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Van Johnson: MGM's Golden Boy by Ronald L. Davis — book cover

Van Johnson: MGM's Golden Boy

by Ronald L. Davis
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Overview

Van Johnson's dazzling smile, shock of red hair, and suntanned freckled cheeks made him a movie-star icon. Among teenaged girls in the 1940s he was popularized as the bobbysoxer's heartthrob.

He won the nation's heart, too, by appearing in a series of blockbuster war films—A Guy Named Joe, Thirty Seconds Over Tokyo, Weekend at the Waldorf, and Battleground. Perennially a leading man opposite June Allyson, Esther Williams, Judy Garland, and Janet Leigh, he rose to fame radiating the sunshine image Metro-Goldwyn-Mayer chose for him, that of an affable, wholesome boy-next-door. Legions of adoring moviegoers were captivated by this idealized persona that generated huge box-office profits for the studio.

However, Johnson's off-screen life was not so sunny. His mother had rejected him in childhood, and he lived his adult life dealing with sexual ambivalence. A marriage was arranged with the ex-wife of his best friend, the actor Keenan Wynn. During the waning years of Hollywood's Golden Age she and Johnson lived amid the glow of Hollywood's A-crowd. Yet their private life was charged with tension and conflict.

Although morose and reclusive by nature, Johnson maintained a happy-go-lucky façade even among co-workers, who knew him as a congenial, dedicated professional. Once free of the golden-boy stereotype, he became a respected actor assigned stellar roles in such acclaimed films as State of the Union, Command Decision, The Last Time I Saw Paris, and The Caine Mutiny.

With the demise of the big studios, Johnson returned to the stage, where he had begun his career as a song-and-dance man. After this he appeared frequently in television shows, performed in nightclubs, and became the legendary darling of older audiences on the dinner playhouse circuit. Johnson (1916 - 2008) spent his post-Hollywood years living in solitude in New York City.

This solid, thoroughly researched biography traces the career and influence of a favorite star and narrates a fascinating, sometimes troubled life story.

Ronald L. Davis is the author of Hollywood Beauty: Linda Darnell and the American Dream, John Ford: Hollywood's Old Master, and Duke: The Life and Image of John Wayne. He is a professor of history at Southern Methodist University and the general editor of University Press of Mississippi's Hollywood Legends Series.

Synopsis

The only full-length biography of this immensely popular screen star of the 1940s and 1950s

Library Journal

The first in the new "Hollywood Legends" series, edited by Davis (history, Southern Methodist Univ.), this is the only full-length biography of Johnson, who rose to film box-office stardom during World War II as a genial, boy-next-door bobbysoxer idol while struggling with sexual ambiguity. The red-haired, freckled Johnson appeared in war films like Thirty Seconds Over Tokyo, then later in films like The Caine Mutiny. He remained popular on stage and television after his film popularity waned. Unfortunately this chronicle of Johnson's career, while most astute in showing how a public persona may have little to do with the human being, relies a great deal on secondary sources and does not provide true insight. Recommended only for large public libraries and academic libraries with performing arts collections. Bruce Henson, Georgia Inst. of Technology Lib., Atlanta Copyright 2001 Cahners Business Information.

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Editorials

Library Journal

The first in the new "Hollywood Legends" series, edited by Davis (history, Southern Methodist Univ.), this is the only full-length biography of Johnson, who rose to film box-office stardom during World War II as a genial, boy-next-door bobbysoxer idol while struggling with sexual ambiguity. The red-haired, freckled Johnson appeared in war films like Thirty Seconds Over Tokyo, then later in films like The Caine Mutiny. He remained popular on stage and television after his film popularity waned. Unfortunately this chronicle of Johnson's career, while most astute in showing how a public persona may have little to do with the human being, relies a great deal on secondary sources and does not provide true insight. Recommended only for large public libraries and academic libraries with performing arts collections. Bruce Henson, Georgia Inst. of Technology Lib., Atlanta Copyright 2001 Cahners Business Information.

Kirkus Reviews

The Van Johnson Story. Starring . . . Van Johnson. Davis (History/Southern Methodist Univ.; The Glamour Factory, 1993, etc.) writes books about "movie people," an enterprise now institutionalized in the Legends of Hollywood Series, of which this is the first installment-and a successful one. Davis tells Johnson's life story in the breezy, amusing, strangely addictive style of the old MGM musicals in which Johnson used to star. Like Johnson's films, there's not much in the way of plot development: East Coast boy dreams of being an actor, becomes a bobby-soxer heartthrob when a car accident knocks him out of WWII (and into countless WWII movies), then spends the next 40 years doing dinner theater. And the protagonist is so fundamentally boring that he made red socks his trademark just to ensure he'd always have something to talk about at cocktail parties. Davis tries to milk what drama he can out of Johnson's highly debatable sexuality and his disastrous, quasi-arranged marriage, but the star comes off as too obviously closeted for any of it to be terribly titillating. Instead, many of the best moments come from Johnson's post-Hollywood days, when, between national tours and guest appearances on Batman and The Love Boat, he lounged around his New York apartment in a pair of silk pajamas Rosalind Russell gave him, doing needlepoint and occasionally lunching with Garbo. Perhaps the most frightening thing about Johnson's life story, though, is the realization that the same studio system that produced the cosseted, thoroughly average, somewhat oblivious Johnson also produced his direct contemporary, a man who went on to serve two terms as president of the country. Davis includes, in lieuof footnotes, a chapter-by-chapter bibliographic essay that lays out the sources for all of his material. One hopes the practice catches on; it works like a dream. A perfectly pleasant double feature.

Book Details

Published
August 1, 2001
Publisher
University Press of Mississippi
Pages
232
Format
Hardcover
ISBN
9781578063772

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