Although he's never been forgotten by people who admire fine, even great acting, Edward Arnold is one of the unjustly forgotten talents of Hollywood. His career lasted throughout the 1930s into the 1950s when he died (in 1956). He appeared in many classic films, such as Frank Capra's "Mr. Smith Goes To Washington" (as political boss Jim Taylor), and Mitchell Leisin's "Easy Living" (as Wall Street speculator J.B.Ball), He was Jim Brady in "Diamond Jim" and in "Lilian Russell", and Jim Fisk in "The Toast of New York". But for all his marvelous acting skills Arnold had the same problem that his young contemporary Laird Cregar had. In a medium where good looks and a svelte body meant real super-stardom both Arnold and Cregar were too plump to measure up. Had both started in the 1970s they would have had the super-stardom they deserved. Not the case in the 1930s or 1940s. Only three fat men made superstar rank in this period: Charles Laughton (with a best acting Oscar to do it), Oliver Hardy and W.C.Fields (and the latter two were comedians). Even Sydney Greenstreet would never get full super-stardom, though his evil genius characters made him a major star. A very unfair situation. It makes one appreciate those films that Arnold and Cregar were able to dominate (increasingly "B features, like "The Lodger" or "Eyes in the Night").
But in the middle thirties Arnold almost made it. "The Toast of New York", "Diamond Jim", "Sutter's Gold", "Easy Living", and this film were all made between 1935 and 1938. They showcased his varied talents for drama, pathos, comedy. But they also showed his limitation - because of his bulk he could only play wealthy or powerful men. That doesn't sound bad, but it cuts down from doing romantic parts - the types that a Gable, a Taylor, a Cooper, a Power, even a Tracy or a Powell could get. Yet he did hint that this was not an impossibility for him. His role as Brady in the two films shows a man who yearns for a happy romantic life but can't get it (even pal Lillian Russell just doesn't love him that much). Ironically he is usually shown to be married to somewhat plain women, which is a commentary on his inability to attract good looking ones. Occasionally, like in the late films of the 1950s, he'll have a trophy wife like Marie Windsor who plays him false. Arnold's character is doomed apparently to not get the love he deserves.
While it is hard to say what his best performance was, Barney Glasgow in "Come and Get It" is close to it. He is the chief lumberman in a company, who meets Lotta (Frances Farmer) in a saloon, and they actually find they are in love. But he sacrifices the love to marry his boss's daughter, Emma Louise (Mary Nash), and become the head of the firm. Lotta marries Barney's old pal Swan (Walter Brennan), and has a daughter also named Lotta (and also played by Farmer).
On the surface, twenty years later, Barney is doing well, with his wife and two children (he's particularly close to his daughter Evvie (Andrea Leeds)). He has little use for his son Richard (Joel McCrea), but the boy is working in an executive department in the company. Then he gets a chance to visit Swan for some hunting. And he meets young Lotta. The look in Arnold's face makes it clear what is re-awoken in him seeing the reincarnation of his lost love. He starts seeing Swan, Lotta, and Swan's niece (Mady Christian) as frequently as he can, even taking them to Chicago on a pleasure trip. All this is noticed by his son, his secretary Josie (Cecil Cunningham), Evvie, and one suspects by Emma (one senses some sequences were cut before the release). Lotta is fully aware of this unhealthy interest, but takes full advantage of it (she is not totally innocent here). One of the best scenes is when Arnold, Farmer, Christian (looking worried), and Brennan sing, "The Saucy Little Bird in Nelly's Hat", which is a song about an avaricious flirt.
When Swan and Lotta move to work in the same city as Barney Richard comes to confront her. Soon he is visiting Lotta himself, and they gradually fall in love. Barney is slowly growing aware of this rivalry, and confronts Richard and Lotta at the annual company picnic. It is only while fighting his son that Lotta finally makes Barney come to his senses by telling Richard not to injure his father, who is an old man. Barney cannot bring back his youth.
Arnold would have other sad self-realization moments on film, but his comeuppance in "Come and Get It" is his best. As he tells his pal Swan, "I'm an old fool." But he finds Emma there to support and forgive him. And he is restored enough to call "Come and get it" to his company family as the film ends. The closing shot of the movie of Arnold's teary eyed face shows who was the real star of this film. He deserved super-stardom.
But in the middle thirties Arnold almost made it. "The Toast of New York", "Diamond Jim", "Sutter's Gold", "Easy Living", and this film were all made between 1935 and 1938. They showcased his varied talents for drama, pathos, comedy. But they also showed his limitation - because of his bulk he could only play wealthy or powerful men. That doesn't sound bad, but it cuts down from doing romantic parts - the types that a Gable, a Taylor, a Cooper, a Power, even a Tracy or a Powell could get. Yet he did hint that this was not an impossibility for him. His role as Brady in the two films shows a man who yearns for a happy romantic life but can't get it (even pal Lillian Russell just doesn't love him that much). Ironically he is usually shown to be married to somewhat plain women, which is a commentary on his inability to attract good looking ones. Occasionally, like in the late films of the 1950s, he'll have a trophy wife like Marie Windsor who plays him false. Arnold's character is doomed apparently to not get the love he deserves.
While it is hard to say what his best performance was, Barney Glasgow in "Come and Get It" is close to it. He is the chief lumberman in a company, who meets Lotta (Frances Farmer) in a saloon, and they actually find they are in love. But he sacrifices the love to marry his boss's daughter, Emma Louise (Mary Nash), and become the head of the firm. Lotta marries Barney's old pal Swan (Walter Brennan), and has a daughter also named Lotta (and also played by Farmer).
On the surface, twenty years later, Barney is doing well, with his wife and two children (he's particularly close to his daughter Evvie (Andrea Leeds)). He has little use for his son Richard (Joel McCrea), but the boy is working in an executive department in the company. Then he gets a chance to visit Swan for some hunting. And he meets young Lotta. The look in Arnold's face makes it clear what is re-awoken in him seeing the reincarnation of his lost love. He starts seeing Swan, Lotta, and Swan's niece (Mady Christian) as frequently as he can, even taking them to Chicago on a pleasure trip. All this is noticed by his son, his secretary Josie (Cecil Cunningham), Evvie, and one suspects by Emma (one senses some sequences were cut before the release). Lotta is fully aware of this unhealthy interest, but takes full advantage of it (she is not totally innocent here). One of the best scenes is when Arnold, Farmer, Christian (looking worried), and Brennan sing, "The Saucy Little Bird in Nelly's Hat", which is a song about an avaricious flirt.
When Swan and Lotta move to work in the same city as Barney Richard comes to confront her. Soon he is visiting Lotta himself, and they gradually fall in love. Barney is slowly growing aware of this rivalry, and confronts Richard and Lotta at the annual company picnic. It is only while fighting his son that Lotta finally makes Barney come to his senses by telling Richard not to injure his father, who is an old man. Barney cannot bring back his youth.
Arnold would have other sad self-realization moments on film, but his comeuppance in "Come and Get It" is his best. As he tells his pal Swan, "I'm an old fool." But he finds Emma there to support and forgive him. And he is restored enough to call "Come and get it" to his company family as the film ends. The closing shot of the movie of Arnold's teary eyed face shows who was the real star of this film. He deserved super-stardom.