THE CITADEL (1938) B/W 110m dir: King Vidor

w/Robert Donat, Rosalind Russell, Ralph Richardson, Rex Harrison, Emlyn Williams, Penelope Dudley-Ward, Francis L. Sullivan, Mary Clare, Cecil Parker, Nora Swinburne, Edward Chapman, Athene Seylor, Felix Aylmer, Joyce Bland, Percy Parsons, Dilys Davis, Basil Gill, Joss Ambler

A.J. Cronin's novel about a young and dedicated Scottish physician who almost loses his way in life is a beautifully acted and directed gem. Donat is particularly splendid, and there are plenty of human and dramatic elements to the story.

From the Monarch Film Series book, King Vidor, written by John Baxter, who interviewed Vidor extensively about his films: "In the mid-thirties, the British government moved belatedly to stop the erosion of its film industry by foreign producers, demanding that a large percentage of money earned in its cinemas be ploughed back into local production. The effort would soon enough be reduced to the cranking out of primitive 'quota quickies' but MGM, the biggest earner in the country, who now found millions of dollars 'blocked' there, was anxious to 'show willing' and, with some publicity, signed generous contracts for British productions and stars. Among the first actors to sign was Robert Donat, whose deal promised him $63,000 per film for six films --- the contract was open dated, since Donat was often unable to work because of asthma --- the first of them to be A.J. Cronin's The Citadel. Despite poor health, Donat gave a good performance as the doctor who develops from a bumbling locum in a Welsh mining village to a Harley Street specialist in the diseases of the rich, then gives it all up to work with a brilliant but unqualified 'quack' on the pioneering fringes of medicine. The first half is rich and precise; young Manson peering excitedly from the train as glimpses of mining life reel by, contending with the meanness and ignorance of Welsh village life before colluding with a fellow doctor (gleefully overplayed by Ralph Richardson) to blow up the sewer which causes its chronic diseases. Thereafter, The Citadel is only fitfully effective, with Rosalind Russell obviously uncomfortable as his schoolteacher wife, and the detail of a London physician's life sketched in with a shabbiness emphasizing the gap between British technique and the skill of Hollywood. Vidor is at his best in the set pieces, notably a mining rescue which dramatizes his fear and awe at the industrial process, but the Academy Award nominations for his direction and the script, by Ian Dalrymple, Frank Wead and his wife, Elizabeth Hill Vidor, were probably political."

From the Silver Screen Classics website (www.silverscreenclassicsblog.wordpress.com), this article about the film by Paul Batters:

"Robert Donat is perhaps one of the most loved actors from the golden years of Hollywood and is best remembered for his Oscar winning performance in Goodbye, Mr. Chips (1939). It was and still is a beautiful and heart-warming performance, and deserves to be remembered as it still resonates with audiences today. It is one of my favourite films which I discovered as a child but it was not my first experience watching Robert Donat. That discovery came with the film which would draw his first Oscar nomination; 1938's The Citadel.

"It’s also a performance that does not get the acclaim that it deserves and has been greatly overshadowed by the film which eventually brought Donat his Oscar win in 1939.

"Based on A.J Cronin’s novel, The Citadel tells the story of Dr. Andrew Manson (Robert Donat) and follows a character arc which sees him shift from a young, idealistic doctor looking to bring change to the world to losing his faith in himself and the world and discovering it again. As a result, the story still resonates and there are some powerful themes that also still resonate, particularly in light of the current socio-economic and political climate of today --- the divisions of class that exist within society, the contrasting lives of the poor and the privileged, the lack of health care for the poor and needy and certainly the lack of action on the part of the authorities to accept the need for change and adopt new technologies as well as new thinking.

"Yet at the very personal level there exists something that is timeless; the idealism of youth that turns to disillusionment and despair. Critic David Kehr outlines in his review that director King Vidor was always fascinated by the concept of personal rebirth and that certainly comes through strong in the film, as evidenced by the uplifting climax. If anything, it is the central theme of the film which also has a powerful universal connection to audiences. How many of us have felt our idealism slip away or eroded over time or indeed even destroyed quite suddenly? And how many of us have rediscovered that idealism? Two deeply personal questions but ones that legendary directors like Vidor were driven by and Donat certainly seeks to channel answers through his portrayal of Dr. Manson.

"The young doctor is assigned to the mining village of Blaenely, working under the tutelage of Dr. Page (Basil Gill). The opening scenes show Manson’s excitement as he travels there by train, looking at the countryside as well as some of the conditions the men are working under. There is a foreshadowing of what he will face and perhaps what will temper (and then mute) his idealism when he is warned by the coach driver.

"Initially, Manson works hard to treat the local miners and notices that their impoverished life and conditions leave them in misery. Yet all his attempts to bring positive change are thwarted, not only by the authorities but also by the miners themselves. He finds friendship in fellow doctor Denny (Ralph Richardson) who will be a great support and indeed share the same ideal, going to incredible and dangerous lengths to do something about the problems of a possible typhoid breakout in the town. True happiness will be found in Christine, a school teacher (Rosalind Russell), whom he will marry afters securing his position as a doctor, although their first meeting will not be a pleasant one. However, after Christine comes to him as a patient for a sore throat, something happens between them. But it seems it is not enough and all his efforts in the town come to nothing, leaving the young man dejected and lost, and after a particularly traumatic incident, the couple move to London.

"It will be here that he runs into an old classmate from medical school, Dr. Lawrence (Rex Harrison) and Manson finds himself converted to Lawrence’s way of thinking, to Christine’s disappointment. He becomes a very successful doctor for the upper class of London and enjoys the benefits and money that comes with it. But at what cost?

"This reviewer will not divulge what follows but it will take not only Christine’s pleading to remember who he was and the ideals they both shared, as well as some tragedy, for Manson to realise what has happened to him. Again, Dr. Manson will find the fire within to act for what is best and the final scene is a strong ending, befitting theme of rebirth which Vidor felt so driven by in his films.

"Robert Donat planned his portrayal carefully, measured within the development of his craft and particularly the development of ‘The Emotion Chart,' that was used in preparation for his role as Dr. Manson. Donat saw the importance of regulating the emotional content of the performance, using the character arc as the guide and plotting the emotional response to the ups and downs of the character’s life. Vicky Lowe’s article in Film History (2007) looks at Donat’s methodology used in The Citadel with incredible depth. She points out that Donat allowed his acting to be informed by other moments in the story whilst in character and thus using the appropriate emotional timbre for that moment, dependent on what had happened before and afterwards in the plot. As a result, the audience can see the dissolving of Manson’s moral resolve and his idealism dissipating which will lead him to a more lucrative professional outlook, underpinned by his disillusionment. But the audience also see Manson’s growth through the key turning points in the film, particularly the first where Manson first feels like a ‘real doctor’ when he saves the premature Morgan baby. Donat’s whole approach to the moment draws our empathy and it is the moment that connection is made firmly with the deepest investment into the character of Dr. Manson. Naturally, this is beautifully aided by the camera work, using close-ups on Donat’s face and so it is through his experience and interpretation that the moment is experienced by the audience. His point of view and his vocation as a doctor finally becomes a reality for both Manson and the audience.

"The whole cast is exceptional with outstanding British luminaries such as Richardson, Harrison, Emlyn Williams and a host of other familiar faces from British stage and screen. As a prestige MGM feature made and produced in Britain, the authenticity is not lost with the addition of the beautiful Rosalind Russell, who was the only American in the cast. According to her fascinating autobiography, Life is a Banquet, Russell did not feel particularly welcome as the local British industry felt an English girl should have held the role. Any animosity certainly did not transfer onto the screen and Russell is outstanding in her supporting role, which she had built a career on at that time at MGM. But Russell’s character of Christine is far more than that; she is a strong character who works to revive Manson’s conscience and rediscover his idealism.

"In truth, the film runs close to the wind in terms of preachiness but when considering the state of the world in 1938, it is understandable. Additionally, the film was a first to champion the need for reform in medical institutions which was quite a courageous act as well. Sally Dux in her interesting 2012 article in the Historical Journal of Film, Radio and Television also points out that it was an important film in depicting the incredible social and class divisions that existed in Britain at the time and thus also significant 'in the depiction of social realism in British cinema ... resulting in its pivotal position in the story of the founding of the National Health Service in 1948.' Quite a feat indeed and also indicates that the power of film to influence and bring about positive change in the world has long existed.

"What keeps the film together other than the strong performances is the hand of brilliant director, King Vidor, who anchors the film with his vision and knowledge of how to craft a film. Allowing the content of the film to mould and shape the direction of the film, Vidor allowed for the realism previously mentioned to work through. Donat as a result found a solid framework within which to build and develop his portrayal.

"The Citadel was well-received by a number of publications such as the New York Times and when watching Donat’s performance, it is no surprise that he was nominated for an Oscar. The film would also receive Oscar nominations for Best Picture, Best Director and Best Screenplay as well, receiving no wins but it was up against some very tough competition in 1938.

"As always Robert Donat brings incredible dignity and humanity to the role of Dr. Andrew Manson and was a deserved recipient of the Best Actor nomination. He would lose to Spencer Tracy (for Boys Town) but as classic film fans know, the following year would see him win against the likes of Clark Gable, Jimmy Stewart and Laurence Olivier in the year considered the greatest of the golden years. However, it would be foolish to look past Robert Donat in The Citadel and any fan of the great actor should take the time to revisit this wonderful film."