HM Pulham Esq. (1941)

Film: HM Pulham, Esq. (1941)

Stars: Hedy Lamarr, Robert Young, Ruth Hussey, Charles Coburn, Van Heflin, Bonita Granville

Director: King Vidor

Oscar History: No nominations

Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2022 Saturdays with the Stars series, we highlight a different Classical Hollywood star who made their name in the early days of television.  This month, our focus is on Robert Young: click here to learn more about Mr. Young (and why I picked him), and click here for other Saturdays with the Stars articles.

Last week we talked about how Robert Young's early work was largely unremarkable, and while he was a leading man for most of his career, he was oftentimes overshadowed by the women in his career.  Indeed, Young, in a similar vein to someone like Robert Taylor (who, it's worth noting was a MUCH bigger deal than Young in his day) was a star who coasted off of the considerable charms of his leading ladies for over twenty years.  Today we're going to find the rare movie that was the exception to that rule.  While if you look at the poster for HM Pulham, Esq, you'd find that Hedy Lamarr is the top-billed player in the movie, it's Young who is at the center of this film.  Directed by King Vidor, HM Pulham Esq. was arguably the best chance that Young would've had to actually distinguish himself and become like the other actors of his era (the Spencer Tracy's and Clark Gable's) who could genuinely command the screen without the assistance of a Barbara Stanwyck or Joan Crawford.  Unfortunately for Young, he didn't have the charisma to pull off such a heavy lift.

(Spoilers Ahead) The movie is about Harry Moulton Pulham, Jr. (Young), who is a middle-aged businessman in a loveless marriage to his wife Kay (Hussey).  After being asked to organize his 25-year reunion from college, he begins to reminisce about his long lost love Marvin (Lamarr, and yes despite the name this is not to a queer love story though after writing that I really wish there was enough to the allegory to make that case as it'd be a far more interesting movie).  The two were from different castes, and while they love each other, it's clear that Harry is as much a product of his posh Boston upbringing as his seemingly stuffy parents are.  Marvin & Harry eventually reconnect, even sharing a passionate kiss, but they are both married & there's nothing there anymore-they made the right decision 25 years earlier when they decided to go separate ways.  In the end, Kay comes to Harry & seemingly acts differently, determined to have another go at the romance that has left their marriage, and the film ends with them hopefully getting a second chance at life.

HM Pulham Esq. reads as more interesting than it actually is when you look at that description, as well as what Vidor tried to do with the story structure.  Based on a novel by John P. Marquand, the book is told in the first person, and Vidor tries to emulate that by having everything in the movie from Harry's point of view.  Young is in every scene of the movie, and things like telephone calls you only hear what Harry hears (i.e. when Marvin calls her husband while Harry is in the room, we only hear her side of the conversation).  It's a neat trick, and combined with the sort of "lovers that couldn't make it work" trope that I love in this era's films (think Brief Encounter), this would normally be up my alley.

But it's not, and honestly it's mostly Young's fault.  I was worried when I picked Young for this series that I'd have to admit that I don't historically like Young as an actor, but I figured going through four of his undiscovered movies I'd find something to love...but so far I'm bankrupt.  Young doesn't have enough style or leading man flare to pull this off.  Someone like Robert Taylor whose insane handsomeness gave him a romanticism even when his acting didn't, would've been a better choice (or someone like Robert Montgomery, who frequently succeeded in the types of roles that Young couldn't, primarily because Montgomery was a significantly better actor, and would've given this part more callous regret).  But Young isn't capable of such things, and while Lamarr is better, her parts are usually so underwritten because the filmmakers are reliant on her otherworldly beauty, that she's unable to give Marvin (who doesn't even show up until a third of a way through the movie) much grounding.  The film flops with such underwhelming leads, and no amount of plot potential can get by a lack of chemistry.