Carta de presentación

LETTER OF INTRODUCTION (Universal, 1938), produced and directed by John M. Stahl, is a feature showcase for young Andrea Leeds, who recently made an impression as a troubled stage actress in STAGE DOOR (RKO Radio, 1937) starring Katharine Hepburn and Ginger Rogers. With this being sort of Universal's answer to STAGE DOOR, featuring Adolphe Menjou in both films, with Leeds assuming the same character type with first name being Kay, it adds a few elements of Eve Arden (of STAGE DOOR) along with the ventriloquist act of Edgar Bergen and Charlie McCarthy (who earlier worked opposite Menjou and Leeds in THE GOLDWYN FOLLIES (United Artists, 1938)), who both become part of the story during some of its brighter moments.

The story begins on New Year's Eve as Kay Martin (Andrea Leeds) and Edgar Bergen (Edgar Bergen) are returning to their boarding house to find their building is on fire. As Edgar runs in to get his dummy-companion, Charlie McCarthy, Kay also rushes in, risking her life to retrieve something of great value to her - a letter of introduction. Helping her through the search and out of the burning building is dancer, Barry Paige (George Murphy) who lives across the street. Unable to return to their residence, Kay and company are invited to attend a New Year's Eve party at Barry's place where at the stroke of midnight, following a kiss, Barry then realizes his love for Kay. Rooming with Honey (Rita Johnson), Barry's dancing partner, Kay also makes new friends with Cora Feldman (Eve Arden), a wisecracking stage actress who takes an interest in Edgar and his ventriloquist act. The following day, Kay gets to meet with John Mannering (Adolphe Menjou), a matinee idol of stage to screen at his luxurious apartment, to present him her letter of introduction. Mannering, age 52, who's been married and divorced three times, is currently engaged to Lydia Hoyt (Ann Sheridan), a young girl of 22 who becomes extremely jealous over his protege, with John unable to reveal Kay's true identity at present. Barry also becomes jealous over Kay spending too much time with Mannering, who offers her a chance to audition for the upcoming play, "Return to Paradise." After Lydia catches John and Kay dining together at the Park Plaza, she walks out on him forever. Kay has further troubles trying to keep Barry from leaving her as well. Seen in the supporting cast are: Ernest Cossart (Andrews, Mannering's loyal butler); Frank Jenks (Joe); Jonathan Hale (Lou); May Boley (Mrs. Meggs, the landlady); Frances Robinson (Maude Rawley); with Irving Bacon, Russell Hopton and Constance Moore in smaller roles.

A grand mix of comedy and pathos usually found in products directed by either Frank Borzage or John M. Stahl, LETTER OF INTRODUCTION works well in both directions. Adolphe Menjou's character, who appears 18 minutes into the movie, is obviously inspired by actor John Barrymore, better known as "The Great Profile." Also using the first name of John, Mannering is known as "The Great Lover," happens to be a decedent of an acting family of William Shakespeare plays. Aside from Mannering being formerly popular on both stage and screen, he's also an oft-married actor of younger women with a drinking problem, attempting to return to the stage after twelve years only to assist this young girl in her acting debut for reasons explained only in her letter of introduction.

The plot is also highlighted by an amusing but extended ventriloquist act between Bergen and McCarthy along with the slow-witted buck-tooth dummy named Mortimer Snerd. While it's been said in the story by one of the characters that ventriloquist acts are a thing of the past, it takes someone like Bergen to bring it back. As much as these are wooden dummies, Bergen makes those in the movie as well as those watching it believe they are real. Though Andrea Leeds is best known for her movie roles under Samuel Goldwyn in the late 1930s, her career might have extended to the next decade had she not married and retired from acting by 1940. For those who have never seen an Andrea Leeds movie, this and STAGE DOOR would be good movies of introduction.

A public domain title that enjoyed frequent broadcasts since the mid 1980s on public television and some cable channels as Nickelodian's Nick at Night Movie (1987) or the Christian Broadcast Network (prior 1989), the now forgotten LETTER OF INTRODUCTION has become available on video cassette from various distributors, mostly at 102 minutes. Later placed on DVD, but beware of shorter and darker prints in shorter length of 87 minutes. (***)

Accomplished Director John M. Stahl commendably engineers this well-designed screen play revolving around a striving young actress who clings with hope onto a "Letter of Introduction" to present to a veteran theatrical star.

In conjunction with a "visiting card" or "calling card," a letter of introduction would play an important role in the social graces of yesteryear, as one would not interact socially with an individual of distinction, without having been introduced by a peer who shares a connection with either party.

But, in this case, that one opportunity appears jeopardized one winter evening, as crowds congregate around New York City to revel in New Year's Eve.

Katherine 'Kay' Martin (Andrea Leeds) and Edgar Bergen (Edgar Bergen as Himself) pace through the outdoor celebration to witness a stream of smoke's billowing from their residence apartment building. When Edgar defies guards to rush onto his cement staircase and into the building, Katherine pleads with him to salvage a folder in her bureau of drawers.

Edgar manages to rescue his ventriloquism partner, Charlie McCarthy (Himself) from their second story unit, but deems it unsafe to attempt to climb another floor to Katherine's room.

But another spectator, neighbor Barry Paige (George Murphy) dares to accommodate Katherine's wish, by escorting her onto the third floor of the building aflame, to retrieve her "Letter of Introduction," for nothing else does she wish to salvage among her possessions, before they rush for sanctuary via a fire escape.

Honey (Rita Johnson), the dancing partner and admirer of Barry Paige, plus house-mate Cora Phelps (Eve Arden), welcome Katherine, Edgar and Charlie into their residence and circle, as they celebrate the arrival of a brand new year. Honey puts on a brave front when Barry admits his admiration from afar of Katherine, quite possibly hoping that Katherine sets her designs elsewhere, as Cora remarks that she prefers waiting for Charlie McCarthy rather than for Edgar Bergen.

Everyone among this newly-expanded troupe of striving performers, with the exception of Barry, expresses delight in Katherine's plan to pay a visit to the residence of established actor John Mannering (Adolphe Menjou), at which she is received by his valet, Andrews, the Butler (Ernest Cossart), but vehemently resented by Lydia Hoyt (Ann Sheridan), the young fiancée of John Mannering.

John, however, receives Katherine with a grain of caution, but, after reading the correspondence which she present, embraces her sympathetically. He aspires to mentor her fledging stage career, as his has experienced a decline upon returning to Broadway in the aftermath of a ten-year stint in Hollywood, acting in motion pictures.

The theatre in those days would maintain itself as the legitimate venue for the Performing Arts and snub film acting (as film may have turned its chin away from television during its infancy and beyond to an extent, and, perhaps, as television quite possibly would to the stage, in a sort of "full circle fashion").

At any rate, these characters, who portray performers in "plays within a play" fashion, find their lives undergoing a variety of ups and downs, causing a series of ins and outs among their relationships, as a result of one influential "Letter of Introduction." Edgar Bergan, as we may have noticed, portrays himself, along with Charlie McCarthy and Mortimer Snerd, who appears toward the climax of the film.

(Films of the 1930's and 40's sometimes feature an event as a performer portraying himself/herself aside from the Biopics and Backlot Pictures, but this also inflicts a certain restriction for the direction of the character, as it mustn't change history, as it were. But the ever-cordial Edgar and company add a nice touch of vitality and authenticity to the presentation.)

Most of these other stars also shine in roles akin to type, with Andrea Leeds, handling her aspirations while dwelling upon an unfortunate past in outstanding fashion; Rita Johnson, shining as a complaisant ingénue who realizes that she may draw the short straw; Eve Arden, flinging her customary wisecracks from one side of town to another; Adolphe Menjou and George Murphy playing their recurring "borderline cads," who must face the results of their errors; Ernest Cossart in his polite supporting way, and Ann Sheridan a bit wild as the excessively jealous fiancée. Neither Charlie McCarthy nor Mortimer Snerd change very much over the years.

Frank Jenks has a role as Joe, theatre prompter, in a supporting cast which consists of many character performers of the day, including John Archer, Irving Bacon, Brooks Benedict, Don Brodie, Dorothy Granger, Jonathan Hale, Grace Hayle, Eddie Hall, Constance Moore, Phillip Trent, Richard Tucker, Ray Walker, Morgan Wallace and Dick Winslow.

One point which seems to border on the "goofs" coincides with Barry's declaration of having stared from his window into Katherine's room on several occasions before they meet, but from the exteriors, their apartment buildings stand flush with each other, without the slightest width of a lot between them.

All in all, a pleasant film experience, a little downbeat in places, but unpredictable, and featuring a wonderful cast, who, naturally, add a great deal to its fine entertainment value.

Watching Adolph Menjou, Andrea Leeds, and Eve Arden you might have thought you came in on some restored scenes from Stage Door. All three were in that classic and all three star in Letter Of Introduction.

Adolph Menjou is a John Barrymore type actor, once a great stage actor, but who lately has been doing a lot of mediocre films has returned to New York with an unknown future. Andrea Leeds has a Letter Of Introduction from her mother for him and Menjou discovers that despite being married our times and about to go for number five it's with the author of the letter with whom he has a daughter.

Who wants to be an actress. The rather arrogant Menjou discovers a tender side when he discovers fatherhood. His scenes with Leeds have some real poignancy to them. Menjou who could ham it up outrageously when called for is most subdued and effective here. The two keep the relationship a secret and it's rumored that Menjou snagged himself some new young quail. All rather disconcerting to George Murphy who Leeds has been seeing.

Both Murphy and Leeds live in a boardinghouse not unlike the one in Stage Door. Among the other residents are Eve Arden in an Eve Arden type part, Ann Sheridan, and Edgar Bergen&Charlie McCarthy&Mortimer Snerd. Bergen and his wooden alter egos supply the comedy.

No doubt John and Diana Barrymore saw Letter Of Introduction. Wonder what they thought? No matter what they thought the film is a good one.

One of the oddest mixtures of drama and comedy ever to come out of Universal Pictures. Back in 1939, director John Stahl did his usual reliable job of trying to keep all the mismatched elements of the improbable plot together and almost succeeds. An aspiring young actress (Andrea Leeds) rooming at a theatrical boarding house, mysteriously becomes the protégée of old flamboyant drunken actor (Adolphe Menjou) returning to Broadway after many years in Hollywood. (Both actors appeared the year before in "Stage Door.") Throughout the film, Edgar Bergen, Charlie McCarthy and Mortimer Sneed appear and reappear at the most unlikely moments and provide many amusing moments that have nothing whatsoever to do with the main story. (It's as if Bergen was under contract to the studio and someone had to figure out a way to shoehorn him and his dummies into a picture.) The ever dependable Eve Arden wisecracks in her best manner and George Murphy is the jealous boy friend in love with the actress. None of it makes much sense if you think about it--don't!--but it's all undoubtedly entertaining.

Struggling actress Andrea Leeds (Kay) has a letter of introduction to hand to successful actor Adolphe Mange-Tout (Mannering) to help her with her career. The letter of introduction has more significance than just a letter of introduction. It's confirmation that they are father and daughter. We anticipate a happy and helpful relationship and we get it. However, other relationships seem to fall by the wayside.

Given the cast, the film should have been better. It loses its way and just becomes boring. There is also too much screen time given to a tedious ventriloquist. Leeds, Mange-Tout and Eve Arden (Cora) all starred in the much better film in a similar setting - Stage Door - the year before. Rita Johnson (Honey) is treated unfairly in this film and her future is unresolved. It is sad to read about her real-life story - death by hairdryer accident! More like assault with hairdryer. I don't use a hairdryer preferring to just dry naturally with a towel. Wash and go.