carole lombard
Of course an interest in Clark Gable and his films often comes hand in hand with an interest in Carole Lombard and then her films.  I am asked sometimes to recommend Carole Lombard books and films. As far as books go, the definitive Carole Lombard biography has yet to be written. “Gable and Lombard” by Warren Harris is good on both of them (just avoid the horrible film of the same name). “Screwball” by Larry Swindell isn’t horrible but is not very appealing to Gable fans as Swindell does not bother to hide his personal dislike of Clark, for whatever reason. Also there is  a lot missing, probably because it was written over three decades ago and so much more has been uncovered. “The Hoosier Tornado” is boring and lacking interesting details.
 
As for films, here’s the top five Carole Lombard films I recommend, my personal opinion of course. And I’ve counted out No Man of Her Own, as most Gable fans would have seen that already!
 

In no particular order:

 frederic march carole lombard nothing sacred

Nothing Sacred (1937) Your one chance to see Carole in Technicolor and boy is she beautiful. Carole is Hazel Flagg, a small town girl who has received a death sentence from her local doctor, who says she’s riddled with radium poisoning. He recants his diagnosis, but not before a big city newspaperman (Frederic March) arrives to take her away from her small town life and give her a “last big hoorah” before her untimely demise, documenting all in the newspaper of course. This one is hilarious and a true classic.

 carole lombard william powell my man godfrey

My Man Godfrey (1936) Carole’s lone Academy Award-nominated performance, this one is a screwball standard. Carole is Irene Bullock, a spoiled and rather twitterbrianed socialite who takes in Godfrey, a homeless man (her first husband, William Powell), and makes him her family butler. It is a rather typical zany 1930’s plot, but with a great and hilarious script “Godfrey loves me! He put me in the shower!” . Carole’s full comedy chops are on display here. And despite being divorced for three years, Carole and Bill still have wonderful chemistry. A fantastic supporting cast with Alice Brady. Eugene Pallette, Mischa Auer and Gail Patrick.

 cary grant carole lombard

In Name Only (1939) Carole is single mom Julie, who falls In love with Alec (Cary Grant), who unbeknownst to her is still married to vindictive Maida (Kay Francis), whom he is not in love with. Maida does her best to thwart Julie and Alec’s romance. I like this film for many reasons: I adore Cary and him paired with Carole is just luscious; their chemistry is fantastic. You get to see Carole as a mother to a little girl and it is adorable and sweet. This film was in production the same time as Gone with the Wind and Carole went into the role soon after becoming Mrs. Gable. The story line of bitter wife refusing to divorce her husband so he can marry the woman he loves surely hit home for Carole. This one and Made For Each Other (1939) are pretty much equal on my list of fave Carole dramas.

carole lombard fred macmurray

Hands Across the Table (1935) I think this one is a favorite of many Carole fans. She is wonderfully paired with Fred MacMurray and as always their chemistry is wonderful. She is Regi, a manicurist who is looking for a rich man to marry so she can be saved from her day-to-day drudgery. Enter Ted, who comes from a prominent wealthy family. But…he’s broke. After he moves in for a few days, sparks ignite between the two despite the lack of funds. It’s a light and airy comedy; just what you’d want for a 1930’s romantic comedy.

carole527

Mr. and Mrs. Smith (1941) Any film buff should see this, as it is your only opportunity to see Alfred Hitchcock direct a comedy. Not to mention it’s a delightful comedy with Carole and Robert Montgomery as sparring partners. They are the Smiths, a married couple who thrives on fighting and making up. But when he finds out that their marriage was never legal and doesn’t tell Ann, she refuses to remarry him, kicks him out and starts dating his business parter (Gene Raymond) just to spite him. It’s adorable, it’s sweet and I don’t know what it is about this film but Carole is just absolutely stunning in every frame.

 

Honorable Mentions:  To Be or Not To Be (1942)Made For Each Other (1939), True Confession (1937) and Twentieth Century (1934).

In a Nutshell: Chained (1934)

clark gable joan crawford chained

Directed by: Clarence Brown

Co-stars: Joan Crawford, Otto Kruger

Synopsis: Gable is Mike Bradley, a South American rancher who falls for the glamorous Diana (Crawford) on a cruise ship. Diana falls for Mike too, despite the fact that she is romantically involved with a married Manhattan businessman, Richard (Kruger). She decides to leave Richard for Mike but, upon her return home, Richard tells her he has finally left his wife for her. Diana feels obligated to marry Richard and Mike is heartbroken.

Best Gable Quote: “I admit I was on the prowl until you dropped down from the sky.”

Fun Fact: The Crawford-Gable affair had cooled off by this time, as she was with Franchot Tone and he was seeing Elizabeth Allan as well as still being married to Ria. Joan claims however, that they still had some “alone moments” on the set.

My Verdict: Enjoyable little ship romance. The script is good and it’s actually a good little plot, although the conclusion seems a bit farfetched to me. I really like Clark and Joan’s chemistry in this film, mainly because it is at times silly and sweet, rather than sultry. This role was no stretch for Clark, but the film is a good example of early 1930’s romance and it’s a good one to start with if you’re interested in seeing why Clark and Joan were paired together so many times.

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It’s on DVD.

Read more here.

 

In a Nutshell: Forsaking All Others (1934)

clark gable joan crawford robert montgomery

Directed by: W.S. Van Dyke

Co-stars: Joan Crawford, Robert Montgomery

Synopsis: Clark is Jeffrey Williams, who still harbors a childhood crush on Mary Clay (Crawford). Upon returning from a two year jaunt in Spain, he has plans to finally propose to her until he learns that she is set to marry his best friend, Dillon “Dill” Todd (Montgomery), the next day. He swallows his feelings and agrees to give the bride away. Dill gets an unexpected visit from an old flame, Connie Barnes (Francis Drake), and ends up running off to marry her, sending Mary a telegram explaining and apologizing. Heartbroken, Mary retreats to a cabin to nurse her wounds. She decides to come back to town with encouragement from Jeff and after receiving an invitation from Connie to attend her and Dill’s dinner party. At the party, Dill realizes he is still in love with Mary and soon after they begin seeing each other again, behind Connie’s back. Jeff is Mary’s voice of reason, trying to tell her that Dill will only break her heart again and she is leaving herself vulnerable, all the while hiding his feelings.

Best Gable Quote: “You’re an idiot. A spoiled, silly brat that needs a hairbrush every now and then.” (How many people would dare say that to Joan Crawford?!)

Fun Fact: The screenplay was based on a 1933 play of the same name that starred Tallulah Bankhead. The play had much more of a sexual undertone which was watered down for the film version.

My Verdict: I love the script to this film; it really gives life to what would otherwise have been a rather tired and hokey premise. The film overall is rather silly but it’s great fun. The cast is phenomenal: Gable, Crawford, Montgomery, Billie Burke, even Rosalind Russell in a tiny part. Enjoyable, lovable 30’s romantic comedy fluff.

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It’s on DVD.

Read more here.

It was Movie of the Month, August 2013

Ratings

clark gable night flight

Okay, okay, I know it’s the end of the month and here I am just now declaring the Movie of the Month for September. In my defense, I just moved and my office has turned out to be the last room to get unpacked. I always rewatch the Movie of the Month and reread the passages about it in some of the books I have. So I had to wait until I found my DVDs and books! I actually had another film in mind for this month but I can’t find the DVD at the moment, so Night Flight it is.

clark gable night flight

Night Flight is a true ensemble piece, boosting an impressive lineup of Hollywood royalty: Helen Hayes, Myrna Loy, Robert Montgomery, Lionel and John Barrymore. Clark Gable is hardly the star of this one, as he does not appear until a good twenty minutes into the film. It is a tale of 24 dramatic hours in the Air Mail industry, where pilots risk their lives every day flying through the pitch black night with limited instruments and no lights guiding the way. This time, it’s a vaccine needed at a children’s hospital in South America. Gable is Jules, a pilot who has lost his way somewhere over Texas, while his wife (Hayes) waits at home for him and grows more and more frantic.

clark gable night flight

Ok, so it is definitely worth pointing out that not only does Clark not appear until 20 minutes into the film, but all his scenes are limited to the cockpit of a plane. He has no scenes with Helen, his onscreen love interest. The reason for this was probably that his first film with Helen, The White Sister, had failed miserably at the box office–much blame given to the utterly awkward chemistry between Clark and Helen.

clark gable helen hayes night flight

The extent of romance between Clark and Helen: her gazing at his portrait

Night Flight is clunky to me; it relies to heavily on the star power of its roster rather than actual plot. It is also very dated, as modern audiences hardly understand the peril of pilots flying through darkness.

The film paired Clark  with renowned producer David O’ Selznick, whom he would later memorably work with on Gone with the Wind.  David was all about doing things big and bold and his last ensemble piece, the classic Dinner at Eight, was a big hit. Night Flight did not perform as expected, however. Despite earning a decent profit of $175,000, MGM was disappointed with the returns, expecting more from a film that demanded so many of its big name stars. After the flop of this film and the disastrous production of their next joint effort–Dancing Lady, Clark’s distrust of Selznick grew and simmered on the back burner for years…undoubtedly one of the factors in him not wanting to play Rhett Butler under Selznick’s guiding hand.

Since Clark is in a cockpit the whole time, the best scenes are given to the Barrymores. I also like Myrna and Robert’s small scenes. Clark’s name on this one is really for window dressing–the part could have been handled by a much smaller player. I suppose though they needed his name to round out their “all star roster.”

clark gable night flight clark gable night flight clark gable night flight clark gable night flight

All in all, not a film for the Gable fan seeking out its finest. Night Flight was the last film in his resume that I saw; at the time it was very difficult to find. Talk about ending my quest on a disappointment!

Night Flight is available on DVD through the Warner Brothers Archive Collection

You can see about 20 pictures from the film in the gallery and read more about it here.

 

 

 

clark gable robert montgomery

First off, let me apologize for my lack of updates recently. I have packed up my entire life and moved across town, which always seems like less of a chore than it actually ends up being. Among the many advantages of my new home is that I finally have an office, or “classic movie den” to call my own. While I shifted through boxes and boxes of paperwork, I finally organized all these articles that have been simmering on my desk for literally years. The good news is that I have 52 Clark Gable articles to type. The bad news is I have to type them. Oh well, let’s start with one, shall we?

This article from 1935 is pretty much just an advertising gimmick for Clark Gable and Robert Montgomery’s latest co-starring venture. Forsaking All Others (which was Movie of the Month last month). It has a brief essay written by Clark about Bob and one written by Bob about Clark. They are not too fluffy but again, the point here is to plump up their friendship for the benefit of ticket sales. Clark and Bob were indeed friends, but I don’t think they would list each other as members of each of their tight knit circles.

Here are some highlights of what Bob had to say about Clark:

I only hope that Clark receives as many compliments for me as I do for him! The lovely ladies who act opposite him like him. All the rest of the people on the set, from prop boys up or from the director down, like him. The nicest people in Hollywood like him. I know, because they’re always coming up and telling me so!

Now I agree perfectly with the unanimous appraisal of Clark Gable as the most likable sort of fellow. But I want to confess something. I get a personal kick from the way people look at me when they finish saying a kind word about him.

They speak and then peep at me in a fashion that I can describe most accurately as “suspicious.” When I say that I, too, think he’s great, they give me that sickly smile and seem to be inwardly murmuring, “The liar!”

Clark and I have often dismissed our “rivalry.” Since each of us is happily married, any possible rivalry is limited to the studio confines. By those who are informed on state secrets, I mean. Clark and I are the only two in town, I guess, who are uncertain about the whole thing. We get together for “wondering bees!”

….

In spite of Clark’s breaks, his progress, in my estimation, has been due to his worth, rather than to luck. His meteoric rise was enough to dazzle any fellow. He could have sat back and taken it easy; he could have gone along elegantly just on personality. But he didn’t. He put real thought and effort into every part, and still does. That’s one reason why I respect him. The ordinary actor isn’t so much different from the person who has to reach for the first olive after opening a jar of them. There isn’t much to spur him on to dig down for the other olives. They’ll probably roll out.

Clark is definitely a man’s man—in his manner of thinking and behaving, and in his way of living. Although he has been flattered to the extreme, he hasn’t let himself go soft.

He has had to withstand more public pressure than any man in Hollywood. Every move he has ever made has been spotlighted. He has had countless opportunities to go haywire. And yet he hasn’t. Furthermore he isn’t namby-pamby. He doesn’t deny anything he has ever done. Whenever he has made mistakes—and who of us hasn’t made plenty?—he has admitted them…to the press. Believe me, that takes courage!

A trait I have detected in Clark from the beginning is his absolute understanding of himself. It’s important that we should correctly estimate ourselves. If Clark has ever deviated, briefly, from his own conception of his abilities, nothing could be more natural—for he is such a target for everyone’s ideas as to what he should do. But he can retrace the road to his original self better than anyone I know.

He doesn’t go in for a chauffeur for himself, or for any excessive star trimmings. His idea of relaxation is jumping into his car and heading for the mountains to hunt. There’s a spot in Arizona that fascinates him. The people there aren’t film-goers. They don’t know who he is; all they know about him is that he’s that very regular guy who blows in from California twice a year. He stays at various cabins, pays for his board, and sits up half the nights talking with “the natives”—about everything under the sun.

I hate one-track individuals. Clark tried an assortment of jobs before he ever determined on becoming an actor, and he could get along anywhere. With his adaptability, his intelligence, and his charm, he could step out of the movies and click in any number of other businesses.

You have heard how stars are pestered and how they have to slink down alleys and rush away in deep disguise, Well, let me tell you about this Gable. Frequently, he eats lunch in a little restaurant a half-block down Washington Boulevard from the studio. When he’s eating in the studio café, he’s generally upon a stool at the counter, tearing into a huge dish of stew. You draw your own conclusions!

His principal virtues are his steadfastness and sincerity. But I can’t overlook Clark’s tact. He is a whiz at tact. Now, this counts at any line, but it is one essential to sticking around long in pictures. People who probably are not the chummiest of folk are Clark’s close friends. What I’d like to know, Clark, is—what’s your system?

It isn’t being silent, or being afraid to be frank. Clark is not a dodger when you ask him questions. Still, he makes friends of foes. Smart boy–!

Clark is like me in that he appears to be light and airy, yet is pretty serious underneath it all. He plans ahead—not calculatingly, but sensibly. He has a great sense of humor—but he doesn’t go in for kidding himself. And he never will.

One of the things I find so refreshing about Clark is that everyone seemed to have the same impression of him. There are not many contradicting stories about the man. He was humble, he was honest, he was likable, dependable and down to earth. A grand summary of Clark, Bob had provided here.

Now what did Clark have to say about Bob?

Bob is not the least disappointing in person. He is the same gay, light-hearted, romantic fellow you see in his pictures. There’s a jaunty, friendly way about him that immediately wins your approval. Even his clothes—and he’s usually comfortably nonchalant, despite his expensively tailored wardrobe—have a delightfully informal air.

He couldn’t be boring or stuffy if he tried, because he’s too full of the zest for living. Dat ol’ debbil Fame hasn’t lured him into “taking it big.” He is sincerely interested in people and nearly always has someone with him. Bob isn’t moody or morbid. Or arty.

We have the same pet sports—hunting and horses. We’ve never gone hunting together yet, because we’ve never been able to make our time between pictures jibe. As for our mutual interest in horses, Bob is going in for steeple-chasing and high-jumping at present and I’m being a little less ambitious. I merely ride—and speculate as to whether my best horse is going to do right by me when I enter him in the next big race.

One of the qualities I particularly envy in Bob is his ability to meet any situation that may arise. Figuring ahead what you’ll do is one thing. Reacting instantaneously is another. You can’t floor the boy! His brain functions trigger-fashion and it would take a better man than Gungha Din to stump him.

As a business man, for instance, he is very shrewd. He didn’t fall into his Hollywood success. There were years on the stage when he was struggling along on a small and shaky salary. So he has behaved with praiseworthy foresight since establishing himself in pictures. He lives comfortably, but he hasn’t bought a mansion. He rents a house from John Mack Brown. He isn’t putting on any front to impress. His home is for his family and his friends. His earnings are carefully invested.

Bob isn’t gullible. And, believe me, that’s a very helpful characteristic out here. They don’t try to sell you the subway or the Empire State Building, but practically everything else can be had “at a great bargain, just for you!”

There’s an amazing contradictory streak in him. He doesn’t take things seriously, and yet, undoubtedly, he does. It’s difficult to explain. All the hullabaloo made about stars doesn’t fool him—he accepts it as fun and phoney-business. But he is profoundly concerned, nevertheless, with things being as they should be. He’s still idealistic.

He is one of the leaders in the Screen Actors’ Guild and is constantly battling for justice, for better conditions for the actors. Not just for himself, but for our profession as a whole.

I hate to go through a picture with those extraordinarily arty souls who have illusions of grandeur. They carry on as though they had the weight of the world on their shoulders. Hey can’t be natural for dear it will shock the prop-boys–or spill the beans about themselves! Bob, now, goes at it with a keen sense of humor. He enjoys the actual acting.

….

We’re going to work together again soon, in “Mutiny on the Bounty,” and there’s a lot of swell swashbuckling written into the script. It’s an assignment that suits me to a T.

That last snippet is interesting, as Montgomery didn’t appear in Mutiny on the Bounty. I assume he was considered for the role that eventually went to Franchot Tone? Hmmm.

You can read the article in its entirety in The Article Archive.

 

clark gable joan crawford robert montgomery forsaking all others

This month, Clark Gable plays the heartbroken guy to Joan Crawford’s wide-eyed heiress and Robert Montgomery’s selfish but lovable cad in Forsaking All Others.

Clark is Jeffrey Williams, who still harbors a childhood crush on Mary Clay (Crawford). Upon returning from a two year jaunt in Spain, he has plans to finally propose to her until he learns that she is set to marry his best friend, Dillon “Dill” Todd (Montgomery), the next day. He swallows his feelings and agrees to give the bride away. Dill gets an unexpected visit from an old flame, Connie Barnes (Francis Drake), and ends up running off to marry her, sending Mary a telegram explaining and apologizing. Heartbroken, Mary retreats to a cabin to nurse her wounds. She decides to come back to town with encouragement from Jeff and after receiving an invitation from Connie to attend her and Dill’s dinner party. At the party, Dill realizes he is still in love with Mary and soon after they begin seeing each other again, behind Connie’s back. Jeff is Mary’s voice of reason, trying to tell her that Dill will only break her heart again and she is leaving herself vulnerable, all the while hiding his feelings.

clark gable robert montgomery joan crawford forsaking all others

As far as mid-1930’s romantic comedies go, te formula for this one is run of the mill, but the script is actually quite clever and snappy–thanks to Joseph Mankiewicz. Originally a play, many of the sexual undertones were removed but the script more than makes up for any missing steam with its vigor.

Clark gets some of the best lines and even gets to whack Joan with a hairbrush!clark gable joan crawford forsaking all others

“You’re an idiot. A spoiled, silly brat that needs a hairbrush every now and then.” Joan doesn’t mind too much…

Clark and Joan, off-screen lovers for years off and on, have great chemistry. Their scenes together here are sweet and funny. Clark has just the right amount of suave to cover up his broken heart, and Joan is busy fluttering those eye lashes over her innocent baby blues.

joan crawford clark gable forsaking all others joan crawford clark gable forsaking all others

Robert Montgomery is rather foolish, but he’s also hilarious. The part where he catches on fire in the cabin is quite amusing—especially when Clark finds him all burnt up the next day and makes fun of him!

clark gable robert montgomery forsaking all others

It’s funny how Bob and Joan go up to an abandoned house together and end up spending the night and this is a great scandal–how times have changed! Bob is in an interesting position here, as he really is a heartless jerk. He up and leaves Joan at the altar, then tries to woo her behind his wife’s back just weeks later. He even schemes to get her alone at a cabin for the night, telling his limo driver not to show up until morning. But as devious as he is, Bob still makes him a likable character in many ways. He may be devious, but he still has that impish quality!

clark gable robert montgomery forsaking all others

Quite amusing is hung-over Clark after the “bachelor dinner.” Despite the fact that the groom didn’t show up, the groomsmen all ended up drunk in a trashed hotel room, with a firehouse flung into the room, flooding the whole hotel! Clark is sleeping head to toe with the hilarious Charles Butterworth, wearing the top half of his tuxedo and Charles only has the bottom half of his. I think this is why most people don’t have their “stag parties” the night before the wedding anymore…

clark gable forsaking all others

clark gable forsaking all others

Clark and Bob were friends in real life and both liked Joan. I think it makes a difference in a film when the actors are friendly. This film comes across as light and airy as a result.

clark gable robert montgomery joan crawford forsaking all others

 Billie Burke is excellent as the twittering, disapproving stand-in mother for Joan. She is in the fortunate position of being swooped up in Clark’s arms and covered in his kisses…not once, but twice! “Haven’t you buried three husbands already?” he asks her. “Two. I don’t know where the last one is!” she replies.

clark gable billie burke forsaking all others

And in a small part, is future Clark Gable leading lady Rosalind Russell, as one of Joan’s bridesmaids. Her part may be small, but you can see the future snappy Roz the world would soon come to know with lines like “I’m so tired of being a bridesmaid. I’d like to get married so I can wear a decent hat!”

clark gable forskaing all others

It’s nice to see Clark pine for a bit before he wins the girl at the end. Speaking of the end, it is quite a cop out—one of those where you just assume they live happily ever after without any evidence to back it up.  I really like the sweet, quiet way Clark tells Joan that he’s in love with her before he leaves. But I guess we are supposed to cheer for the fact that Joan decides to go after him and leave Bob in the lurch? So the whole film she’s been heartbroken over Robert but now suddenly realizes it’s Clark she wants? Oh well, way it goes in movie land!

Forsaking All Others Part 4 clark gable joan crawford forsaking all others

Forsaking All Others is available on DVD from the Warner Brothers Archive Collection. You can see over 100 pictures from the film in the gallery and read more about the film here.

clark gable anita page the easiest way

This month is an eighth-billed, mustache-less Clark Gable as a noble laundryman in The Easiest Way.

In this scandalous pre-code, Laura Murdock (Constance Bennett) is a young woman anxious to escape her impoverished family. She quickly realizes that the easiest way to do that is by being “kept” by rich men. She begins an affair with afluent businessman William (Adolphe Menjou), who keeps her in furs and expensive jewels.  Although this brings her the riches and lifestyle she has always dreamed of, it alienates her from the man she really loves (Robert Montgomery) and her family. Especially her sister, Peg (Anita Page), who married hard-working blue collar Nick (Clark Gable), who bans Laura from their house for her indecent behavior.

clark gable robert montgomery constance bennett adolphe menjou

The theme of this film was pretty common for the era but is very outdated now. Laura is having sex with a man without being married to him and in return he lavishes her with anything she desires. As a result, her mother will have nothing to do with her, calling her immoral. The only members of her family willing to speak to her are her lazy drunk father, who doesn’t care where the money is coming from as long as it’s coming in, and her sister Peg who tries very hard to have a relationship with her despite her husband forbidding it. You don’t see many people turning their backs on family members for having sex with or living with men out of wedlock nowadays!

anita page clark gable the easiest way

I find Constance Bennett rather cold and her expressions tend to range from about A to C. Robert Montgomery is his usual buoyant self, and you feel badly that his heart is broken by Laura. Adolphe Menjou is young looking here and is playing a role he played very well and quite often–the rich businessman. I find it rather funny that the film makes Adolphe out to be some kind of villain. Sure, it isn’t right to essentially pay a woman to sleep with you and not marry her, but he is kind of a victim as well, since Constance uses him then drops him like a hot potato then comes begging when she needs more money, then is willing to leave him again at a drop of a hat. Guess that’s the risk you take by not marrying the girl!

clark gable constance bennett anita page the easiest wayclark gable anita page the easiest way

clark gable constance bennett anita page

This of course being a pre-code, Constance’s Laura must pay for her sins. She can not have a happily ever after. She must lose everything in the end, as bad girls should! The last scene of the film, where Nick takes in his immoral sister-in-law on Christmas Eve, is pretty much the only semblance of a Christmas scene Clark ever filmed.

clark gable anita page clark gable the easiest way

Clark and Anita represent the “right way” of doing things. Clark starts out just driving the laundry truck as he saves money to marry Anita. By the end of the picture he owns his own laundry business and the couple has a nice home and a chubby toddler. Constance’s way up the ladder is “the easiest,” but not the proper way, scolds the film.

clark gable constance bennett the easiest way

It’s rather funny that while Clark plays the noble and hard-working everyman in this picture, later this same year he is the rich man with the mistress in Possessed. And while he’s eighth billed in this one, he’s second billed in Possessed!

clark gable anita page the easiest way

Clark looks rather hunky here, all young and chiseled and rather brutish. His scenes with Anita Page are very sweet. His voice is a tad higher than usual, something he worked the kinks out of by the end of the year.

clark gable the easiest way

clark gable the easiest way

Just four years later, Constance Bennett would be Clark Gable’s leading lady in the lackluster After Office Hours. Apparently on the set of The Easiest Way, Constance was quite the diva and ignored Clark and Anita between takes. When they filmed After Office Hours and Clark was more on Constance’s star level, she practically threw himself at him. Clark despised diva behavior and hadn’t forgotten; he rebuffed her and the set was rather chilly.

clark gable anita page the easiest way

Anita Page died just a few years ago and spoke fondly of Clark and their lone picture together. She claims they had an affair during filming.

clark gable the easiest wayThe Easiest Way is available on DVD. You can see over 100 pictures from the film in the gallery.