Kings Row (1942)

Kings Row (1942) is an epic local large-scale detailed slice of life dramatic-style tableau course-of-history melodrama, which is not film noir, and yet retains a space in the noir hall of fame, not on the wall of shame so much as on the formative features feature.

Still — in reading the all-time seminal seminar on noir, Raymonde Borde and Etienne Chaumeton's A Panorma of Amercian Film Noir (1941 - 1953), we do find that Kings Row is one of several non noir productions that rise up early in the authors' studies, as an example of the ultra-conventional being infected with the same dark currents that were hitting civil as well as cultural and criminal society — noir.

That noir in Kings Row (1942) looks like a doctor who delights in his patients' sufferings and amputates the legs of Ronald Regan for no good reason, other than the fact that his daughter is in love with this character.

The doctor is in the words of the writers and their translators "a maniacal devotee of pain" although this book does not quite get the title of this film correct, and refers to it throughout as King's Row.

Kings Row, on the other hand, this film from 1942 featuring Ann Sheridan, Robert Cummings, Ronald Reagan, and Betty Field, depicts the coming-of-age of young individuals in an American town as the 20th century begins. 

Directed by Sam Wood, the movie is an adaptation of Henry Bellamann’s popular 1940 novel with the same title, scripted by Casey Robinson. The film’s score was crafted by Erich Wolfgang Korngold, while James Wong Howe handled cinematography. The film also includes performances by Charles Coburn, Claude Rains, Judith Anderson, and Maria Ouspenskaya in supporting roles.

Twentieth-Century Fox, they had their mitts on Bellamann’s novel, see? Figured it’d be a swell ride for Henry Fonda, the big cheese. But the casting carousel spun wild. Philip Reed, Rex Downing, and Tyrone Power—those mugs were in the running for the part of Parris. 

April ‘41, however, and Robert Cummings was the top dog if Power couldn’t be borrowed. Did a screen test, and by May, he’s in and has got the part. But Cummings, he’s tied up shootin’ some Deanna Durbin flick. The suits? They’re ready to tap-dance, hold the whole shebang for him. September rolls around, and they slam the brakes. Cummings? Called back for reshoots on that Durbin gig. Talk about a real pickle.

Claude Rains in Kings Row (1942)

Kings Row is hailed as a timeless classic from Hollywood's Golden Age, produced by Hal Wallis and beautifully shot by cinematographer James Wong Howe. The film features a remarkable musical score and intricate production design by William Cameron Menzies, bringing a small town setting to vivid life under the stylish direction of Sam Wood. It is not a film noir but slides aside the noir era's finest birthing pangs and comes up with somethings saccharine and yet slightly anachronistic, this old world being all but gone.

Maria Ouspenskaya in Kings Row (1942)

Adapted from a controversial novel by Henry Bellamann, the story follows three children navigating adulthood in a small American town, exploring taboo subjects like nymphomania, incest, insanity, sadism, and homosexuality. Screenwriter Casey Robinson skilfully navigated these themes, presenting a nuanced narrative that avoids explicit portrayals of the characters' weaknesses.

Ronald Reagan in Kings Row (1942)

The cast delivers strong performances, with Ann Sheridan shining as Randy Monaghan, Ronald Reagan surprising as Drake McHugh, and Robert Cummings falling short as Parris Mitchell. Noteworthy performances also come from Claude Rains, Betty Field, Charles Coburn, Maria Ouspenskaya, and Harry Davenport, adding depth to the ensemble.

Hometown historical snoggin practice in Kings Row (1942)

It may just be us here at Classic Film Noir but the Theme from Star Wars and even Star Wars incidental and character themes seem to be partially evident in the score for Kings Row. What is odder is that searching for the score of the film in question and this without mentioning Star Wars in any search did return one result which offered Star Wars music, although no mention of this minor Reagan and Cummings drama from 1942 was made in the returned text. 

Ronald Reagan in Kings Row (1942)

Perhaps the link between this music and that of Star Wars is even stuck in the metadata, or perhaps the Internet knows already what I only suspect.

Erich Wolfgang Korngold's operatic music score does yet stand out as a highlight of the film, showcasing his talent for blending themes with the characters' emotional arcs. The powerful main theme, evocative motifs for various characters and scenes, and a stirring finale underscore the film's dramatic moments with precision and depth.

Korngold's ability to capture the essence of the story through music elevates Kings Row to a cinematic masterpiece, with his compositions adding emotional depth and resonance to the narrative. The film's enduring appeal lies in its compelling storytelling, strong performances, and the evocative power of Korngold's musical score, making it a standout classic of the Golden Age of Hollywood.

Robert Cummings and Ronald Regan in Kings Row (1942)

In the grand cinematic endeavor to adapt Bellamann’s incendiary tome, set against the backdrop of his native Fulton, Missouri, the filmmakers faced a Herculean task in appeasing the vigilant sentinels of movie morality, the enforcers of the Hays Code. Yes the Hays Code, not even the Large Language Models can explain the madness of this and the great effect it had on our cinema, and most of all, the shape of noir.

Casey Robinson, initially deemed the project too much work and bound to be shackled by the stringent moral code. Hal B. Wallis, the visionary producer, recounted Robinson’s despair at the acquisition of such a somber narrative. Yet, Wallis’ persuasive eloquence ignited a spark of inspiration in Robinson, envisioning a tale of an altruistic young medic confronting the stark brutalities of an unforgiving world.

Joseph Breen, the stalwart guardian of cinematic virtue, issued a clarion call to the producers, warning that transmuting such a narrative to filmic form, even with rigorous rewrites for code compliance, stood on precarious ground concerning the industry’s sanctity.

Breen’s consternation lay with the film’s undercurrents of forbidden desires untempered by moral counterbalance and Cassandra’s portrayal—a character marred by her father’s unspeakable acts in the literary source—as well as the grim depiction of mercy’s final act upon an elder and Dr. Gordon’s malevolent essence.

The silver screen would not bear witness to Dr. Tower’s heinous transgressions against his progeny Cassandra; such was the decree of the censors.

Breen forewarned that any filmic rendition, no matter its artistic merit, would likely incur the wrath and denunciation from virtuous circles far and wide due to its genesis from a novel steeped in controversy. The script now lay in the hands of his superior, Will Hays, awaiting judgment on its suitability for production.

In a summit of creative minds — Robinson, Wallis, and associate producer David Lewis—they parleyed with Breen to chart a course through these turbulent waters. 

Wallis championed the film as a beacon illustrating a physician’s power to mend a community riven by unseen scars. Breen acquiesced to sanctioning the film on the condition that allusions to incest, nymphomania, euthanasia, and homosexuality—whispers from the novel—be expunged. The film would also forgo any insinuation of nude bathing and intimate liaisons between Randy and Drake.

Dr. Tower would be privy to Cassandra and Parris’ liaison, with this knowledge playing a role in his fateful decision.

After numerous drafts met rejection, Robinson finally crafted a script that won Breen’s approval.

A whole lineup were in the mix for the part of Cassandra. Ida Lupino, Olivia de Havilland, and Ginger Rogers—they’re all in the mix for Cassandra. Sam Wood, the director, he’s got a bee in his bonnet for Lupino. Says she’s got that natural somethin’ Cassie oughta have. De Havilland? Nah, too ripe, they reckon. Lupino? She gives ‘em the brush-off, says it’s beneath her, an artiste like her. 

Bette Davis? She’s itchin’ for the part, but the suits? They’re sweatin’ bullets. Think she’ll hog the spotlight. So, they kick the idea to the curb. Betty Field? She’s a maybe. And a whole chorus line of other dames—Katharine Hepburn, Adele Longmire, Marsha Hunt, Laraine Day, Susan Peters, Joan Leslie, Gene Tierney, Priscilla Lane. Take your pick, pal.

Kings Row does as a result feature a mix of fine acting performances, with differing opinions on the lead actors. While some appreciate Robert Cummings' portrayal as believable and consistent, others find him one-note. Ronald Reagan's standout performance almost overshadows the lead role, while Ann Sheridan's acting is considered good but not exceptional, leading to questions about her top billing. Betty Field's portrayal of Cassandra is noted for being a bit overacted, and Claude Rains delivers an excellent performance, as expected.

Nancy Coleman's convincing portrayal of Louise and Henry Davenport's remarkable performance as Skeffington in supporting roles are also praised for their authenticity. The intriguing plot and setting based on the novel offer promise, but the movie falls short in execution.

Criticism is directed towards the disjointed nature of the film, with scenes feeling rushed or ending abruptly, creating a jarring viewing experience. Key events like the introduction of a major love interest late in the film and the sudden resolution of a significant romance leave viewers feeling disconnected. The character development also feels uneven, with Randy's abrupt re-entry as a major character and the similarities between the actresses playing Cassandra and Randy adding to the confusion.

Overall, while Kings Row showcases strong performances and an intriguing plot, the film's disjointed storytelling and abrupt shifts in character arcs detract from its overall impact. The movie's pacing issues and unexpected plot developments hinder the audience's engagement, leaving some viewers questioning the directorial choices and the overall coherence of the narrative.

"where's the rest of me?" Ronald Reagan in Kings Row (1942)

Now, here’s the kicker. Before Ronald Reagan’s name was up in lights, John Garfield’s in the mix for Drake McHugh. Dennis Morgan, Eddie Albert, Robert Preston, Franchot Tone—they’re all in the hat too. Reagan? He hits the jackpot with this gig, but Uncle Sam drafts him into the army for World War II. Poor sap never climbs back up that ladder. His star? Faded like yesterday’s news.

In the dusty streets of Kings Row, circa 1890, a pack of five kids ruled the roost: Parris Mitchell, a sharp kid with manners, living under his granny’s wing; Cassandra Tower, a blonde doll with secrets as deep as her old man’s, Doc Tower; Drake McHugh, a rich orphan with a taste for the good life; Louise Gordon, doc’s daughter with her nose clean; and Randy Monaghan, a scrappy gal from the wrong side of the tracks.

Drake McHugh (Ronald Reagan) was seen painting the town with dames in Kings Row. Parris had a soft spot for Cassandra, even though she was tagged as odd by the rest. They were thick as thieves until Doc Tower yanked her from school and kept her under lock and key. It wasn’t until Parris knocked on Tower’s door to start his medical gig that he saw Cassie again, but she was clammed up tight.

The film begins with a billboard promoting Kings Row as "A Good Town. A Good Clean Town. A Good Town to Live In and a Good Place to Raise Your Children." In his book City of Nets, author Otto Friedrich says that beneath the tranquil small-town exterior was a "roiling inferno of fraud, corruption, treachery, hypocrisy, class warfare, and ill-suppressed sex of all varieties: adultery, sadism, homosexuality, incest."

Robert cummings and Ronald Reagan in Kings Row (1942)

Drake was all set to put a ring on Louise Gordon’s finger despite her old man’s beef. But Louise wasn’t about to cross her folks. Meanwhile, Parris was hitting the books with Doc Tower and sneaking around with Cassie on the side. The doc was schooling Parris in head-shrinking, aiming to take it up in Vienna. But life threw a curveball when Parris’ granny kicked the bucket from cancer right as he was Vienna-bound.

Cassie was in a jam and begged Parris to take her along. He hesitated, she bolted. Come sunrise, Drake’s world turned upside down—Doc Tower had offed Cassie and himself, leaving his stash to Parris.

Dedicated doc-in-the-making Parris Mitchell (Robert Cummings) had it bad for his mentor’s daughter on the down low.

In the film, Reagan's character, Drake McHugh, has both legs amputated by a sadistic surgeon. When he comes to, following the operation, he gasps in shock, disbelief, and horror, "Where's the rest of me!?" Reagan used that line as the title of his 1965 autobiography. Reagan and most film critics considered Kings Row his best film. Reagan called the film a "slightly sordid but moving yarn" that "made me a star."

While Parris was learning the ropes in Vienna, Drake got swindled and ended up working on the rails. A nasty spill cost him his pins, and Doc Gordon sawed them off. Drake tied the knot with Randy but turned sour after losing his stems, refusing to budge from his bed. Parris kept in touch with Randy by mail, coaching her on keeping Drake’s spirits up. They hatched a plan to build homes for regular Joes using Parris’ dough. Parris came back to Kings Row to back up Drake but hit another snag when he pitched moving away from the rail noise that was driving Drake nuts—he flipped his lid. That's how it goes when you ask an LLM to summarise this photoplay in the style of the candid blues-talk of the day, or what the LLM desperately manages to imagines as such.

Parris decided to stick around when he found out Doc Gordon had kicked it. That is how the LLM describes it. Louise spilled that her old man took Drake’s legs for no good reason—just pure spite. Parris mulled over keeping it under wraps from Drake to save what was left of him. He even toyed with locking Louise up to keep the lid on her dad’s dirty deeds.

Kings Row (1942)

Directed by Sam Wood

Genres - Drama, Mystery-Suspense, Romance  |   Release Date - Feb 2, 1942  |   Run Time - 127 min.