Robert Taylor: Matinee Idol
By Laura Wagner

  Robert Taylor felt his good looks hindered his acting career. What ãThe Man With The Perfect Faceä didnât realize was that his many fans appreciated his acting skills and his perfect face, even if some critics didnât share their enthusiasm. He was adept at romantic drama, comedy, westerns, war, adventure, and even went musical in Broadway Melody of 1936. His roles ranged from a student in A Yank At Oxford, to a boxer in The Crowd Roars. He tackled every role with ease, hard work, and aplomb, and played with many of Hollywoodâs leading ladies: Greta Garbo, Joan Crawford, Norma Shearer, Irene Dunne, Katharine Hepburn, Jean Harlow, Janet Gaynor, Loretta Young, Myrna Loy, Greer Garson -- to name a few. He made female hearts skip a beat when he tenderly romanced Vivien Leigh in the tragic Waterloo Bridge, his own personal favorite, but could be an excellent villain as in The Last Hunt, considered by many to be one of his best performances. He was even the model hero in costume dramas, making the perfect Lancelot, Quintan Durwood, and Ivanhoe.
   So why isnât Robert Taylor remembered for his solid portrayals? That face, my dear, that beautiful face. With or without a mustache, that face worked its spell on audiences, and all else was forgotten ... except by his devoted fans.
   He was born with one of the most famous ãreal namesä in the movie industry: Spangler Arlington Brugh. It was on August 5, 1911 he made his debut to the world in Filley, Nebraska, the only child of Spangler Andrew Brugh and Ruth Stanhope Brugh, of Pennsylvania Dutch, Scottish, and English ancestry. Bobâs father was a grain merchant but later turned to the medical profession when his wife became ill with a heart condition. Taylor spent most of his youth in Beatrice, Nebraska.
   His early life was devoted to athletics and studying the cello. Watching his doctor father perform house calls influenced Taylor a great deal, and he decided to pursue that vocation when he entered Doane College in 1929. However, when he switched to Pomona College -- way out in Claremont, California -- interest in dramatic studies started taking over.
   It was while appearing in the play Journeyâs End as Captain Stanhope in his senior year at Pomona in 1932 that Taylor was spotted by MGM scout Ben Piazza. But at this point, Taylor declined all offers and instead entered the Neely Dixon Dramatic School after college graduation. The handsome young man then came to the attention of producer Samuel Goldwyn, but a subsequent screen test led nowhere. His next did. Oliver Tinsdell, MGM drama coach, saw potential, and soon the young actor was signed to a seven-year contract with Metro-Goldwyn-Mayer, and awarded his new name of Robert Taylor.
   The studio decided to farm out their new discovery and loaned him out to Fox for his film debut in Handy Andy (1934), with popular Will Rogers. His was a small part, as Mary Carlisleâs boyfriend, but it was a solid beginning. From Fox he was sent over to Universal for Thereâs Always Tomorrow (1934) playing Frank Morganâs son.
   MGM finally put him in a role, that of a heel in A Wicked Woman (1934), but it wasnât much of a part. Bob wasnât making a strong impression at his home lot, but for more experience he was assigned Buried Loot (1935), the first in MGMâs Crime Does Not Pay series of short subjects. Taylor came off extremely well in the leading role of an embezzler, and even transcended the terrible make-up job inflicted on him at the conclusion of the two reeler.
   Robert had another small part in West Point of the Air (1934), but before it was released he was seen in his first featured role, Society Doctor (1935) co-starring with Chester Morris and Virginia Bruce. He was really noticed for this, and many new fans were disappointed when West Point of the Air came out shortly after -- and no Taylor, except for a one liner. One female reviewer welcomed the impact Society Doctor had on Taylorâs career, even though Bob didnât get the girl at the end: ãIn a market where young leading men are so scarce a commodity that the same players are used over and over again until one is likely to grow weary of the same faces, the appearance of an actor with the potentialities of young Mr. Taylor is to be hailed with cheers. Clark Gable, Robert Montgomery, Franchot Tone, Gene Raymond, Gary Cooper, Joel McCrea, and Chester Morris, push over and make room for Robert Taylor!ä

This was just a sample of the article appearing in issue #17. To read and appreciate the full story plus photographs please order Summer 1999 back issue #17.