Films of the late 1930s of William Wellman

Wellman embarked on his most creative period with A Star Is Born (1937), producer David O. Selznick’s remake of the George Cukor-directed What Price Hollywood? (1932). Wellman collaborated with Robert Carson on the story, which won an Academy Award for best original story. Wellman also received a nomination for best director; stars Gaynor and Fredric March were nominated for the best acting awards; and the screenplay and film also received nominations. Just as outstanding in its own right was Nothing Sacred (1937), a scathing screwball comedy that featured what some believe to be Carole Lombard’s best performance and a surprisingly modern screenplay by Ben Hecht about media manipulation. Wellman returned to the skies with Men with Wings (1938), a Technicolor account of the early days of aviation, written by Wellman and Carson.

Beau Geste (1939) was a spectacular remake of the 1926 silent film based on the novel of the same name by Percival C. Wren. Cooper, Ray Milland, and Robert Preston starred as brothers who stake their honour against the cruelty of their Foreign Legion commander (Brian Donlevy, in a performance that earned him an Academy Award nomination for best supporting actor). Wellman’s follow-up was The Light That Failed (1939), a sensitive adaptation of a Rudyard Kipling story that starred Ronald Colman and Ida Lupino.

Films of the 1940s

After stumbling with the whimsical Reaching for the Sun (1941), Wellman had greater success with the comedy Roxie Hart (1942), which many decades later would be the basis for the Broadway musical and film (2002) Chicago. A string of largely unexceptional motion pictures preceded the next entry in Wellman’s film canon, the Academy Award-nominated The Ox-Bow Incident (1943; known as Strange Incident in Britain), a powerful indictment of mob rule based on Walter van Tilburg Clark’s 1940 novel of the same name. Henry Fonda, Dana Andrews, Anthony Quinn, and Harry Morgan starred in that dark claustrophobic western about the lynching of innocent men that follows a rush to judgment. The murder mystery Lady of Burlesque (1943); Buffalo Bill (1944), which featured Joel McCrea as the Wild West’s most flamboyant showman; and the action film This Man’s Navy (1945) followed.

Wellman then directed The Story of G.I. Joe (1945), which is regarded by many critics as one of the best motion pictures about World War II. Robert Mitchum earned an Academy Award nomination for best actor for his portrayal of a battle-weary infantry captain, and Burgess Meredith gave a memorable performance as war correspondent Ernie Pyle, on whose coverage of the U.S. Army’s Italian campaign the film is based. Gallant Journey (1946) permitted Wellman another foray into the roots of aviation; Magic Town (1947), a satire of Middle America written by longtime Frank Capra collaborator Robert Riskin, featured James Stewart as a pollster who locates the average American town; and The Iron Curtain (1948) was a Cold War drama about Russian espionage in Canada. Arguably more accomplished than all three of those films was Yellow Sky (1948), an exciting western in which Gregory Peck and Richard Widmark faced off.

Wellman next moved to Metro Goldwyn Mayer. Despite the fact that he and the studio proved to be an awkward pairing, Wellman still managed to make several notable films under its aegis, not least Battleground (1949), an account of the Battle of the Bulge during World War II that was a major box-office hit. The film brought Wellman an Academy Award nomination for best director.

Films of the 1950s

The Happy Years (1950) was turn-of-the-20th-century Americana about a boys prep school, and, in The Next Voice You Hear (1950), God decides to talk to the United States over the radio. Across the Wide Missouri (1951), an expensive Technicolor western with Gable, was a more typical Wellman undertaking. Wellman then directed a segment of It’s a Big Country: An American Anthology (1951) and made Westward the Women (1951) from a story written by Capra. My Man and I (1952), a melodramatic romance, and Island in the Sky (1953), a World War II aviation drama that starred John Wayne, set the stage for Wellman’s next big hit, The High and the Mighty (1954). That prototypical airplane disaster movie featured a cast that included Wayne, Robert Stack, Claire Trevor, and Jan Sterling. Academy Award nominations went to Sterling and Trevor (both for best supporting actress) as well as to Wellman (best director).

The ambitious, arty Track of the Cat (1954), starring Mitchum, was a moody psychological western in which Wellman used colour cinematography but limited his palette almost exclusively to black, white, gray, and brown. Blood Alley (1955) pitted Wayne and Lauren Bacall against Chinese communists, and Good-bye, My Lady (1956) was a sentimental film about a young boy and his dog set in the American South.

As his career wound to a close, Wellman returned to his roots with the combat films Darby’s Rangers, which was set during World War II, and Lafayette Escadrille (both 1958), the latter his most autobiographical film, dealing with his own flying unit during World War I. Over his prolific career Wellman put his name on scores of films, many of which were unmemorable; however, when he was at his best, his films were regarded as highly as those of any of his famous contemporaries.