George Cukor’s A Double Life stars Ronald Colman as a brilliant stage actor named Anthony John — “Tony” to his friends — who loses himself so completely in each of his roles that he has to be careful about which parts he accepts.
When the film begins, Tony appears to be a charming, “hail fellow well met” sort of chap who’s as friendly with theatrical agents and his fellow actors as he is with stagehands and women on the street. It’s no coincidence, however, that he’s starring in Philip MacDonald’s comedy A Gentleman’s Gentleman.
When the run comes to an end and he’s offered the lead in Shakespeare’s Othello, Tony hesitates. He’s always wanted to play the part, and even worked out some staging ideas years earlier.
But the role of Othello is a dark one (no pun intended), and Tony fears what psychic and emotional depths he might sink to playing the tragic Moor night after night.
And he’s not the only one. His beautiful ex-wife Brita Kaurin (Signe Hasso) cautions against it. She and Tony still love each other, but when she tells her boyfriend, theatrical agent Bill Friend (Edmond O’Brien), what it was like to be married to Tony, it’s clear that the good times and bad times all coincided with the parts he was playing. “When he’s doing something gay like this it’s wonderful to be with him, but … when he gets going on one of those deep numbers,” she says. “We were engaged doing Oscar Wilde, broke it off doing O’Neill, were married doing Kaufman and Hart, and divorced doing Chekov.”
Against her better judgment, however, Brita eventually takes the role of Desdemona, and everything goes just as badly as you might expect.
If A Double Life were just a burlesque version of Othello, with a stand-in for Iago whispering lies about infidelity in Tony’s ear, it wouldn’t be nearly as good or as interesting as it is.
Instead, it’s a hypnotic portrait of self-inflicted madness. We watch Tony slide easily from one persona to another early in the film when he slips on a pair of eyeglasses and goes out to eat in a new restaurant, convincing young waitress Pat Kroll (Shelley Winters) that he’s new in town.
He’s a hugely talented actor, but his talent comes with a price. The more popular his performances as Othello become, the more his mental and emotional health deteriorate. (And his performances are indeed popular; his Othello ends up running on Broadway for an unbelievable, not to mention unrealistic, 300 performances.)
When Tony finally commits the inevitable murder, it’s not a passionate reenactment of Othello’s murder of Desdemona, it’s a weird, tawdry killing committed in a dissociative state.
There’s much about A Double Life that’s heavy-handed, both visually and thematically. If you’re paying close attention, all the attempts early in the film to hammer home the point that Anthony John has a “double life” might seem like a bit much. (Even his name — two Christian names in search of a surname — is a clue.) By the second or third reel, however, I was completely enthralled.
The plot of A Double Life is essentially pulpy and exploitative, so I think a great deal of credit must be paid to Ronald Colman for his exceptional performance, not only as Anthony John, but as Anthony John playing Othello. (The role was originally intended for Laurence Olivier. When Olivier was unavailable, the producers went with another seasoned British thespian.)
Colman ended up winning the Academy Award for best actor for his role in A Double Life. It was the fourth time he was nominated and the first time he won. (Miklós Rózsa’s score also won an Academy Award.) There are moments when his performance tends to get a little exaggerated and “showy,” but I thought that was appropriate for the character. He’s playing a self-involved, grandiose stage actor, after all.
Milton R. Krasner’s brilliant cinematography bears mention, too. There are many things about A Double Life that don’t exactly place it in the category of film noir, but the look of the film is pure noir. It’s full of shadows, dramatic lighting effects, city streets at night, and cramped, dark rooms. There’s a mounting sense of dread running through the film, and Krasner’s cinematography is largely responsible for it.
I had no idea what to expect from A Double Life and I was completely blown away. It’s a film where everything comes together; Cukor’s direction, Ruth Gordon and Garson Kanin’s script, Krasner’s photography, and the performances of the three principal actors. I’m looking forward to seeing it again some day, and I highly recommend it if you’ve never seen it.