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.
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ilprofessore-14 April 2019
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nycritic18 December 2005Andrea Leeds finally got her wish. If in STAGE DOOR she was doomed to always be the bridesmaid and never the bride when it came to making her theatre debut, she gets her chance in this little movie that seems to have been all but forgotten over the years. And not as a supporting character but as the star.
The story is as goes: Kay Martin wants to become an actress on her own but does not want any help from her estranged father, actors John Mannering. At the same time, Mannering is having an affair with Lydia Hoyt (Ann Sheridan) who later breaks up with him when she mistakes Kay's presence as being that of his new female conquest. Massive complications arise that lead to father and daughter reuniting on-stage in a moving finale.
This is one of those melodramas that explore the drama behind the stage that seemed to be quite the rage in the Thirties. Employing actors Andrea Leeds, Adolphe Menjou, and Eve Arden, there is a similarity in the general feel of this movie down to their performances since they were together in STAGE DOOR. As a matter of fact, Andrea Leeds characters on both this and STAGE DOOR are named Kay, figure that out. -
bkoganbing17 April 2018Watching 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. -
Snow Leopard19 September 2005The fine cast and the interesting story in "Letter of Introduction" go together well, making it an enjoyable and sometimes thoughtful movie. The characters are interestingly quirky while remaining believable, and the story gets quite a bit out of a relatively simple setup.
Adolphe Menjou and Andrea Leeds are both well cast in the leading roles, as a father and daughter who try to keep their relationship hidden as they work together on the stage. Menjou is always enjoyable to watch in this kind of role, as something of a scamp who nevertheless has a caring heart. Leeds makes good use of her innocence and earnestness. As the central relationship in the story, their two characters also make a nice change of pace from the more conventional setups in comedies of this kind.
The supporting cast likewise features plenty of talent. In particular, Edgar Bergen and Charlie get some of the best lines, Eve Arden is well-suited to her role, and Ernest Cossart seems right at home as Menjou's butler.
Everything fits together well, and in addition to providing some entertaining moments, it includes the kind of drama that makes you think along with the characters and ask yourself what you might do in the same situation. -
kidboots6 February 2009"The best natural actress who has ever passed under my hands" - that's how Gregory La Cava described Andrea Leeds after directing her in "Stage Door" (1937). She appeared in some prestigious films and you would have thought she had it made but you would be wrong. After only a handful of films she retired to marry a millionaire sportsman and became involved in breeding race horses. "Letter Of Introduction" is one of her best films.
Kay Martin (Andrea Leeds) arrives home to find her apartment block on fire. She is desperate to retrieve a letter of introduction she has to John Mannering (Adolphe Menjou) a Broadway actor, fallen on hard times. Barry (George Murphy), a dancer from across the street, helps her save it and also introduces her to some more Broadway hopefuls (Eve Arden, Rita Johnson and Inez Courtney).
John Mannering was once a top Broadway matinée idol, who just happens to be Kay's father. Because of the secrecy, it creates some sticky situations - Barry is suspicious that Kay and Mannering are more than just "friends" and John's fiancée, Lydia Hoyt (a very glamorous Ann Sheridan) is convinced John is back to his old ways (he has been married 5 times ) and breaks off their engagement. Edgar Bergan and Charlie McCarthy play themselves and also the only ones that are in on the secret. They are given a chance to work by Mannering as they have been unemployed for months and he thinks they have potential.
Mannering is worried that if the news gets out about his "relationship" with Kay he will lose his "youthful" reputation.He is also worried that his ten years in Hollywood may have damaged his stage reputation. Barry has had enough and decides to marry his old dancing partner (Rita Johnson) and go on the road for a tour.
John and Kay are given roles in a Broadway production and they decide at the end of the performance that they will tell the audience that they are father and daughter. John finds it difficult to face an audience after ten years and gets drunk, muffing his part and causing the performance to be cancelled. He feels a failure and steps out in front of a car. He dies without revealing his secret.
The last third of the film is very good. It gives you an understanding of why he didn't want to reveal his relationship with Kay. It became a more dramatic and complex film than it had started out. Leeds' Kay Martin was quite determined to make good. Although she was starry-eyed and emotional to meet her father - she was also intensely ambitious and was initially only upset that he had ruined her big chance. George Murphy, also didn't get to do much dancing.
Andrea Leeds was a talented actress who didn't realise her full potential. Adolphe Menjou was very good as John Mannering, the actor clinging on to his lost youth. In my opinion it would have been a better film if it had concentrated on the relationship between Kay and her father rather than the mistaken situations the secret created.
Recommended. -
planktonrules3 April 2010This is an odd film because it's almost like two or three films spliced together. The first is a story about a young lady (Andrea Leeds) who introduces herself to the man who didn't realize he was a father (Adolph Menjou)--a bit of a risqué premise for 1938. In the meantime, Leeds and George Murphy fall in love, though Murphy assumes that Leeds' interest in Menjou is romantic! Now all Leeds needed to do was tell Murphy who Menjou was to her. And, Menjou's very young new wife (Ann Sheridan) thinks that Menjou and Leeds are lovers!! It's pretty kinky if you really think about it and almost all the rest of the film could have been avoided had they simply told everyone why they started spending so much time together! But, Sheridan and Murphy both stomp off and much of the film is spent waiting for it all to be worked out successfully. The second film is Edger Bergen and Charlie McCarthy--who just seem to appear and disappear from the film periodically. They really aren't integrated into the film all that well and the viewing experience is a bit odd. Now this ISN'T to say bergen and McCarthy are not enjoyable...just very oddly cast. As for the possible third movie, how Menjou's and Leeds' relationship is worked out is really bizarre and comes completely out of left field. It certainly does NOT do what the audience expects and goes from a light sort of film to a very dark one rather quickly....while Bergen and McCarthy try to do comedy bits!!! And, in the very end, a romance just appears out of no where for Bergen and Eve Arden! Talk about bizarre!! Overall, it's a nice film for fans of the classic Hollywood era, but a bit too strange and dark for the average viewer.
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As her New York apartment building burns, pretty Andrea Leeds (as Katherine "Kay" Martin) retrieves the important "Letter of Introduction" which confirms her parentage. Fellow resident ventriloquist Edgar Bergen (as Edgar Bergen) rescues companion Charlie McCarthy from a future as firewood. Neighborly George Murphy (as Barry Paige) helps Ms. Leeds out of the fire, and reveals he enjoyed peeping at her toil over her frying pan, with a watering mouth. Leeds enjoys kissing Mr. Murphy, but wants to concentrate on her aspiring stage career. Leeds brings her "Letter of Introduction" to Barrymore-like acting Adolphe Menjou (as John Mannering), who is her long-lost father. As his curtain closes, Mr. Menjou helps Leeds to Broadway. Not essential, but fun in its way.
****** Letter of Introduction (8/5/38) John M. Stahl ~ Adolphe Menjou, Andrea Leeds, Edgar Bergen, George Murphy -
A struggling young actress(Andrea Leeds)keeps her past a secret in efforts to succeed by getting much sought advice from a famous stage actor(Adolphe Menjou). When it is discovered this popular thespian is her estranged father, she decides to keep their relationship mum to the public in order to not damage his ego and reputation.
LETTER OF INTRODUCTION blends drama with comedy and is sustained by a somewhat strange, but strong cast featuring: Eve Arden, George Murphy, Rita Johnson, Ann Sheridan and Edger Bergen with those not so dumb dummies Charlie McCarthy and Mortimer Snerd. This movie has been shown well- preserved on both AMC and PBN. -
AAdaSC2 April 2023Struggling 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. -
tentender12 June 2006How to discuss this film without spoilers? For once, the screen credit "Story by" (usually one asks: What story?) makes sense. The surprises in this yarn are many. Several established genres -- the aspiring-actress story, the lost-then-found child melodrama, the declining-alcoholic-actor tragedy -- are combined and the results are intriguing. When so many conventions are jumbled together the result is unconventional! Young Andrea Leeds arrives in New York with a letter of introduction to one of America's most beloved actors, played by Adolphe Menjou. Only when she presents the letter to him (in an exquisitely underplayed scene) do we discover that she is his (apparently illegitimate -- was the Hays office nodding in 1938?) daughter. Not having known even of her existence, he is deeply moved and notes her resemblance to her mother. Out of sheer vanity (neatly established in a little scene with his barber) he can't bring himself to introduce her to his fiancée (Ann Sheridan) as his daughter, instead calling her his protegee. Complications ensue, resulting in the breaking-off of his engagement. He then puts all his energy into helping young Kay (Leeds), and, reluctantly, at a producer's urging, agrees to star in a play that will introduce her to the Broadway stage. One expects at this juncture a montage (at least) of the problems involved in putting on a play but instead we cut directly to opening night. And here a most unexpected series of events occurs that turns Letter of Introduction from a light comedy/drama to full-fledged tragedy, defying all expectations of genre. Aside from its remarkable plot, the movie is distinguished by a wealth of fascinating incident. An apartment house fire -- frighteningly realistic, a "bushelites" (artists who hide their talents under a bushel) New Year's Eve party, Edgar Bergen and Charlie McCarthy sending up a roomful of the "cream" of society (cream, that is, which rises to the top -- "So does scum," says Charlie). Andrea Leeds's serene quality is the core of this film, and she carries it superbly, with strong support from all concerned, among them Menjou (in a character clearly based on John Barrymore), Bergen & McCarthy and Mortimer (here called "Mortimore") Snerd (whose comedy bits are, as ever, very clever and amusing), and George Murphy. The direction of John M. Stahl is, as ever, unflinching in its depiction both of ordinary reality and the most intense moments of life. Clearly, this was a man who lived life with his eyes open.
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WeatherViolet2 January 2010Accomplished 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. -
I'm sooooooo glad that it's finally available on DVD (from Alpha...mediocre quality, but absolutely worthwhile buying).
This is a John Stahl directed Universal film starring Adolphe Menjou, Edgar Bergen & Charlie McCarthy, George Murphy, the young Ann Sheridan, as well as two great actresses fresh from starring in "Stage Door", Andrea Leeds and Eve Arden.
Andrea Leeds is really the star of this film....and she's really good. It's a shame her career didn't really pan out.
There's a good dramatic story and plenty of comedy from Bergen and Arden.
If you love good movies from the 1930's, this one's for you. -
lugonian13 April 2019LETTER 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. (***) -
sb-47-6087375 April 2019An actor from a family with long and illustrious tradition of theaters (Shakespearean? it is mentioned his parents played Romeo and Juliet to packed houses for ages) has left theater and migrated to Hollywood. Now, in his fifties, trying desperately to hide his age, suddenly is introduced to his daughter, a struggling actress, in her twenties., around the age his latest fiancee, about to become his fourth wife.
The daughter wants his help in starting her career on stage, and he has to struggle to do it, without divulging the relationship, lest the Casanova's real age is known to public. Without the clarifications, gossip magazines have a field day, destroying the romances of both father and daughter.
This has too interesting to be a mere coincidence similarity with the great but equally tragic (alcohol curse) actor John Barrymore - of the revered Barrymore family (here the name is changed to Mannering family), and the daughter Diana (here Kay martin) is from first wife, instead of real-life second wife. This movie (1938) precedes what happened in real life - and the difference isn't too far. Diana, also beset with tragedy as her father, was estranged from John, and landed up in Broadway one year later, in 1939. John was married four times, here Mannering's just missed the fourth. The fourth wife, Elaine was 21, and he was 54 (in this movie, it was 22 and 52, not too far away). Even the last stage appearance of John has remarkable similarity with this - only that happened four years after this movie was released. One of the comments here talks of what Diana and John thought about it - it should be in fact other way - they didn't learn from it - and in fact followed what was depicted here. -
gazzo-229 November 2001Sorry. Anyways, I just saw this, it was pretty good-pretty serious plotline of aging actor Adolphe Menjou, his estranged daughter Leeds and his trying to make it back onto Broadway while hiding her existence from the press-gets undermined somewhat by the oddly large roles of Snerd and McCarthy. They are funny-but it's kinda like sticking Fozzie Bear and Grover into the middle of a 'A Brilliant Mind'...maybe not something you would see now but then? It was par for the chorus.
Fine character actors-George Murphy, young Anne Sheriden, etc all add to the mix. I liked it, it's an interesting period piece if nothing else.
**1/2 outta **** -
mark.waltz1 March 2016Circumstances that she chose herself ended the meteoric rise to fame that Andrea Leeds had in "Stage Door". Oscar nomination or not, after only three years in the public eye ended fie home and hearth, but among her few major films are a large handful of gems.
This follow-up to "Stage Door" features three of the major players from that classic. Besides Ms. Leeds is Adolph Menjou, once again as her mentor, but this time with honorable intentions. Eve Arden, minus cat but still overloaded with wisecracks, is one of Leeds' pals. Charlie McCarthy and Edgar Bergen reunite with Menjou and Leeds, having worked with them in "The Goldwyn Follies".
Also present in the major romantic male lead is George Murphy, obviously in love with Leeds even though he's involved with Rita Johnson. A rising young ingénue named Ann Sheridan shows her fire as Menjou's hot-tempered much younger fiancée who doesn't believe that Leeds and Menjou share a relationship that doesn't involve romance. He gives a performance that John Barrymore must have envied.
A mixture of soap opera and screwball comedy, this is poignant and well acted, making it the audience's loss that gentle and ladylike Leeds would retire within two years. An intense boarding house fire opens up the film that is delightful in almost every way. Twists towards the end remind me not only of "Stage Door", but "Dinner at Eight" and "A Star is a Born" as well.