Payday Loans
Fredric March (1897-1975)


  1. Gary Cooper, Morocco, 1930.     When the Hollywood debut of Marlene Dietrich and her director-mentor Josef von Sternberg was thwarted by John Gilbert's MGM shackles, they turned to March - but Paramount  had him shackled to The Royal Family of  Broadway. Enter: Coop.
  2. Chester Morris, The Miracle Man, 1932.   They were low-grade miracles after Gary Cooper was replaced by March, who handed it (further) down to Morris.
  3. Cary Grant, Hot Saturday, 1932.     It was March who first warned his pal about Paramount's “new Cooper.” He also warned Coop off this lead role, having refused it, himself, saying Faden was a better role. That had been ear-marked for Grant, now it went  to Randolph Scott... Cary's future  and  longtime lover.
  4. Gary Cooper, A Farewell To Arms, 1932.    Paramount was preparing the Hemingway book for March and Helen Hayes. But March quit in fury when Frank Borzage replaced John Cromwell as director.
  5. Brian Aherne The Song of Songs, 1933.   “Why have you come to do this silly picture?” Marlene Dietrich asked Aherne.  “I have to do it because of my contract and because Mr von Sternberg  has walked out... but you are the great actor from New York and can do what you like.  Are you crazy?” Over her, for sure. And he promptly made her, as well as the film.
  6. John Gilbert, Queen Christina, 1933.   Among the many men discarded by Greta  Garbo as she successfully battled for her old lover to play Don Antonio de la Prada.
  7. Robert Donat, The Count of Monte Cristo, 1934.    This is the great Donat’s one and only working visit to Hollywood. Due to bad health – asthma – he could never travel  again to America. March had been RKO-Pathe’s first choice for the central character Edmond Dantes. (I live in Marly-le-Roi, France, within walking distance of the author Alexandre Dumas’ former home, Le chateau de Monte Cristo).
  8. Henry Wilcoxon, Cleopatra, 1934.  March enjoyed fame as the  first of the new talkie stars, hated being hyped as a second John Gilbert - and positively refused to be typed in costume dramas. Much less, Cecil  B DrMille’s  “epic with sex”  directorTherefore, CB  called on Wilcoxon (CB’s ever loyal lieutenant. Actor, associate producer, etc, over the years) and explained how Ceasar "thought in terms of nations, not individuals. He did and thought things on a grand scale. The world was his canvas." Said Henry: "Why don't you play it?"
  9. Clark  Gable,  It Happened One Night, 1934.    Because the great director Frank Capra could not interest March, or get Robert Montgomery, he was given a Gable being punished by MGM.  And the Oscar goes to...
  10. Clark Gable, The Call of the Wild, 1934.    Feeling March was better suited to Valjean in Les Miserables, Fox production chief Darryl Zanuck changed his Jack London hero to Clark Gable - and then, his lady from  Madeleine Carroll to Loretta Young.  (Not to mention King, rather than Cappy, as the dog Buck!).

  11. Gary Cooper, Peter Ibbetson, 1934. Paramount had a “verbal option”  on Robert Donat and Brian Aherne for Ibbetson.  He did not feel bound by it. Fredric March was next up.  Then,  Coop - he always said he was miscast as the architect hero. Didn’t stop him playing much the same again in The Fountainhead, 1948. 
  12. Errol Flynn, Captain Blood, 1935.     Warners' third choice, after Robert Donat and Leslie Howard, was still anti-costume.
  13. Warner Baxter, The Prisoner of Shark Island, 1935.       Change of The Prisoner - Dr Samuel Mudd, jailed in 1865 as a conspirator in Lincoln’s assassination, simply because he innocently treated the broken leg of killer John Wilkes Booth. Baxter took over because March was about to be loaned to Warner Bros. In 1869, Mudd was pardoned and released by President Andrew Jackson and yet, despite repeated attempts by family members, the conviction has never been overturned.
  14. Leslie Howard, Romeo and Juliet, 1936.      Because his wife, Norma Shearer, was Juliet at age 36, MGM production meister. Irving Thalberg, looked only at old Romeos.  March was 39 to Howard's 43.
  15. Charles Boyer, The Garden of Allah, 1936.     March had passed on sculpting  a naked Dietrich in Songs of Songs, 1933, and lost her again -  when  producer David Selznick voted for France.
  16. Ronald  Colman, The Prisoner of Zenda, 1937.     Envious actor Hume Cronyn called March a total actor. “He  could play anything.” As long as it was not in costume!
  17. Cary Grant, Bringing Up Baby, 1937.     They all turned it down... Ronald Colman, Ray Milland, Robert Montgomery - and Katharine Hepburn turned down Leslie Howard. (Well, he had sacked her for stealing their Broadway play, The Animal Kingdom, in 1931.
  18. Errol Flynn, The Sisters, 1937.      March, George Brent and Franchot Tone were also in the frame to wed Bette Davis. Until the notorious Flynn won the questionable solo billing of: Errol Flynn in The Sisters. 
  19. Louis Hayward,The Saint in New York, 1937.    “What we need is a Robin Hood…”  RKO had no jdea who should play Simon Templar.  March was selected, then subbed by Hayward - dropped after this first chapter to make way for the more suave George Sanders in the in the next five (he left to become the copy-cat Falcon)  and Hugh Sinclair for the final two. Like Connery and Bond, Hayward was best. Just not so much 16 years later when  he had the halo anew for The Saint’s Return (US: Saint’s Girl Friday).
  20. Annibale Ninchi, Scipione l'africano (US video: Scipio Africanus: The Defeat of Hannibal) ,Italy,1937.  An infamous peplum basically “produced” by the Italian dictator Mussolini. Sheer propaganda for his  troops, about  how , in 202 BC, the titular hero defeated Hannibal  and all his elephants - some of which were papier-mâché, pushed around by extras, some of whom wore visible wrist-watches!  This second Il Duce mess was offered to March and Pierre Blanchard. Mussolini then aimed his aborted third film, Rigoletto, atLaurel and Hardy.  They would have fit better with the pachyderms.  (Decades later, Fellini chose Niinchi for Marcello Mastroianni’s father in both La Dolce Vita  and ).

  21. Clark Gable, Gone With The Wind, 1938.
  22. Robert Preston, Union Pacific, 1938.  Cecil B DeMille’s first Technicolor film was without a hero during six months of pre-production.  First choices, March, Joel McCrea, Cary Grant and John Wayne were lost to other movies. Coop became  the Texas Ranger working with the Mounties after swopping roles with McCrea so that Joel could make Alfred Hitchcock’s Foreign Correspondent.  
  23. Gary Cooper, North West Mounted Police, 1940.   Cecil B DeMille’s first Technicolor film was without a hero during six months of pre-production.  First choices, March, Joel McCrea, Cary Grant and John Wayne were lost to other movies. Coop became  the Texas Ranger working with the Mounties after swopping roles with McCrea so that Joel could make Alfred Hitchcock’s Foreign Correspondent.  
  24. Robert Montgomery, Mr and Mrs Smith, 1941.      One of many suggestions  when Alfred Hitchcock could not land Cary Grant opposite Carole Lombard.
  25. Monty Woolley, The Man Who Came To Dinner, 1941.   Howard Hawks wanted Cary Grant. Orson Welles wanted to direct - and play the title role. Bette Davs wanted John Barrymore as her co-star, but he could no longer remember his lines. Tests of Robert  Benchley and Laird Cregar were respectively deemed “too mild-mannered”  and “overblown and extravagant,” by producer Hal Wallis. (Probably why Charles Coburn refused to test at all). Director William Keighley also saw March and Charles Laughton before asking the Broadway  star to reprise the titular  Sheridan Whiteside..
  26. Don Ameche, Heaven Can Wait, 1942.  For his first film away from Paramount in 20 years, and his first and last in colour, witty director  Ernst Lubitsch was rightly miffed when head Fox Darryl Zanuck  chose his contract player  - because he was cheaper than Lubitsch’s choices of March or Rex Harrison.   Lubitsch later recanted his opposition to Ameche, won over by his  dedication and professionalism.  Ameche always said this was his favourite film. 
  27. Fred MacMurray, Double Indemnity, 1943.   Director Billy Wilder's first thoughts for the murdering adulterer Walter  Neff:  March,  James Cagney, Brian Donlevy, Alan Ladd, Gregory Peck, George Raft. Spencer Tracy.  They all fled.
  28. Walter Huston, Mission To Moscow, 1943. Frederic March and Olivia De Havilland, as President Roosevelt’s ambassador to Russia and his cereal heiress-wife, Marjorie Post,  wound up as  Harding and Walter Huston. US philosopher John Dewey, who had headed an inquiry into Stalin’s 1936-19348 trials, attacked the film (ordered by FDR) as "the first instance in our country of totalitarian propaganda for mass consumption… which falsifies history through distortion, omission or pure invention of facts." 
  29. Leo G Carroll, Spellbound, 1944.     Whoops, there goes another Alfred Hitchcock thriller… Greatly aided by Hitch and Salvador Dali visuals, the script derived from various writers including Mrs Alma Hitchcock, Ben Hecht and producer’s David O Selznick’s shrink. DOS was still not satisfied. He wanted a love triangle between Ingrid Bergman, Gregory Peck and whoever played Dr Murchison… When March passed and Ralph Bellamy, Paul Lukas and Alan Napier made unimpressive tests, the idea was dropped in favour of what Hitch always labelled “just another manhunt wrapped up in pseudo-psychoanalysis.”22 - Alan Ladd, Two Years Before The Mast, 1946. March refused the Republic project in the mid-30s. By the time, it was made, he was more suited for Brian Donlevy’s villain than the hero.
  30. Alan Ladd, Two Years Before The Mast, 1946.   March refused the Republic project in the mid-30s. By the time, it was made, he was more suited for Brian Donlevy’s villain than the hero.

  31. Dana Andrews, Boomerang! 1946.   Despite considerable age differences, John Payne (34), Joseph Cotten (41), March (49) and Walter Huston (63) short listed for the idealistic prosecutor bravely dropping trumped-up charges against the suspect in the 1924 Connecticut murder of a Catholic priest. Andrews was 37 and the real prosecutor, Homer Stille Cummings, 54 at the time. He famously declared it was vital to protect the innocent as to convict the guilty. Nine years later, was President Franklin Roosevelt made him America’s Attorney General.
  32. William Powell, Life With Father, 1946.    Warner Bros rejected Mary Pickford. No one  knows her, she’s been retired for 13 years. Yet, after musing on March and Ronald Colman,  it was OK that Powell had been off-screen for the nine years since the tragically early death of his lover, Jean Harlow.
  33. Cesar Romero, Captain From Castille, 1947.     Change of  the all-conquering Conquistador, Hernando Cortez,  in  a typical Tyrone Power swashbuckler. 
  34. Vincent Price, The Baron of Arizona, 1949.  Auteur Samuel Fuller’s original choice for James Addison Reavis, the con-man trying to steal Arizona from the USA.And March was extremely keen. Sam’s producerRobert L Lippert was not.“Price,” growled Sam in his usual capitals, “was a GREAT actor. WHAT A VOICE!
  35. Leo Genn, Quo Vadis, 1950.   Both March and Claude Rains were on the list to play Petronius in the postponed epic.John Huston quit as director after oneof his famous divisions of opinion.
  36. Spencer Tracy, Father of the Bride, 1950.   After Jack Benny’s “terrible” test, March, Charles Laughton, Walter Pidgeon entered the frame as Tracy went through his usual ponderous routine of swift refusal, making suggestions, hating the first draft, demanding more final alterations... The book’s author, New York banker Edward Streeter, said he’d heard reports “ranging from Harpo Marx to Paul Robeson... Tracy is the one I wanted. March is obviously out. As for Benny, I’d nominate Abbott and Costello. Better, I’d nominate myself.”
  37. Robert Taylor, Ivanhoe, 1951. Taylor was first attached (closer to the right age) in…1938!  Opposite Hollywood’s King, Clark Gable, as King Richard. The title was a place not a person:  the gallant Sir Wilfred of Ivanhoe. And a sort of rehearsal for Quentin Durward in 1955.  Both mini-epics were by the 19th Century author Sir Walter Scott, both were made by MGM, both  Richard Thorpe directing Taylor. Difficult to separate one from the other. Except Ivanhoe was first planned in 1935 (!) with Fredric March as the hero saving his sovereign… then Erroll Flynn… then Laurence Olivier… then Stewart Grangert.   March’s king was unbelievably aimed at Gary Cooper. Yup!
  38. Edward G Robinson, The Ten Commandments, 1954.
  39. Chill Wills, Giant, 1955.
  40. Curt Jürgens, The Blue Angel, 1958.      Early “Monroe trouble” had  Spencer Tracy walking away from Marilyn, top billing in the re-make, “fabulous part” and $200,000.   March didn’t even stay until April...

  41. Anthony Perkins, Green Mansions, 1958.   A stop-go project since 1933 at RKO. Ten years later, press agent turned producer James B Cassidy won the rights. He planned an unknown for Rima, the jungle sprite (up for Pier Angeli, Leslie Caron, Dolores Del Rio, Yma Sumac, Elizabeth Taylor and finally Audrey Hepburn across the years) and March or Ronald Colman as the Abel in her thrall.
  42. Maurice Chevalier, Fanny, 1960.    Safe choices by US stage-screen director Joshua Logan.Marcel Pagnol convinced Chevalier to accept the wealthy widower, Panisse, taking on Fanny and her son in French playwright and film-maker Marcel Pagnol’s Marseilles trilogy - 7 hours 18 minutes compressed by Hollywood into  2 hours 13 minutes.
  43. Thomas Mitchell, Pocketful Of Miracles, 1960.      March, Burl Ives, Charles Laughton, , Edward G Robinson - for what proved his last (and  unhappiest) gig,  director Frank Capra went through many possibilities for the perfect Judge Henry Blake.  And when he got him, Jackie Oakie fell ill and his scenes were re-shot with Mitchell. 
  44. Rex Harrison, Cleopatra, 1963.
  45. Melvyn Douglas, I Never Sang For My Father, 1970.     Electric directorJohn Frankenheimer loved it - for March and his wife, Florence Eldridge. “What gives?” asked writer Robert Anderson months later. “I’ve got too many major pictures on my schedule - can’t do it.” So Anderson turned it into a play. Which, of course, became the film.
  46. Walter Matthau, Kotch, 1971.      Jack Lemmon’s directing bow was about an old man of 76.March, 74, accepted the lead, but the majors wanted a bigger draw. Lemmon's pal, Matthau, 51, offered himself without bothering to read the script.










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