Introduction
When the American Film Institute unveiled its list of the 50 greatest Stars in history in 1999, many legends did not make the cut. Understandably, this was to be expected since the nominees were derived from the period of Classic Hollywood when each major studio had its roster of A-list stars. Also, the competition was fierce. That’s why luminaries such as Bing Crosby, Errol Flynn, William Powell, and Frank Sinatra were excluded. There was one other star in that era who was thought of by his peers and fans alike as being one of those who would join such an exclusive company of screen legends. It was the underrated Tyrone Power.
For over two decades, Power was the top male star at Twentieth Century Fox studios. His films generated nearly one billion dollars in box office revenue for the studio. He was considered one of the best-looking men in Hollywood and also appeared in films with many of the top leading ladies of his time. Power starred in many adventure films, and because of his unique abilities as a swashbuckler, he was often compared to fellow legend Errol Flynn.
Regrettably, his proficiency in these roles led to him being typecast incessantly. This fueled his desire to be known as a complete actor. Many close to him believed that he never felt he got the recognition or the opportunity to show his versatility and depth as an actor. As a result, this made him work even harder to change the perception that the industry and public had of him. His commitment to excellence was on display to the very end of his life, doing what he loved.
Beginnings
Tyrone Edmund Power was born on May 5th, 1914, in Cincinnati, Ohio. He had a borderline affluent upbringing, which contributed mightily to his passion for acting. His family lineage included the original Tyrone Power, his great-grandfather, a famous Irish actor in the 19th century. Power’s father continued this success on stage and in silent films. It’s no wonder that Biographer Hector Arce wrote that Power saw acting as his “birthright and burden.” It was an inheritance he both revered and wrestled with.
The Power family garnered prestige in dramatic circles in both Europe and America. His father, Tyrone Power, Sr., had a profound influence on him as he saw how he dedicated himself to his craft, moving from stage to screen roles. While he achieved recognition, the family finances fluctuated as his father transitioned from silent to early sound pictures.
Tyrone experienced family strife early on when his parents divorced. In 1931, at the age of seventeen, his father collapsed and died in his arms during a New York City performance on stage. This left a traumatic impact on him. Despite his family’s acting legacy, Tyrone and his mother moved to California, where Tyrone had to work hard to support his aspirations in Hollywood. Power described wanting to fulfill the legacy left unfinished by his father’s sudden death. He once reportedly said:
“I think I became an actor because I couldn’t imagine not becoming one. It was what my father was. It’s what I had to be”
Breakthrough
Power was blessed with a talented lineage and movie star good looks, However, the young actor was determined not to just end up as another pretty face. He studied Shakespeare diligently and sought serious stage roles. The first five years after his father’s death, Power had mixed results. He could only obtain minor uncredited parts in films such as Tom Brown of Culver (1932) and Flirtation Walk (1934).
Dissatisfied with his initial opportunity in Hollywood, Power returned to New York, hoping to gain more experience on stage. He had a small supporting role in Romeo and Juliet (1935) on Broadway. Thus, giving him more exposure. Fortunately for Power, Henry King, a major director at 20th Century Fox, saw Power on Broadway. King was struck by Power’s presence. Subsequently, Power was recommended to 20th Century Fox executive Darryl F. Zanuck for a screen test.
In 1936, Fox was casting for Lloyd’s of London. A historical drama originally intended to star Don Ameche, Power’s screen test was a resounding success. Zanuck reportedly exclaimed: “This boy is a star!” Power was cast in the lead role (as Jonathan Blake), and the film was a major hit for Fox. His first major role catapulted Power into immediate stardom. He would remain there for the next two decades. New York Times film critic John T. McManus wrote of the film:
“There are other excellent performances, too. Tyrone Power is now ready to drop the junior from his name. Hitherto, his screen parts have been hazy things, but in the current piece, he handles the exacting role of Jonathan Blake with extreme versatility.”
A Bankable Star
The studio quickly capitalized on Power’s stardom. For his next film, Power was given top billing for the first time. He starred with Fox leading lady Loretta Young in the screwball comedy Love is News (1937). In the film, Power plays a newspaper reporter who pursues a rich heiress (Young) for the chance to get an exclusive story. As was typical of the screwball genre at the time, fireworks and later romance ensue between the two. The film was also a money maker for the studio. Subsequently, Power and Young were paired again in another screwball comedy, Café Metropole (1937). Chicago Tribune movie critic Mae Tinée wrote:
“Direction was excellent and the film is beautifully put on. Not a dull moment in Café Metropole. You have my word for it”
In 1938, Power starred in In Old Chicago. The film garnered him even more acclaim and solidified his role as a bona fide star. It features a fictional storyline about the Great Chicago Fire of 1871. With a budget of over a million dollars, it was one of the most expensive movies made at the time. However, with the star power of Tyrone Power, Alice Faye, and Don Ameche, it earned over two million dollars in profit for the studio. In Old Chicago ended up being one of the studio’s most profitable films of the 1930s. Variety Magazine said of Power’s performance:
“Tyrone Power as the film’s heavy is good in his romantic scenes with Faye, who appears as a musical hall singer”
Norma Shearer and Jesse James
Power’s stature in Hollywood had risen to the point where he could co-star alongside Metro Goldwyn Mayer’s biggest star, Norma Shearer. She would portray the ill-fated Queen of France in Marie Antoinette (1938). The picture fared well at the box office and received acclaim from critics. Especially for Shearer’s performance. It was the last film project by the legendary Irving Thalberg before his premature death. As a result, Shearer was committed to finishing the project in memory of her husband. The opulent sets and costumes enhanced Shearer’s performance, as Variety Magazine said of her and Power:
“Norma Shearer’s performance is lifted by skillful portrayal of physical and mental transitions through the period of a score of years. Her moments of ardor with Ferson (Tyrone Power) are tender and believable”
The decade would end for Power with two more major successes in 1939. The first was his portrayal of famed outlaw Jesse James in the film Jesse James (1939). It had the distinction of being the third highest-grossing film of 1939, and Power received praise from the critics at The New York Times, which wrote:
“…And the acting, including that of Tyrone Power, who makes out an excellent melodramatic case against himself as Jesse, although, as far as we are concerend, the verdict is still ‘Not Guilty…'”
Typecasting
The second film was with another MGM heavyweight, the great Myrna Loy. The film The Rains Came (1939) was a major hit with audiences for some of the same reasons as In Old Chicago was. Based on a 1937 novel by Louis Bromfield, The Rains Came centered on the British Raj in Colonial India. It was a romance drama in the fictional city of Ranchipur, where a devastating earthquake, flood, and cholera epidemic afflicted the region.
The story was about the personal transformation of the main characters against the backdrop of tragedy. Power plays a principled Indian doctor and military officer devoted to his country. The film won the first-ever Oscar for Best Special Effects, while nominated in five other categories. These were the types of movies and roles that Power yearned for. However, they would be harder to come by for the rest of his career. Ironically, Loy was also typecast early on in her career until The Thin Man series of films made her a star. She wanted to do the film with the hope of expanding her range as an actress.
By the end of the decade, Power had proven that he could do comedy along with drama, with acclaim. However, being in the studio system era, many Fox executives, including Daryl Zanuck, had no qualms about typecasting their stars. They wanted them in roles that would guarantee profits for the studios and their shareholders. Power was not the only major star who grew frustrated about not receiving meatier roles.
Off Screen
At Warner Bros., actresses such as Bette Davis and Olivia De’Havilland routinely defied their bosses to receive parts in higher quality pictures. Despite these concerns, the 1940s would prove to be another period of major success for Tyrone Power. The actor was not only living up to the legacy of his famous father and grandfather. He was also finding happiness off-screen and in his personal life.
Power married French actress Annabella (born Suzanne Georgette Charpentier) in April 1939. They met while filming Suez (1938), and were married for nearly a decade before divorcing in 1948. Power’s most well-known roles in adventure films were just ahead. And his desire to broaden his range as an actor would only deepen. In Part Two of this essay on Tyrone Power’s life, we will examine the most prolific part of his career and why his legacy still matters today.
