Irving Pichel

Irving Pichel (born June 24, 1891, Pittsburgh, Pennsylvania, U.S.—died July 13, 1954, Los Angeles, California) was an American film actor and director who found success on both sides of the camera, appearing in numerous character roles and helming a diverse range of movies.

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Acting

After graduating from Harvard University in 1914, Pichel began acting onstage, and he eventually moved to Los Angeles to study at the Pasadena Playhouse. In 1928 the theatre staged the first production of Eugene O’Neill’s Lazarus Laughed, and Pichel earned acclaim for his performance in the title role. Two years later he signed with Paramount as an actor, and he worked steadily throughout the 1930s, appearing in nearly 60 movies. His credits included An American Tragedy (1931), Madame Butterfly (1932), Oliver Twist (1933; as Fagin), Cleopatra (1934), British Agent (1934), Dracula’s Daughter (1936), Jezebel (1938), and Juarez (1939). His acting work subsequently tapered off, and most of his later roles were uncredited.

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Directing

Almost as soon as his screen acting career commenced, Pichel also began to direct at RKO. His debut was the classic The Most Dangerous Game (1932), which he codirected with Ernest B. Schoedsack. This intense thriller starred Joel McCrea as a shipwreck survivor who is hunted by a killer on a remote island. Before Dawn (1933) was next, followed by the imaginative She (1935), directed with Lansing C. Holden. Pichel spent the next few years at Republic working on such B-films as Larceny on the Air and The Duke Comes Back (both 1937) before moving to Twentieth Century-Fox, where more prestigious work awaited him. Earthbound and The Man I Married (both 1940) were his first two releases, the latter an effective Nazi-peril yarn with Joan Bennett, Francis Lederer, and Otto Kruger. Hudson’s Bay (1941) was an elaborate historical adventure with Paul Muni and Gene Tierney, but Dance Hall (1941) was a Carole Landis musical with lesser production values.

In 1942 Pichel directed The Pied Piper, a top-notch thriller that starred Monty Woolley (in an Academy Award-nominated performance) and, as the Nazi commandant, Otto Preminger; the film also received an Oscar nomination for best picture. Life Begins at Eight-thirty (1942) featured Woolley again, this time as an alcoholic who ruins his daughter’s life. The Moon Is Down (1943) was a solid adaptation of John Steinbeck’s novel about Norway’s resistance to Nazi invaders; the film also marked Natalie Wood’s debut (though she was uncredited), and Pichel was widely recognized as discovering the actress. Happy Land (1943) starred Don Ameche in a sentimental yarn about a home-front tragedy during World War II, whereas And Now Tomorrow (1944) was sentiment sans patriotism, with Alan Ladd and Loretta Young playing would-be lovers whom society keeps apart.

Pichel returned to flag-waving with A Medal for Benny (1945); it was a variation on Preston Sturges’s Hail the Conquering Hero (1944), without the frenzy and with Dorothy Lamour. Colonel Effingham’s Raid (1946) was not as memorable, but Charles Coburn gave a typically solid performance as a former soldier at loggerheads with the citizenry of a small town. Pichel continued his string of home-front dramas with Tomorrow Is Forever (1946), in which Orson Welles portrayed a presumed-dead soldier returning home to find that his wife (played by Claudette Colbert) has remarried. That plot had recently been played for laughs by Garson Kanin in My Favorite Wife, but Pichel exacted sufficient emotion from it, and the film featured Wood in her first credited role.

O.S.S. was a better-than-average espionage yarn, whereas The Bride Wore Boots (both 1946) was a formulaic romantic comedy starring Barbara Stanwyck. The 1946 melodrama Temptation featured Merle Oberon as a wealthy socialite deciding whether to remain faithful to her husband (George Brent). In 1947 Pichel ventured into film noir with They Won’t Believe Me, a superior entry into the genre that made many wish that Pichel had worked in film noir more often. The movie featured a notable cast that included Susan Hayward, Jane Greer, and Robert Young, and it was highlighted by a wonderfully ironic ending. Something in the Wind (1947), with Deanna Durbin as a disc jockey, was pleasing, although the same cannot be said of The Miracle of the Bells (1948), despite the presence of Frank Sinatra, Fred MacMurray, Alida Valli, and Lee J. Cobb. Pichel rebounded with the delightful Mr. Peabody and the Mermaid (1948). William Powell was cast as a married man who lands a comely mermaid (Ann Blyth) while fishing, complicating his life. (Ron Howard’s 1984 comedy Splash is clearly indebted to Pichel’s film.)

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Although Without Honor (1949) had little merit, The Great Rupert (1950; also called A Christmas Wish) was an enjoyable family comedy, featuring a deft performace by Jimmy Durante as a down-on-his-luck hoofer whose fortunes improve dramatically with the help of a trained squirrel. Pichel returned to film noir wth Quicksand (1950), about an auto mechanic (Mickey Rooney) who falls under the spell of a femme fatale (Jeanne Cagney). Destination Moon (1950) was one of the first science-fiction movies, and though it was made on a small budget with a no-name cast, Pichel and producer George Pal turned it into a creditable adventure with Oscar-winning special effects.

Santa Fe (1951) was a formulaic western that proved to be Pichel’s last Hollywood film. With independent companies he made two more movies, both on religious themes, that saw only limited release. Pichel died suddenly only a week after having completed his last film, Day of Triumph, in 1954.