Douglas Walton(1910-1961)

Born in Ontario, Canada, Douglas, like other Canadian actors before and since, made his way to Chicago, then New York. Being of slight frame with a boyish face with a tuft of blond hair completing that latter effect, Walton looked the part of ineffectual, effeminate, snobbish sophisticates, whining cowards, and other assorted types which were in demand during Hollywood's heyday of 1930s and 1940s film-noir. Not interested in the stage, Douglas made his way to Hollywood, where casting directors were availing themselves of his type. From mere small character roles, he began to receive lines to speak--to accent the parts. Walton's soft tenor voice lent well to the 'weakling' roles, but he could talk in a deeper voice for dramatic moments, an early example being his young Albert de Mondego in The Count of Monte Cristo (1934), in which he registers a fine dramatic range. A year later, another opportunity presented itself. One of the real gems in The Bride of Frankenstein (1935) is the opening scene with Elsa Lanchester as Mary Shelley with Walton as husband Percy and American character actor Gavin Gordon as Lord Byron. In one of the old Universal sound stages with a huge fireplace and an even huger picture window looking out on a stormy night, the histrionics of these three make the film, if nothing else did--but as a sequel, 'Bride' lends enough to campiness to make it work wonderfully. Walton continued his run of high-profile film outings later that year with the much-anticipated Mutiny on the Bounty (1935) starring Clark Gable. As jealous, priggish midshipman Stewart, he lends the right characterization to make the part his own. Walton's best role of the period was probably Lord Darnley in Mary of Scotland (1936), in which he gives an over-the-top, playing-to-the-hilt rendition of the effeminate noble weakling who by default weds Katharine Hepburn as the vivacious Mary Stuart. Director John Ford was noted for pushing his actors, and he must have been satisfied with Walton and his impressive registering everything in the human emotional range from Darnley's fawning and jealous snits to the fear and terror of his impending doom. Into the late '30s the parts were more conventional secondary characters.

By 1939, halfway through his career of almost 60 films, he decided to take his first (and only) Broadway role, in the original comedy "Billy Draws a Horse". Unfortunately, the play folded after only a week and a half in late December. Ford called on him again for two films: his western remake of The Lost Patrol (1934), Bad Lands (1939); and his reading of Eugene O'Neill's The Long Voyage Home (1940).

There were other high-profile films into the 1940s, including 'Northwest Passage' (Book I -- Rogers' Rangers) (1940) and The Picture of Dorian Gray (1945), but by the late decade, he was simply credited as 'Fop' in the epic flop Forever Amber (1947) or, as in the remainder of his films, given no credit at all.

Walton left film after 1950 and passed away form a heart attack a decade later at only 51.