John Cromwell was a distinguished figure in the world of American entertainment, renowned for his versatile talents as both an actor and a director across Broadway and Hollywood. Born on December 23, 1887, in Toledo, Ohio, his career spanned decades, leaving an indelible mark on both the theatrical stage and the silver screen.
Cromwell’s journey into the performing arts began on Broadway, where he made his debut on October 14, 1912, at the Playhouse Theatre. This inaugural performance was in Marian De Forest’s adaptation of Louisa May Alcott’s beloved classic, “Little Women.” The production resonated with audiences and enjoyed a successful run of 184 performances, marking the start of Cromwell’s prolific stage career.
Over the next six decades, John Cromwell became a fixture on Broadway, participating in an impressive 38 plays. His involvement ranged from acting to directing and even producing. A significant early role was in Frank Craven’s “Too Many Cooks,” which premiered on February 24, 1914, at the 39th Street Theatre. This production was a notable hit, running for 223 performances, and showcased Cromwell’s dual talents as he not only acted in but also co-directed the play with Craven. His final Broadway appearance was on October 31, 1971, in “Solitaire/Double Solitaire” at the John Golden Theatre.
Cromwell’s Broadway legacy extends beyond acting. He directed or staged 11 plays and produced seven, demonstrating his comprehensive engagement with theatre production. His acting repertoire was particularly highlighted by his portrayals of Shavian characters. He originated the role of “Charles Lomax” in George Bernard Shaw’s “Major Barbara” in 1915. In a production directed by Guthrie McClintic, who later married Katharine Cornell, this role placed Cromwell in the company of emerging talents of the era. The following year, he played “Capt. Kearney” in a revival of Shaw’s “Captain Brassbound’s Conversion,” again with McClintic. His connection to Shavian works continued with his role as “Freddy Eynsford Hill” in Cedric Hardwicke’s 1945 revival of “Pygmalion,” starring Gertrude Lawrence and Raymond Massey.
John Cromwell also embraced Shakespearean roles during his esteemed stage career. In 1935, he played “Paris” in “Romeo and Juliet” alongside Katharine Cornell and Maurice Evans. The following year, he took on the role of “Rosenkrantz” in “Hamlet,” directed by McClintic and featuring John Gielgud, Lillian Gish, and Judith Anderson. Later, in 1948, he appeared as “Lennox” in a revival of “Macbeth,” which featured a cast including Michael Redgrave and Flora Robson, as well as early career appearances from Julie Harris, Martin Balsam, and Beatrice Straight.
Recognition for his stage work culminated in a Tony Award in 1952 for Best Featured Actor in a Play for “Point of No Return,” where he starred alongside Henry Fonda. The following year, he played “Linus Larabee Sr.” in “Sabrina Fair,” further cementing his reputation as a versatile and respected stage actor.
With the rise of sound in motion pictures, John Cromwell transitioned to Hollywood in 1929. His first film role was in The Dummy (1929), supporting Ruth Chatterton and Fredric March. That same year, he also co-directed two early “talkies” with A. Edward Sutherland: Close Harmony (1929) and Artisten (1929), even making a cameo as a doorman in the latter. His directorial debut came with The Mighty (1929), starring George Bancroft, where he was noted for his innovative use of sound technology in film. He continued directing with Tom Sawyer (1930) starring Jackie Coogan.
The 1930s marked a significant period in John Cromwell’s directing career, with films like Ann Vickers (1933) and Human Bondage (1934). These RKO productions, based on novels by Sinclair Lewis and W. Somerset Maugham respectively, brought him critical acclaim but also thrust him into battles with film censorship. “Ann Vickers,” starring Irene Dunne, addressed themes of social reform and extramarital affairs, leading to clashes with the Studio Relations Committee (SRC) due to the novel’s controversial content and condemnation by the Catholic Church. Despite initial script rejections and demands for significant alterations, the studio eventually reached a compromise to secure a Seal of Approval, navigating the stringent Production Code of the era. This episode was a precursor to the strengthening of the Production Code Administration (PCA) in 1934.
Human Bondage (1934) faced similar censorship challenges under the newly formed PCA, headed by Joseph Breen. The portrayal of “Mildred,” a character with syphilis, was deemed “highly offensive.” Breen demanded changes, including altering Mildred’s profession and illness. RKO complied, aware of the PCA’s power and potential fines for Code violations. Ironically, despite these changes and condemnation from some Catholic groups, the film drew large crowds, suggesting a public interest in the very themes the censors sought to suppress.
Further cementing his reputation as a leading director, John Cromwell directed a string of successful and critically acclaimed films, including Little Lord Fauntleroy (1936), The Prisoner of Zenda (1937), Algiers (1938), Abe Lincoln in Illinois (1940), Since You Went Away (1944), and Anna and the King of Siam (1946). In 1951, he directed The Racket (1951), starring Robert Mitchum, Lizabeth Scott, and Robert Ryan, a film based on a Broadway play in which Cromwell had acted in 1927.
Despite his continued success in Hollywood, Cromwell returned to the stage in the 1950s. It was seven years before he directed another film, The Goddess (1958), with a screenplay by Paddy Chayefsky and starring Kim Stanley. He directed two more films before retiring from movie direction in 1961. Cromwell’s directorial style was characterized by its subtlety and focus on performances, eschewing flashy camera techniques in favor of emphasizing the narrative and acting.
In the later years of his life, director Robert Altman brought John Cromwell back in front of the camera, casting him in 3 Women (1977) and A Wedding (1978). These roles marked a fitting coda to his long and varied career in the entertainment industry.
John Cromwell passed away on September 26, 1979, in Santa Barbara, California. His legacy endures through his extensive body of work in theatre and film, remembered as a talented actor and a director who navigated the complexities of Hollywood’s Golden Age while leaving behind a collection of films that continue to be appreciated for their storytelling and performances.
