Epic in Scope, Boring in Presentation: "Anthony Adverse" (1936)

In the 1930's, Warner Brothers studios was more known for their gritty gangster movies (i.e. "Angels with Dirty Faces") and noble biographical films (i.e. The Life of Emile Zola) than grand historical spectacles, which were pretty much the province of M-G-M, which spared little expense in bringing opulent, epic spectacles to life (i.e. "Marie Antoinette").  However, in 1936 Warners went all out with the production of the picture "Anthony Adverse", and although there are star-crossed lovers, sneering villains, and swordfights in the first twenty minutes alone, it must be said that overdressed sets, detailed period costumes and a bombastic music score do not necessarily a masterpiece make.

Leading players Fredric March (Anthony) and Olivia De Havilland (Angela) are not introduced until nearly 45 minutes into the picture, after which we have been treated to the details surrounding the unfortunate Anthony's conception, birth, abandonment, and youth as a foundling raised in a convent.  For much of the picture, March (an actor that I greatly admire) is not used to his best advantage.  As the rising young gentleman with no identity other than the one created for him by the nuns in the convent, he is handsome and debonair (and could easily have been played by Tyrone Power or another more lightweight actor).  It is only later on in the film, as Anthony becomes dissolute and aggressive, that March's intensity is allowed to shine.  De Havilland has the unfortunate task of being the female lead in a picture where the female lead is given very little to do, and she has little of the spark here that she so famously showed in her pictures with Errol Flynn.

Capable supporting performances are submitted by Claude Rains (as an unctuous Spanish man of importance), and Edmund Gwenn as Bonnyfeather, who becomes young Anthony's benefactor and protector.  Of historical note, is the fact that Gale Sondergaard (as the scheming Faith, who goes from housekeeper to grand lady of wealth during the course of the picture) won the very first Academy Award presented for Best Supporting Actress for this performance.  My problem with Sondergaard's performance is that she employs a single facial expression (a cross between a smirk and a sneer) throughout the film, has very limited screen time, and many of her wicked machinations are discussed but not shown onscreen which limits her character's importance in the film as a whole.  It is, in essence, a one-note performance that doesn't really compare to the more textured work done by fellow nominee Beulah Bondi in "The Gorgeous Hussy".

The film is overlong and gets so bogged down in Anthony's journey from Italy to Havana to Africa to France in order to discover his identity and create his own life that we grow ready for the end credits long before they actually appear.  Props to Warner Brothers for attempting the M-G-M level of epic filmmaking, but the picture doesn't hold up very well today, at least not to this guy.