Dedicated to the Study and Appreciation
of the Movies and Personalities of the Golden Age of Hollywood

Friday, June 17, 2011

Our Mr. Webb

Clifton Webb is unique among movie stars. There are other (albeit lesser) tough guys than Humphrey Bogart; other blonde sex symbols than Marilyn Monroe; other western heroes than John Wayne; other Latin lovers than Rudolph Valentino. But there was nobody like Clifton Webb before his belated screen debut at 54 in Laura, and there has been nobody like him since.

Actually, strictly speaking, Laura wasn't his debut. He appeared in a thin smattering of silents and a single 1930 talking short immortalizing a stage sketch he'd performed with Fred Allen. There was also an 18-month period in 1935-36 when he was under contract to MGM (Metro had vague ideas of making him their answer to Fred Astaire), but nothing ever came of that. For all intents and purposes, Laura was the beginning of Clifton Webb As We Know Him. For many movie buffs today, I suspect their knowledge of Webb begins and ends with that 1944 noir classic. Or it may extend to the other two pictures for which he got Academy Award nominations, The Razor's Edge ('46) and Sitting Pretty ('48).

That last title, in fact, is the one my friend Dave Smith has chosen for his book on Clifton Webb: Sitting Pretty: The Life and Times of Clifton Webb. Amazingly, it's the first full-length biography of Webb; even more amazing is the fact that it was written at least in part by Clifton Webb himself. He had started writing his autobiography and made it through six chapters before putting the project aside. (Webb's proposed title was Mabelle and Me -- Mabelle being his mother; like Cornell Woolrich, Webb lived with his mother for her entire life and didn't survive her by much. The resemblance between the two men, however, most emphatically ends there.)

Dave Smith has retrieved Webb's manuscript from (and with the kind permission of) the collectors who came into possession of Webb's papers and memorabilia after his death in 1966. In addition to those six chapters, there were extensive -- though often undated -- notes for the remainder of the autobiography, and Dave makes use of them, and his own tireless research, in picking up Webb's story where he left it at the Broadway opening of the musical Dancing Around in 1914.

Nineteen-fourteen!?! Yes, Clifton Webb's autobiography cuts off a full 30 years before where most of us think his career even began. In fact, the movies from Laura to Satan Never Sleeps ('62) were his second career, the first having lasted on stage throughout the 'teens, '20s and '30s. It was sometime during these years that he painted the self-portrait here (the date is unknown, but my guess is it's from sometime in the mid-1920s). Webb was a super-elegant song-and-dance man, famous and sought-after for his ballroom skills and, later, his musical comedy abilities (among the songs he introduced on Broadway were "I've Got a Crush on You", "At Long Last Love", "I Guess I'll Have to Change My Plans" and "Easter Parade").

It's almost startling to read Webb's chapters on his early days in New York after his mother married (her second time) into the high society of the turn of the 20th century. Startling to realize that he spent his childhood and adolescence in the Manhattan of Edith Wharton and Diamond Jim Brady ("...completely settled only as far north as 72nd Street"), rose to his first fame on the Broadway of Jerome Kern and Charles Frohman, and went on to make his last stage appearance just off the gaudy Times Square of Damon Runyon (by which time, snob that he was, he found New York much diminished by the changing years).

For me, these early chapters are particularly fun reading because they are in Webb's own voice, and we can hear him speaking them. Webb was a shameless name-dropper, and reading his roll call of the famous people he rubbed elbows with in the 1910s and '20s is heady stuff. Better still, his writing gives a bracing whiff of what everyone who knew him says: that he was a wonderful conversationalist. (A favorite passage of mine is Webb talking about his mother's pregnancy, almost as if he remembered it: "Mabelle has always sworn that the first sign of life I evidenced was a good hard kick when she was in the act of applauding the eminent Francis Wilson, and she floated home convinced that she was to be the mother of a great actor. Nobody to this day, I confide with a grave sense of responsibility, has disabused her of the notion.")

That kicking baby was born Webb Parmelee Hollenbeck in Indianapolis in 1889. As a child actor young Webb used his stepfather's name and was billed as Webb Raum. When Mabelle sent the elder Raum packing (not a minute too soon, by Webb's lights), her son cast about for another stage name. He liked Webb well enough, and decided "Clifton" had the right ring of patrician dignity. Mother became Mabelle Webb and called her son "Webb" to the end of her life -- naturally enough, since it was in fact his first name. He always called her Mabelle, and eventually they would be known as the happiest couple in Hollywood. Myrna Loy always said Mabelle "looked like Clifton in drag", and this picture proves Myrna wasn't exaggerating.

There's a story -- a legend, maybe -- that when Otto Preminger (having taken over the direction of Laura from Rouben Mamoulian) wanted Webb for the vicious Waldo Lydecker, he was told, "You can't cast Webb -- he flies!" Meaning to say, he's a flaming queen, too flagrantly swishy ever to pass for any kind of heterosexual. Whoever said that, if anybody really did, underestimated Webb. As he said himself, "I have destroyed the formula completely. I'm not young. I don't get the girl in the end and I don't swallow her tonsils, but I have become a national figure."

Clearly, Clifton Webb didn't believe in false modesty (or any other kind), but he had a point. By the time he said that, he had become a national figure. Webb's big splash in Laura might have been only a fluke if it hadn't been for one thing: Darryl Zanuck liked him and sensed a unique screen persona that, with proper care, could be developed into a valuable property for 20th Century Fox. Webb's next picture was The Dark Corner for Henry Hathaway, playing a coldly calculating art dealer not far removed from Laura's Waldo. Then came The Razor's Edge and another Oscar nomination as Somerset Maugham's snobbish expatriate Elliott Templeton. 

Those first three pictures made Clifton Webb's reputation as a character actor, but it was Sitting Pretty that made him a star (and got him his third Oscar nomination) playing Lynn Belvedere, a prissy intellectual novelist who takes a position as live-in babysitter for parents Robert Young and Maureen O'Hara. Critics and film noir historians have glommed onto the scene in Laura where Webb talks to detective Dana Andrews from a bathtub, but in Webb's own lifetime this was probably the most famous scene in his career, where he dumps a bowl of oatmeal over the head of a misbehaving baby. (In real life the kid, 18-month-old Roddy McCaskill, was delighted at all the mess, and having a high old time; they had to dub the sound of crying in post-production.) 

My own favorite Clifton Webb moment comes just before this. First the set-up: The Kings (Young and O'Hara) think they've hired a college co-ed to sit their kids while they both take jobs to make ends meet -- after all, "her" name is Lynn Belvedere. Instead, they get this humorless middle-aged bachelor with his nose in the air. This first morning at the breakfast table it begins to dawn on them that he's liable to be as much a handful as their own brood. Webb has a long speech in which he explains to Mr. and Mrs. King the terms on which he will agree to work for them; I can't remember exactly what-all he says but it goes on for quite a while, telling them what hours he will work, what evenings he demands off, when he expects breakfast, lunch and dinner, how long his eggs must be cooked, and so on and on. In the finished picture, precisely as Mr. Belvedere concludes his long-winded ultimatum, little Roddy McCaskill sneezes. Without batting an eye, Webb glances at the toddler and barks, "Gezundheit!" It's obviously unscripted -- there's no way to get an 18-month-old to sneeze on cue -- but perfectly in character all around, and Webb's "gezundheit" deftly snatches our attention back from the adorable tot and turns that sneeze into an exclamation point to Webb's own speech. It's a hilarious moment and an example of Clifton Webb's amazing presence of mind. (Kudos too to Robert Young and Maureen O'Hara for keeping straight faces and not spoiling the take.)

After Sitting Pretty -- and two more Belvedere sequels -- Clifton Webb was a major box-office star, and he remained so for much of the rest of his career. If movies like Cheaper by the Dozen and Stars and Stripes Forever (a largely fictitious biopic in which Webb was nevertheless ideally cast as John Philip Sousa) are less highly regarded today than Laura or The Razor's Edge -- well, that's only natural, I suppose, and probably correct. But they don't deserve to be forgotten altogether. Webb had a marvelous flair for comedy -- and not just the bitch-wit of Waldo Lydecker or Elliott Templeton -- and movies like these are worth seeing for it. So is the all-but-forgotten Dreamboat ('52), in which Webb plays a staid college professor mortified when the new medium of television unexpectedly resurrects his previous career as a silent movie heartthrob.

Sitting Pretty (that is, Dave Smith's book) grows unavoidably cheerless in its closing pages as it recounts Webb's utter failure to cope with the death of his mother (in 1961, at the age of 91). He was disconsolate and maudlin at what was after all the natural order of things -- people are supposed to bury their parents -- and his incessant grief, not only for Mabelle but for other friends and intimates already gone, sorely tested the patience of those who were still around (Noel Coward snapped, "It must be hard to be orphaned at seventy-one."). Well, that's part of the story too, if not the best part. For most of his life Clifton Webb was great fun to be around. His movies remind us of that, and so does Sitting Pretty: The Life and Times of Clifton Webb; it brings the man back in his own words, and we can once again bask in the pleasure of his company.


David L. Smith said...

Jim: I must say I had no idea you were going to feature Clifton Webb and my book on your blog. However I am delighted with your comments. While reading it I was nodding "yes!" to myself! You captured the essence of the book and the essence of Clifton. He was truly a remarkable talent. As Richard Zanuck said, "There has never been a truly proper replacement in movieland after Clifton left us. He could do everything and did it in a singular style that could never be repeated." Thanks so much for your kind comments.

David L. Smith

Jim Lane said...

Welcome, Dave! And thanks again for Sitting Pretty (the book). You've done a real service to movie buffs everywhere.

And by the way, I also urge my readers to take a look at your 2006 book Hoosiers in Hollywood. It's a real feast, and a monument to my native state's contributions to movie history from Elmo Lincoln to James Dean.

Kevin Deany said...

What a coincidence. I just watched "Titanic" over the weekend. I thought that contained one of Webb's best performances.

I love the way he and Stanwyck go at each other on the ship, but once the ship is in danger, he becomes the calming, selfless influence on people as he's getting them into the lifeboats. His parting scene with Stanwyck is beautifully underplayed by the both of them. So much regret in those words for what might have been.

I never would have thought of Barbara Stanwyck and Clifton Webb as a couple, but they really do play out their scenes most convincingly. I was very impressed.

I also liked his final scene with his son and how proud he is of him, even though he had recently found out he is not the biological father. Beautifully underplayed. Webb still can't quite look his son in the eye, but the emotions on his face and the way he tightens his arm around the boy are worth a million words.

Big Clifton Webb fan so will have to buy the book once my financial situation improves. Best of luck with the book, Dave.

Jim Lane said...

Amen, Kevin, to your appraisal of Webb's performance in Titanic (1953); one of his best, to be sure. I wanted to mention it in my post but was unable to fit it in, so I'm glad you brought it up. Webb and Stanwyck do indeed make a memorable pair; like everybody else who ever crossed her path, Webb adored working with Stanwyck and the result shows on the screen.

DorianTB said...

Jim, Clifton Webb has been one of my favorites since I first saw LAURA on TV as a kid growing up in the Bronx. Your blog post about Webb was a delight, as affectionate as it was fascinating. I look forward to getting the book SITTING PRETTY. And you're right, the resemblance between Webb and his mother is so striking, Mama almost looks like a clean-shaven Webb in drag (not meant as an insult; just an observation). Thanks for sharing the story of this one-of-a-kind performer with the rest of us!

Jim Lane said...

Glad you enjoyed the post, Dorian, and you won't regret snagging your own copy of the book. I said it before and I'll say it again, Dave Smith has done posterity a real favor by bringing Clifton Webb's autobiographical jottings to light.

Webb has long been a favorite of mine too, but my introduction to him differed sharply from audiences in 1944 (and latter-day noir fans since Webb's death). I first knew him in his later persona, as the haughty soul with the heart of gold guarded by a Fort Knox of snobbery; the movie was Mr. Scoutmaster, which was essentially Mr. Belvedere Rubs Sticks Together. Later came Cheaper by the Dozen, Titanic, Sitting Pretty, Stars and Stripes Forever, even The Man Who Wasn't There, before, finally, Laura, where dear old Clifton was (gasp!!) the villain. It was, as for others, quite a shocking revelation, but coming from a different perspective.

Nathanael Hood said...

Wow! This is a really impressive blog you have here Jim!

Anyhow...hello! My name is Nathanael Hood from Forgotten Classics of Yesteryear! Welcome to the CMBA!

I just want to invite you to my blog's blogathon. It will be taking place in about three weeks. The topic is MONSTER MOVIES FROM THE 50S!!!

I would love it if you would participate! Send me an email at

Here's a link to more information:

Jim Lane said...

Welcome, Nathanael, and thanks for the kind words. Thanks also to all the members of the Classic Movie Blog Association for voting me into their ranks; excellent company!

The 50s monster movie blogathon sounds like a lot of fun; I'll e-mail you with my ideas.

DorianTB said...

Jim, I just wanted to congratulate you on being voted in as a fellow full-fledged member of the CMBA! It couldn't happen to a more deserving blogger! Keep your wonderful classic movie blog posts coming!

By the way, if you take up our friend and fellow blogger Nathanael Hood's offer to join in the Monster Movie Blogathon fun, you'll be in good company. As "Team Bartilucci," my husband Vinnie and will be participating in a double-feature of MOTHRA and THE THING FROM ANOTHER WORLD. Then again, everything you write is a joy to read! :-)

Jim Lane said...

Thanks, Dorian! Looking forward to the blogathon; I just called dibs on The Beast from 20,000 Fathoms and The 7th Voyage of Sinbad.

DorianTB said...

Jim, THE BEAST FROM 20,000 FATHOMS and THE 7th VOYAGE OF SINBAD would make a great double-feature! Now I'm even more excited about the upcoming Monster Movie Blogathon! :-)

Copyright Notice

All textual content Copyright (c) date of posting by Jim Lane. Unauthorized use and/or duplication of this material without express written permission from this blog's author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jim Lane and Jim Lane's Cinedrome with appropriate and specific direction to the original content.