whirlwind romance, Ty and Linda were married in the Church of Santa Francesca Romana in Rome on January 27, 1949, in a ceremony worthy of European nobility. Although the  marriage was short-lived, ending in 1955, it produced two children, daughters Romina and Taryn.

With O'Hara in The Long Gray Line
By the early 1950s, Power was becoming increasingly dissatisfied with the film projects he was being given, such as American Guerrilla in the Philippines (1950), Diplomatic Courier (1952) and Pony Soldier (1952). For first time in over a decade, he failed to rank in the top 10 of U.S. box-office attractions. As an enticement to renew his contract a third time, Fox offered him the lead role in Henry Koster's CinemaScope spectacle The Robe (1953). Power, however, turned it down and instead left on a national tour with John Brown's Body, a staged dramatic reading of Stephen Vincent Benét's epic war poem, for which he received critical acclaim. 

Upon his return to Hollywood, Power secured Zanuck's permission to seek his own roles outside Fox, on the condition that he fulfill his fourteen-film commitment to them in between his other projects. His first feature for a different studio in fifteen years was The Mississipi Gambler (1953), a Technicolor adventure drama directed by Rudolph Maté for Universal Pictures. Co-starring Piper Laurie, the film was a success and Power, having made a deal to receive a percentage of the profits, eventually earned over a million dollars from it. Following the release of Untamed (1955), his last film under contract with Fox, Power regained his box-office momentum with John Ford's The Long Gray Line (1955), co-starring Maureen O'Hara, and George Sidney's The Eddy Duchin Story (1956), with Kim Novak, both produced by Columbia Pictures.

On the set of Solomon and Sheba
When Power returned from England after playing the lead role in a revival of George Bernard Shaw's The Devil's Disciple, Zanuck persuaded him to appear opposite Ava Gardner and Errol Flynn in The Sun Also Rises (1957), based on the Ernest Hemingway of the same name. His next project, Billy Wilder's suspenseful courtroom drama Witness for the Prosecution (1957), gave him a rare oportunity to play against type as an accused murderer. Co-starring Marlene Dietrich and Charles Laughton, this adaptation of Agatha Christie's play was a box-office success and Ty's performance was applauded by critics as "magnificent."

Although he vowed that he would never marry again after his second divorce, Ty wedded Southern Belle Deborah Ann Minardos in May 1958. A few weeks later, the couple received the news that Deborah was expecting their first child together. In September of that year, Power and his wife travelled to Madrid, Spain, where he was scheduled to film King Vidor's historical epic Solomon and Sheba (1959) with George Sanders and Gina Lollobrigida. Power had completed about 75 percent of his scenes when, on November 15, he complained of a pain in his left arm and abdomen during a physically demanding duelling scene with Sanders. With no doctor on the set to assist him, he was rushed to the hospital, but it was already too late; he died of a massive heart attack within the hour, aged 44. His father had succumbed to same disease 27 years earlier on the set of The Miracle Man (1932). Ironically, Power had filmed a public service announcement about the dangers of heart disease shortly before he left for Spain.

During the making of Henry King's King of the Khyber Rifles (1953), Power had confided to his co-star Terry Moore that the two things he wanted the most in life were to have a son that would carry on his name and to die on stage. As faith would have it, he did die on stage and two months after his untimely death, Deborah gave birth to the son he had always wished for. Decades later, Tyrone William Power IV would carry forth his father's prestigious name when he and his wife welcomed a baby son they named Tyrone Keenan Power. In the end, Tyrone Power got everything he ever wished for. Not many people are lucky enough to say the same.


Ty was everybody's favorite person, and all agreed that he was that great rarity a man who was just as nice as he seemed to be. With his flashing good looks, graceful carriage, and easy laughter, it was no surprise that he was a Pied Piper to women they followed him in droves wherever he went but Ty was a simple person, with a great down-to-earthness and modesty about himself.
(David Niven)


___________________________
SOURCES:
The Star Machine by Jeanine Basinger (2009) | The Encyclopedia of Hollywood, Second Edition by Scott Siegel and Barbara Siegel (2004) | Tyrone Power: The Last Idol (1996) | Tyrone Power's offical website

Comments

  1. I only wish Ty had a chance to meet his son :( He wanted one so desperately, he would've been an incredible father. Wonderful write-up! Happy Birthday Ty! <3

    ReplyDelete
    Replies
    1. I know. And the fact that Ty died just two months before the boy was born makes it even more heartbreaking.
      Thank you. I'm glad you enjoyed it. :)

      Delete

Post a Comment

Popular posts from this blog

Golden Couples: Gary Cooper & Patricia Neal

It was April 1948 when director King Vidor spotted 22-year-old Patricia Neal on the Warner Bros. studio lot. A drama graduate from Northwestern University, she had just arrived in Hollywood following a Tony Award-winning performance in Lillian Hellman's Another Part of the Forest . Impressed by Patricia's looks, Vidor approached the young actress and asked if she would be interested in doing a screen test for the female lead in his newest film, The Fountainhead (1949). Gary Cooper had already signed as the male protagonist, and the studio was then considering Lauren Bacall and Barbara Stanwyck to play his love interest.          Neal liked the script and about two months later, she met with the director for sound and photographic tests. Vidor was enthusiastic about Patricia, but her first audition was a complete disaster. Cooper was apparently watching her from off the set and he was so unimpressed by her performance that he commented, « What's that!? » He tried to con

Golden Couples: Henry Fonda & Barbara Stanwyck

In the mid- and late 1930s, screwball comedy was in vogue and practically every actress in Hollywood tried her hand at it. Barbara Stanwyck never considered herself a naturally funny person or a comedienne per se , but after delivering a heart-wrenching performance in King Vidor's Stella Dallas (1937), she decided she needed a « vacation » from emotional dramas. In her search for a role, she stumbled upon a « champagne comedy » called The Mad Miss Manton (1938), originally intended as a Katharine Hepburn vehicle. Barbara Stanwyck and Henry Fonda as Melsa and Peter in The Mad Miss Manton .   Directed by Leigh Jason from a script by Philip G. Epstein, The Mad Miss Manton begins when vivacious Park Avenue socialite Melsa Manton finds a corpse while walking her dogs in the early hours of the morning. She calls the police, but they dismiss the incident — not only because Melsa is a notorious prankster, but also because the body disappears in the meantime. Sarcastic newspaper editor

Film Friday: «Who Was That Lady?» (1960)

Theatrical release poster Directed by George Sidney , Who Was That Lady? (19 60 ) begins when che mistry p rofessor David Wilson (Tony Curtis) is caught by his wife Ann (Janet Leigh) kissing one of his female st u de nts. To stop her from divo rcing him , he a sk s for hel p from his good friend, television writer Michael Haney (Dean Mart in), who invents a crazy story that Davi d is working undercover with the FBI and kissed the student — a foreign agent — in the line of du ty. To convince Ann, Mi ke tricks Schult z (William Newel l), a prop man at the T V studio, into fabricating an FBI identification card for David and s up plying him with a g un. Ann is so t hrilled by the idea of being married to a secret agent t hat she forgives David. Meanwhile, Mike sets up a date wi th the Coogle sisters, Gloria (Barbara N ichols) and Florence ( Joi Lan sing), and takes David along , telling Ann that the girls are foreign agents. Just as Ann realizes that her h usband ha s

Christmas in Old Hollywood

The beautiful Elizabeth Taylor with an extremely cute little friend. Humphrey Bogart and Lauren Bacall with their son Stephen (early 1950s). Here they are again. What an adorable picture! Paulette Goddard looking rather uncomfortable next to her Christmas tree. Boris Karloff and Ginger Rogers at a Hollywood Christmas party in 1932. The adorable Shirley Temple chatting with Santa. Here she is again with a dolly friend. Look how cute she looks here, modeling a new Christmas dress (1935). The fur-tastic Joan Crawford. Doris Day asking us to "do not disturb until Christmas." Don't worry, Doris, we shall not. Though it's past Christmas now, so I'm sure Doris won't mind if we disturb just a little bit. Priscilla Lane looking sparkling drapped in her garlands. A VERY young Carole Lombard sitting next to her tree (1920s). Jean Harlow looking stunning as always. Janet Leigh looking extra cute unde

Films I Saw in 2020

For the past four years, I have shared with you a list of all the films I saw throughout 2016 , 2017 , 2018 and 2019 , so I thought I would continue the «tradition» and do it again in 2020. This list includes both classic and «modern» films, which make up a total of 161 titles. About three or four of these were re-watches, but I decided to include them anyway. Let me know how many from these you have seen. As always, films marked with a heart ( ❤ ) are my favorites. Sherlock Jr. (1924) | Starring Buster Keaton, Kathryn McGuire and Joe Keaton The Crowd (1928) | Starring James Murray, Eleanor Boardman and Bert Roach Young Mr. Lincoln (1939) | Starring Henry Fonda, Alice Brady and Marjorie Weaver Brief Encounter (1945) | Starring Celia Johnson, Trevor Howard and Stanley Holloway The Bells of St. Mary's (1945) | Starring Bing Crosby and Ingrid Bergman The Girl He Left Behind (1956) | Starring Tab Hunter and Natalie Wood Gidget (1959) | Starring Sandra Dee, Cliff Robertson an

Golden Couples: Clark Gable & Jean Harlow

  At the 3rd Academy Awards ceremony, MGM's hugely successful prison drama The Big House (1930) earned writer Frances Marion an Oscar for Best Writing. Hoping that she would be inspired to repeat that accomplishment, Irving Thalberg, head of production at Metro, sent Marion to Chicago, Illinois to research story ideas. While flicking through the pages of The Saturday Evening Post , she found an article revealing that, in a city where people distrusted the police, a small group of leading citizens met in secret to arrange their own justice for criminals. Marion took inspiration from that story and wrote The Secret Six (1931), in which Wallace Beery and Lewis Stone, stars of The Big House , play two mobsters prosecuted by a half a dozen vigilantes. Thalberg was pleased with the leading roles Marion wrote for Beery and Stone, but asked if she could also fill out one of the minor leads for Clark Gable , a tall, dark and handsome 30-year-old actor whom Metro-Goldwyn-Mayer had recen

Wings of Change: The Story of the First Ever Best Picture Winner

Wings was the first ever film to win the Academy Award for Best Picture. Since then, it has become one of the most influential war dramas, noted for its technical realism and spectacular air-combat sequences. This is the story of how it came to be made.   A man and his story The concept for Wings originated from a writer trying to sell one of his stories. In September 1924, Byron Morgan approached Jesse L. Lasky, vice-president of Famous Players-Lasky, a component of Paramount Pictures, proposing that the studio do an aviation film. Morgan suggested an «incident and plot» focused on the failure of the American aerial effort in World War I and the effect that the country's «aviation unpreparedness» would have in upcoming conflicts. Lasky liked the idea, and approved the project under the working title «The Menace.»   LEFT: Byron Morgan (1889-1963). RIGHT: Jesse L. Lasky (1880-1958).   During his development of the scenario with William Shepherd, a former war correspondent, Morga

80 Reasons Why I Love Classic Films (Part II)

I started this blog six years ago as a way to share my passion for classic films and Old Hollywood. I used to watch dozens of classic films every month, and every time I discovered a new star I liked I would go and watch their entire filmography. But somewhere along the way, that passion dimmed down. For instance, I watched 73 classic films in 2016, and only 10 in 2020. The other day, I found this film with Douglas Fairbanks Jr. that I had never heard of — the film is Mimi (1935), by the way — and for some reason it made me really excited about Old Hollywood again. It made me really miss the magic of that era and all the wonderful actors and actresses. And it also made me think of all the reasons why I fell in love with classic films in the first place. I came up with 80 reasons, which I thought would be fun to share with you. Most of them are just random little scenes or quirky little quotes, but put them together and they spell Old Hollywood to me. Yesterday I posted part one ; her

Top 10 Favourite Christmas Films

Christmas has always been a source of inspiration to many artists and writers. Over the years, filmmakers have adapted various Christmas stories into both movies and TV specials, which have become staples during the holiday season all around the world. Even though Christmas is my favourite holiday, I haven't watched a lot of Christmas films. Still, I thought it would be fun to rank my top 10 favourites, based on the ones that I have indeed seen. Here they are.  10. Holiday Affair (1949) Directed by Don Hartman, Holiday Affair tells the story of a young widow (Janet Leigh) torn between a boring attorney (Wendell Corey) and a romantic drifter (Robert Mitchum). She's engaged to marry the boring attorney, but her son (Gordon Gebert) likes the romantic drifter better. Who will she choose? Well, we all know who she will choose.   Holiday Affair is not by any means the greatest Christmas film of all time, but it's still a very enjoyable Yule-tide comedy to watch over the holi

The Sinatra Centennial Blogathon: Frank Sinatra & Gene Kelly

  In January 1944, MGM chief Louis B. Mayer happened to see a young crooner by the name of Frank Sinatra perform at a benefit concert for The Jewish Home for the Aged in Los Angeles. According to Nancy Sinatra, Frank's eldest daughter, Mayer was so moved by her father's soulful rendition of « Ol' Man River » that he made the decision right then and there to sign Frank to his studio. Sinatra had been on the MGM payroll once before, singing with the Tommy Dorsey Orchestra in the Eleanor Powell vehicle Ship Ahoy (1942), although it is very likely that Mayer never bothered to see that film. Now that Frank was «hot,» however, Metro made arrangements to buy half of his contract from RKO, with the final deal being signed in February of that year. Gene Kelly and Frank Sinatra in  Anchors Aweigh Being a contract player at the studio that boasted «more stars than there are in the heavens» gave Frank a sudden perspective regarding his own talents as a film performer. The «g