Unca Cheeks the Toy Wonder's Silver Age Comics Web Site!

... or: "How Samuel Goldwyn Saved the Comics Industry During the WWII Years."
(an alternate history)

[ PART THREE ]

SUPERMAN. THE BATMAN. THE SANDMAN. THE FLASH. HAWKMAN. JOHNNY THUNDER. THE HOURMAN. THE SPECTRE. DOCTOR FATE. GREEN LANTERN.

All valuable, pre-existing (and -- thanks to the combined efforts and hucksterism of both National Periodical Publications and one Samuel Goldwyn, Esq. -- well-known) franchise properties.

The principal actors for each of these were all either contracted "studio" players, or else easily attainable via trade with other established film companies.

In other words: by and large... they pretty much had to portray whomever M-G-M told them to portray; in whichever cinematic vehicle said studio so ordained; for no particularly onerous or burdensome extra "cost," salary-wise.

Samuel Goldwyn knew all of this, of course.

1942:

Goldwyn has M-G-M place several high-level, high-pressure phone calls to the proper authorities within the United States Air Force, in order to arrange for several weeks "leave," re: one particular fighter pilot, in especial.

May 6: The War Production Board sets a $5,000 ceiling on new set construction for each film, encouraging greater usage of process (SFX) shots and miniatures. Said edict proves most burdensome for independent producers and smaller film studios, given that they (unlike their larger, wealthier counterparts) do not enjoy the comparative luxury of vast stockpiles of previously assembled equipment and materials.

(***) Not for the first time, a much-relieved Samuel Goldwyn breathes a sigh of gratitude that -- given all of the costumed adventurer flicks he's worked on, over the past three years (to say nothing of M-G-M's own vast, pre-existing resources) -- said edict will impact only marginally (if at all) upon his JUSTICE SOCIETY OF AMERICA project.

(***) May 13: 20th Century Fox releases its feature-length costumed adventurer thriller, CAPTAIN AMERICA; starring the recently discovered Alan Ladd in the title role.

Over half a year in the making -- and costing its studio a gape-inducing (within the confines of the film industry) one million dollars, all told; painstakingly directed "on site" by master cinematic craftsman John Ford; and featuring high-caliber screen actors such as Melvyn Douglas; Charles Laughton; Ralph Bellamy; and Victor McLaglen in prominent supporting roles -- CAPTAIN AMERICA proves to be a world-wide smash, establishing (and then breaking) box office records, several times over, in the wake of increasing American patriotism and nationalism.

(In "real" life, the Republic Pictures CAPTAIN AMERICA serial -- a cheap and thoroughly slapdash effort, incidentally -- wasn't released until 1944; starring journeyman "B"-movie actor Dick Purcell. So much for "reality," then.) [See poster reproduction, below]

In private response to all of the foregoing: an increasingly driven Samuel Goldwyn resolves that -- come Hell or high water -- THE JUSTICE SOCIETY OF AMERICA will be the single biggest, most spectacular adventure movie ever filmed.

June 1: Wartime cloth rationing is applied to movie costumes (historical pictures excepted); no pleats or cuffed trousers.

June 26: The unstintingly patriotic Cary Grant -- increasingly enamoured with his adoptive country -- renounces his British citizenship, and is duly sworn in as an American citizen.

(***) July 10: Goldwyn casts the no fewer than six newly-minted costumed hero roles added to the JSA's team roster, during the scripting process back in March (with input from the producer's friends and confidantes at National Periodical Publications).

The role of the scrappy (if diminutive) Atom goes to former athlete and (up until now) second-string leading man Tom Neal; a man uniquely well-suited to portraying a volatile and irascible hot-head, seeing as how his greatest claim to Hollywood fame, at this juncture, was that he'd once savagely beaten a very surprised Franchot Tone in a parking lot quarrel over the overripe affections of minor actress Barbara Peyton. [See still reproduction, below]

The role of the blind and imperturbable Doctor Mid-Nite, in the meantime, is awarded to a far more level-headed and phlegmatic journeyman actor: one Ray Milland (later to distinguish himself, in the "real" world, in films such as THE LOST WEEKEND and DIAL "M" FOR MURDER.) [See still reproduction, below]

Fate continues to smile upon Goldwyn, as the role he'd most dreaded casting -- that of the improbably glamorous and powerful Amazon princess, Wonder Woman -- all but resolves itself, oncee he is contacted, in turn, by the all-but-forgotten Hedy Lamarr; the latter blissfully unaware of the nature and/or scope of the producer's latest project, and merely seeking some extra work -- any work, really -- to tide her over, between infrequent "B"-movie jobs. [See still reproduction, below]

Although an actress of (to phrase it as charitably as possible) severely limited means, overall: the willing Ms. Lamarr, nonetheless, tackles her role with an energetic and appealing gusto; and -- if nothing else -- fills out an eagle-bedecked bustier like nobody's business, to boot.

By way of comparison: there is (insofar as the talent-savvy Goldwyn is concerned) only one actor -- no questions; no arguments; case closed -- perfectly suited for the role of forrmer heavyweight boxing champion Ted Grant; now costumed and fighting crime as the quietly menacing Wildcat.

In this, the longtime production virtuoso is (as usual) eminently correct. With his hard, muscular physique and sullen, heavy-lidded countenance perpetually freighted with imminent menace: (then-) fledgling actor Robert Mitchum will end up all but dominating virtually every scene in which he has the opportunity to flex and/or growl. [See still reproduction, below]

Along somewhat similar lines: Goldwyn's selection of the dashing and ebullient Tyrone Power (who'd recently thrilled moviegoers as the title character in THE MARK OF ZORRO) as the man best suited to bring laughing daredevil Terry Sloan (a.k.a. Mister Terrific) to costumed life proves a typically perspicacious one. [See still reproduction, below]

Finally: the National-mandated addition of the Stetson-wearing, gun-slinging Western hero known as The Vigilante to the mix affords Goldwyn the opportunity to extend an offer to yet another longtime actor/friend; the easy-going (and thoroughly professional) Victor Mature, to be precise. [See still reproduction, below; specifically, the man on the right]

August 12: Refusing an immediate commission, actor Clark Gable enters the U.S. Army as a private; and is assigned to the Army Air Force Officer's Candidate School, where -- on August 17th -- he will shave off his famous moustache.

August 24: Actor Henry Fonda enlists in the United States Navy.

August 29: All proceeds from tonight's premiere of THE TALK OF THE TOWN (in Hollywood, at The Four-Star Theater) go towards The Hollywood Canteen: a popular meeting place for U.S. servicemen on leave. The well-crafted comedy stars Cary Grant; Jean Arthur; and Ronald Colman.

October 20: With stll one-quarter of the film's (ultimate) three hours of length yet to be filmed and processed: colorful and enticing posters for the upcoming feature-length THE JUSTICE SOCIETY OF AMERICA begin mysteriously popping up in theatres, nationwide.

(***) November 29: Goldwyn screens a rough cut of THE JUSTICE SOCIETY OF AMERICA for the benefit of the higher-ups at both M-G-M and National Periodical Publications; as well as make-or-break movie industry doyennes Hedda Hopper and Louella Parsons; and the less confrontational radio pitchmen, Walter Winchell and Ed Sullivan.

With Charles Laughton as the insane time-traveling scientist, Per Degaton; Ronald Colman as the sly, saturnine Gambler; James Mason, stealing scenes left and right, as the villainously witty and urbane Shade; a suitably chilling Claude Rains portraying the intense, calculating Icicle; the throaty, voluptuous Rosalind Russell as the sexy man-killer known as the Thorn; and Paul Muni gleefully re-visiting his role as the crazed Fiddler; the film lacks absolutely nothing in the way of believable, big league meance...

... and: a special (and wholly unexpected) introductory "guest appearance," early on in the film, by a gas-masked and gun-toting James Stewart -- reprising his crowd-pleasing former role as Wesley Dodds, the Sandman (the reason for all those overseas phone calls on Goldwyn's part, back in April; remember...?) -- elicit pleased and excited gaspings from the audience, right from the very git-go.

Without exception: the film is hailed by all in attendance as "stunning"; "breathtaking"; "phenomenal"; and "a goddamned masterpiece."

A visibly drained and exhausted -- if, nonetheless, exultant -- Samuel Goldwyn quietly accepts the fulsome plaudits and praise accorded him by one and all; and (eventually) heads for home, and some much-needed rest.

(***) November 30: The celebrated Polish-born American film producer, Samuel Goldwyn, is discovered by his maid, late that morning, cold and unmoving in his bed.

An autopsy rules that the cause of death was "physical complications, brought about by overwork and extreme nervous exhaustion."

He was sixty-one years old, at the time of his passing.

(***) December 23: The Academy of Motion Picture Arts and Sciences

announces its nominees for the upcoming Academy Awards (scheduled to

take place on the evening of March 4, 1943; Bob Hope, Master of

Ceremonies).

20th Century-Fox's CAPTAIN AMERICA garners nominations for Best Director (John Ford); Best Supporting Actor (both Charles Laughton and Victor McLaglen); Cinematography; Editing; and Special Effects.

Samuel Goldwyn's THE JUSTICE SOCIETY OF AMERICA -- not slated for nationwide release until the following day; and, thus, ineligible -- receives no nominations whatsoever.

(***) December 24: The nationwide release of THE JUSTICE SOCIETY OF AMERICA.

It is a widely-acknowledged matter of historical fact, of course, that Goldwyn's final film rudely shattered every known box office record; first in America, and then (shortly thereafter) overseas, as well. (With said records standing, in fact, until the 1975 theatrical release of Steven Spielberg's JAWS.)

The collective "costumed adventurer" ouevre of Samuel Goldwyn -- every bit as much as "Uncle Sam Wants YOU!" recruiting posters; Bob Hope's fabled USO tours; and "Rosie the Riveter" -- was (and remains, to this day) intimately associated in the minds and memories of, literally, millions of American and British men and women with what historian and folklorist Studs Terkel later termed "The Last Good War."

Said films also (obviously) served as the cinematic precursors to the popular film entertainments of today; ranging from the latest offering in the long-lasting THE MIGHTY AVENGERS movie franchise to Quentin Tarantino's recent (and highly-regarded) SIN CITY; from George Lucas' THE NEW GODS to Kevin Smith's MAGE: THE HERO DISOVERED; from Clint Eastwood's JONAH HEX to Tim Burton's HELLBOY.

Some have postulated, in recent years, that the mainstream American comics industry -- sans the additional sales >impetus arising from its (now) traditional alliance with Hollywood -- might not have lasted much longer than (perhaps) the early fifties, had things not worked out as they (again: obviously) have; said industry's fragile, paper-based economy being (perhaps) too inherently unstable to support itself much beyond that point, otherwise.

Certainly: it's an intriguing theory, at any rate.

The M-G-M/JSA Files (PAGE ONE)
The M-G-M/JSA Files (PAGE TWO)

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