MR. SOFT TOUCH (1949) – Directed by Henry Levin & Gordon Douglas, starring Glenn Ford and Evelyn Keyes

MR. SOFT TOUCH almost picks up where THE MATING OF MILLIE left off, with Ford (debonair in fedora) racing along a city street, trying to elude another car chasing him. He is on the lam, running from the police. Is he playing another bad guy?

Ford’s Joe Miracle has ‘stolen’ some money; money that really belongs to him. Is that stealing? The police seem to think so. And thus the plot begins to unfold in this hard-boiled and entertaining little crime drama.

Ford has by this point in his career played good guys, bad guys and some guys caught in the middle, so it takes awhile to be sure what he’s playing this time. Ford’s enigmatic expression draws us into his dilemma as he is always thinking. There is nothing vapid about this leading man. The questions is, what’s going on?

The film is certainly tough but there is a ‘soft touch’ to the proceedings, including a scene where Ford teaches gambling to some boys in a youth centre where he is temporarily working.

One of the keys to giving a successful performance is understanding what kind of film you’re in. That is, to say, the style of the piece. Ford almost always succeeds in giving a good performance because he understands the difference between light comedy, broad farce, melodrama, realistic drama and anything else he is asked to play, even within a particular genre, i.e. the difference in the Western genre between GO WEST YOUNG LADY and THE MAN FROM COLORADO.

Arguably, Ford’s only misfire at this point in his career, from a performance point of view, is THE LOVES OF CARMEN, where his realistic approach contrasted with the large theatrics demanded of him in his jealous rages. Is this a reflection of Ford’s comfort level as an actor? Or is it because, in the case of CARMEN, he didn’t fully understand the type of film he was in. Regardless of the reason, we can forgive this aberration in light of his consistent believability in almost every part he undertakes. Ford’s consistently high standards of performance even in less interesting vehicles like MR. SOFT TOUCH show his stardom to be well-deserved.

And even though MR. SOFT TOUCH may be less inspired than many of Ford’s other films, one cannot accuse him of slacking off. A true star always does his best.

There are some amusing supporting performances in MR. SOFT TOUCH, including Percy Kilbride (Pa in the Ma & Pa Kettle series) displaying his expressive, almost whiny voice. John Ireland also appears, hiding behind large, dark-framed glasses playing a part miles away from his usual tough guy.

And let’s not forget the beautiful Evelyn Keyes (as ‘Jenny Jones’)! She and Ford have a sparkling chemistry together in a few scenes. The fact that her character wears a hearing aid is an interesting character element.

MR. SOFT TOUCH is a minor film, but Ford is Ford. Isn’t that enough?

LUST FOR GOLD (1949) – Directed by S. Sylvan Simon, starring Ida Lupino, Glenn Ford, Gig Young, Edgar Buchanan & Will Geer

A true legend of Arizona, the missing 20 million dollar mine of The Lost Dutchman located on Superstition Mountain is the looming focal point and inspiration for the film’s title. According to legend, 21 men have been murdered and many others have been killed searching for this mysterious treasure. They were all looking for gold but found lead instead.

A long exposition, sometimes far too fancily-worded, sets up the story. A flashback battle between Spaniards and Apaches contains some pretty uninspired stunt work, such as extras taking arrows with nary a grimace.

Will Geer, here playing a suspicious sheriff, looked sly and devious as a young man. It is hard to believe he matured into the kindly-looking Grampa Walton.

Following the story’s lengthy introduction, Ford first appears, hardened, with a beard, and a nasty laugh. Back in Western times, where the legend of the story has its roots, Ford and grizzled old-timer Edgar Buchanan play prospectors.

With the beginning and end of the film set in contemporary Arizona (at the time the film was made) and only the middle section set in the 1800s, should this film be classified as a Western? Ford’s involvement, which is the bulk of the film, is certainly set in the West and Glenn Ford in a cowboy hat is enough to make his fans happy.

Ford’s gruffness in the part is no doubt dictated by the character’s paranoia. He is a foreigner in a strange land. He soon becomes the possessor of fabulous sums of money, something which everyone wants to take from him. He himself has committed murder to gain it (cold-bloodedly disposing of Edgar Buchanan). There is every reason for him to be paranoid. In fact Ford displays a different kind of madness from THE LOVES OF CARMEN or THE MAN FROM COLORADO, and here is wholly successful, creating one of his most memorable roles in a largely forgotten film.

Ford also has weighty company in his co-star, Ida Lupino, who gets top billing over Ford. She was a fine actress and her subtlety and deception in the role of the woman who tries to bilk Glenn of his money, is compelling to watch.

The energy of the film picks up when Ford brings 297 pounds of gold ore into town to trade for cash. The furor of the townspeople is well portrayed, contrasting with Ford’s sombre demeanor. Lupino’s interest in Ford’s wealth shows her to be the most interesting character in the film—articulate, conniving and sexy when she wants to be. Gig Young appears in one of the many thankless supporting roles he played for so many years before hitting his own gold mine—Oscar gold—in THEY SHOOT HORSES, DON’T THEY?

Ford plays a drunk scene and speaks some German during a celebration following the acquisition of his wealth. There’s a character-revealing moment in this scene when Ford mistakes a friendly saloon girl for being German (he is called The Dutchman, but appears to be German!). When she says she is not Deutsch, Ford’s look of disappointment is a glimpse into the loneliness and guilt that makes this character tick.

When Ford and Lupino finally meet the real substance of the story begins to unravel. Naturally she wants his gold. By pretending to be German she gains his interest, then his love and trust. Disaster looms and the fireworks begin.

As has been mentioned before, it is fast becoming apparent in the development of his career, that some of Ford’s best acting occurs in his solo moments without dialogue. He conveys volumes with his face, eyes, indeed his entire body language. He is a ‘connected’ actor—that is to say, he is relaxed enough to be completely believable in all that he does.

Ford also uses an accent in this film, which becomes evident in the scenes with Lupino. Up until then he grunts words and the odd phrase. With her, he really opens up and we hear the speech pattern he developed for this role.

Lupino’s trickery in prodding Ford’s interest in her is masterly and the film really takes off from this point, gathering much-needed momentum after a slow start. Ida Lupino’s intelligent performance should come as no surprise. She was, after all, one of the first female directors in Hollywood and completely understood her medium.

The Ford/Lupino relationship has its humourous moments, such as when a rude client in Lupino’s bakery insults her for over-charging. Ford gruffly announces that nothing is for sale as he has purchased the entire inventory! He is then discovered walking down the street with baskets full of baked goods—which he quickly dispatches to the first young boy he meets!

Ford also projects just the right amount of awkwardness and vulnerability in the courtship scenes. Lupino masterfully reels him in like a fish.

The strength of this film is that it is so character-driven. It is a character study of people whose lives are ruined by greed. It proves the Biblical lesson that ‘the love of money is the root of all evil’.

Ford’s character, though a murderer, is interesting because he evolves from a withdrawn, embittered divorced man who is softened by love (so affected, in fact, that his accent disappears in some scenes!)—and then moved to terrible vengeance when he finds he has been duped and betrayed.

The long, drawn-out climax to the Ford section of the film is powerful stuff. It shows how low human beings can stoop when spoiled by greed. The terrific earthquake scene is very well done with convincing crushing going on. Ford says very little in this sequence, but effectively projects his driven, vengeful self in a way that is more harrowing for being silent. The acting histrionics are left to Lupino and Young. Ford just seethes.

The modern day (1949) conclusion does not include Ford, of course, but his presence is felt as LUST FOR GOLD comes to a wholly satisfying finish (including a terrific fistfight).

When you get right down to it, LUST FOR GOLD is a morality tale. And the story is almost as compelling as Glenn’s performance.

Incidentally, can you spot the other Canadian-born actor in the film? Jay Silverheels plays Will Geer’s deputy.

THE DOCTOR & THE GIRL (1949) – Directed by Curtis Bernhardt, starring Glenn Ford, Charles Coburn, Gloria De Haven, Janet Leigh & Nancy Davis

Ford shows up, wearing fedora and large tie, to the hospital where he is now ‘a genuine MD’. He has the world by the tail, full of vim and vigour, swill and swagger, and brings a smile to the viewer’s lips as he silently approaches an elevator, pushes the button, and waits. He eyes a pretty young nurse, twirls his key chain and gives her a smile to charm the mask off a raccoon. This bit of business defines his character and attitude in a nutshell.

The inimitable Charles Coburn is Glenn’s father, a wealthy, respected, class-conscious doctor who is pleased as punch to welcome his obedient son home from medical school. This appears to be a return to the lighter, more-likeable roles Glenn plays so well, following the angst and intensity of LUST FOR GOLD.

Ambitious shots from panoramic skylines segueing to interior-of-ambulance perspectives leading into an emergency room sequence foretell the social realism docu/drama style of many films of the 1950s.

Ford’s spunky young doctor Michael Corday’s privileged background has not prepared him to have the most effective bed-side manner. His interaction with patients is coldly efficient but lacking humanity. He is more concerned with accomplishment and advancement than the true well-being of his patients.

Enter Janet Leigh, absolutely radiant in one of her earliest films. She is ‘the girl’ of the title and sets about to penetrate Ford’s aloofness.

Of course romance blossoms. Judging by the title one might assume THE DOCTOR & THE GIRL to be a light comedy. It isn’t. Rather it soon takes on soapish elements, which, because of the appeal of the cast, mostly works in the film’s favour. It is the blossoming love affair that firmly entrenches this film into the category of soap opera. But then who can blame Glenn for falling for Janet?

The irony of Ford becoming ‘humanized’ in his interaction with his patients is that by falling in love with Ms. Leigh, he is actually doing something highly unethical.

Be this as it may, the relationship culminates in marriage. Given Ms. Leigh’s roots in the lower class, Ford is faced with a choice: to pursue his dreams of success in the privileged atmosphere of Bellevue Hospital, or to set up a humble practice in the slums, where he is desperately needed.

THE DOCTOR & THE GIRL is quite conventional in its plotting and has not dated well. Ford’s role is an endearing one. It does little to add to his already established versatility or depth as a performer. Still, working with the brilliant Charles Coburn, with whom Glenn has some good scenes, must have been thrilling.

Ford demonstrates he can play domestic scenes with ease as he adjusts to married life with Leigh and deals with the rift with his father (caused by his abandoning the path father thinks he knows best).

Ford’s doctor is certainly a richer human being for the decision to serve the poor. While conflicted by his familial difficulties, he is nonetheless fulfilled in a way that power and prestige couldn’t give him.

The tone of the film becomes much darker when Ford’s sister experiences a medical emergency and turns to him for help. This dilemma involves the whole family coming together to deal with the tragedy.

With the lines of communication between father and son re-established, there is a wonderful (and pivotal) scene where senior doctor Coburn assists younger doctor Ford with an emergency case.

All’s well that ends well and THE DOCTOR & THE GIRL ends accordingly.

GLENN FORD RETROSPECTIVE PART ONE LINKS:
INTRODUCTION
FILMS OF THE 1930s
FILMS OF 1940
FILMS OF 1941
FILMS OF 1942-43

GLENN FORD RETROSPECTIVE PART TWO LINKS:
INTRODUCTION & A STOLEN LIFE
FILMS OF 1946
FILMS OF 1947-48
FILMS OF 1948-49
FILMS OF 1949
FILMS OF 1950

Jon Ted Wynne