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CHARLES BOYER
The perfect Continental
The Romantic. Boyer turns on the charm for Ingrid Bergman's benefit.
Just as Howard was the perfect Englishman, Charles Boyer was the perfect movie Frenchman, ideal symbol of those magically romantic qualities with which Anglo-Saxons have always invested the Gallic male. His deep and vibrant voice spoke a promise of new adventures in love, his deep, sad eyes bespoke a worldly knowledge untarnished by cynicism. He had the boudoir grace of Valentino without the hysteria or the sometime effeminacy of the great lover. Boyer, in short, was an old-style romantic without the grand manner.
He came to Hollywood in the early thirties, was miscast in a series of small parts (he was Jean Harlow's chauffeur in Red-Headed Woman ) , played in the specially prepared
French versions of American movies then being filmed on the Coast, finally quit in disgust to return to his fine French career. He came back to play a curly-haired gypsy in Caravan, then made his breakthrough in Private Worlds ( 1935 ) , an early psychodrama costarring Claudette Colbert. Mayerling and Algiers consolidated his position.
After the war, the romantic years past, he established himself once again as a serious actor ( on Broadway in Red Gloves and Don Juan in Hell), as an able farceur (Kind Sir and The Marriage-Go-Round ) , finally as an excellent movie character man (Fanny). A frequently parodied actor, he has had the dignity never to parody his former screen self.
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