Writing & Women Don’t Mix For ‘Youngblood Hawke’ 1964

Suzanne Pleshette is James Franciscus' beautiful conscience in 'Youngblood Hawke.'

A type of soap opera that Hollywood doesn’t make any more—for better or worse—is 1964’s “literary” melodrama, Youngblood Hawke. The sudsy saga was based on Herman Wouk’s bestseller, film-friendly author of The Caine Mutiny, The Winds of War, and Marjorie Morningstar. The 700-plus page novel was whittled down for length and censorship, but still clocked in at 2 hours and 20 minutes. The resulting film was largely panned, loved as camp, but still has its serious fans.

Despite what critics said, the romantic trio of 'Youngblood Hawke' is more lifelike than here.

James Franciscus plays the title role of a Kentucky boy wonder/writer who comes of age in the NYC literary jungle. Suzanne Pleshette is his loyal editor who loves the man even more than his purple prose and Genevieve Page is the worldly socialite who is just hot for the southern stud. The medium-wattage trio is bolstered by a big cast of veteran character actors and future familiar TV faces. They put over this over-plotted and sometimes preposterous soap opera.

The main problem with 'Youngblood Hawke' was while James Franciscus was appealing,
his charisma didn't exactly leap off the screen much less across a room.

Youngblood Hawke was originally to be in color and star Warren Beatty. Though most dramas were still shot in B&W, such lavish soap operas by Delmer Daves and Ross Hunter usually got the Technicolor treatment. When promising movie star Beatty dropped out, WB then cast television star James Franciscus, and they cut the budget and filmed in B&W. Some film writers/historians have bemoaned the loss of Beatty, but Warren was an especially drowsy onscreen presence in the ‘60s. Hawke is supposed to be a force of nature, which Franciscus frankly wasn’t, but neither was sleeping Beatty. Though burly Rod Taylor would have hewed closer to the novel’s Hawke, rough-edged yet vulnerable Steve McQueen might have been a perfect film compromise.

James Franciscus as Arthur "Youngblood" Hawke

The story of Youngblood Hawke was inspired by Thomas Wolfe. Legendary for Look Homeward, Angel, Writer Wolfe was a North Carolina lad who died of pneumonia at age 37. Here, “Youngblood” aka Arthur, drives a coal truck for the family business by day, and feverishly writes all night. As his mother dukes it out with her brother-in-laws over mineral rights, Youngblood finally gets the call that his manuscript has been accepted. He is whisked off to New York City Dec. 23, signs a contract Christmas Eve, attends his first fancy cocktail party that same night, and finally, goes home with one of the film’s leading ladies. Several guests mention Hawke will always remember Dec. 24—no kidding! That’s how this whole movie unreels, where a tragedy is immediately followed by a triumph, or vice-versa. For instance, after a final breakup with the married socialite, Arthur gets a telegram that he’s won the Pulitzer Prize. Quite a consolation prize!

The rags to riches saga of 'Youngblood Hawke' has some evocative NYC location filming.

The movie is truly a hodgepodge of the good, bad, and the ugggh. In a nutshell—what’s good? There’s rock solid Suzanne Pleshette, evocative location shooting and photography, nifty production values, and a stellar supporting cast. And despite their uneven portrayals, Franciscus and Page have their moments. What’s bad? The Hollywood “smart” dialogue is hilariously hokey. What’s ugggh? Some of the situations and characters are such eye rolls that they undermine what’s worthwhile about Youngblood Hawke.

James Franciscus as struggling writer/truck driver, who frequently takes his shirt off!
Mildred Dunnock as his mama.

James Franciscus generally got panned as Arthur “Youngblood” Hawke. The kneejerk criticism is unduly harsh, to me. We’re not talking director Delmer Dave’s fave Troy Donahue here. Franciscus was a genuinely handsome, intelligent, sincere actor and brings those qualities to the role. He is also boyishly charming, as he enters the new world of NYC. Franciscus is effective in his quiet scenes, especially with his two female co-stars. A set piece where Arthur gets publicly roasted by a literary critic for his latest tome is subtly handled. However, what Franciscus lacked was the spark and rough edges that make Hawke so irresistible to the NYC literary crowd. Franciscus comes off as patrician and gentlemanly most of the time, and when he goes into his country boy routine for some of the big scenes, it’s overdone.

Franciscus' Hawke gets publicly panned by Edward Porter's acerbic critic,
as Pleshette's Jeanne Green glares daggers.

Ultimately, James Franciscus just isn’t dynamic enough as Youngblood Hawke, and wasn’t charismatic enough for film stardom. Paul Newman and Robert Redford played similar roles at the beginning of their careers and were just as wooden. But both actors were cultivating a cool, anti-hero image, whereas Franciscus had his feet planted in the ‘50s style of handsome leading man who’s a solid, but at times, stolid actor. Hence, Newman and Redford went off to become better actors and cool movie stars, and Franciscus went on to TV stardom.

Suzanne Pleshette shines as savvy and sympathetic editor Jeanne Green.

Suzanne Pleshette is sympathetic and refreshingly natural as career woman Jeanne Green. I wish Pleshette had a more substantial film career. She was very attractive, starting off as a snub-nosed version of Elizabeth Taylor. In fact, she’s sports the same bubble do that ET unfortunately made popular. Yet, Suzanne’s warmth, humor, and no-nonsense personality are all her own, and Pleshette should have gone farther in feature films. But this was the ‘60s, where actresses were carrying movies less and less. The already established actresses benefited from the studio era, branding them with strong images: Doris Day, Audrey Hepburn, Sophia Loren, and Elizabeth Taylor, etc. Pleshette’s essential normalcy may not have made her a top ‘60s movie star, but this quality was key to her becoming a popular TV star in the ‘70’s, as Emily in The Bob Newhart Show.

Let's just say that Frieda Winter (Genevieve Page) isn't as sensible as romantic rival Jeanne.

I wasn’t charmed by Genevieve Page as Frieda Winter, though she got some of the best reviews from critics. I found her accent hard to understand, especially when she was lobbing bon mots. And Page has a habit of crinkling her nose and giggling coyly as she seduces Hawke, which I found off-putting for this alleged woman of the world. Frieda’s character motives and backstory seem more like plot machinations or to garner sympathy. Frieda is far more upset when caught with Arthur by his mother, than earlier in the film, when they are walked in on by her young son! I found her character tiresome and Page less than charismatic. Apparently, the role was originally for an older actress, like Gene Tierney. A Mrs. Robinson type would have been more intriguing, and a way to underscore that Hawke is out of his depth.

Suzanne Pleshette & James Franciscus share a rare happy moment in the super soap 'Youngblood Hawke.'

Some of the tragedies are just tragically lame. For example, when Frieda’s young son commits suicide, due to boarding school bullies taunting him over gossip about her affair with Hawke, he hangs himself by jumping off a stack of Arthur’s doorstop novels. Or when Arthur collapses from overwork and falls into a ditch on the way to the mailbox, to send off his latest draft!

After Hawke's golden boy luck begins to run out, Arthur takes a scenic walk to clear his head.

One of the biggest head scratchers, as it’s a major plot point, is why Arthur takes his new found wealth and invests in his uncle’s latest development project. It’s established at the movie’s opening that Arthur’s uncles have been ripping off him and his mother from their share of the profits mining coal on Hawke’s property. Yet, Arthur goes into business with the dirtbag?

Socialite Frieda has a yen for Youngblood Hawke, and who can blame her?

It also seems unlikely that prominent socialite Frieda Winter would brazenly pick up Hawke at a huge Christmas party on the It Boy’s first night in town, and not set off a firestorm of gossip. In fact, publisher Ross Hodge comments that it was the first time he ever saw Frieda leave a party with anybody but her husband.

What knocked me out is when one character mentions near the finale how much Youngblood Hawke has experienced in one year… I just assumed it took place over several years, and it still felt like several lifetimes!

A toast for Youngblood Hawke. That's Mary Astor second from left. The dark, handsome guy is Robert Aiken, whose agent was predatory legend Henry Willson, who first dubbed him Ford Dunhill. Guess that's classier than Tab or Rock!

In the end, it’s the cast that will help you suspend disbelief over the (mis)adventures of Youngblood Hawke. Aside from James Franciscus’ earnestness, Suzanne Pleshette’s pragmatic persona, and Genevieve Page’s Gallic allure, there is the stellar supporting cast.

Kent Smith, as Paul Winter, Sr., Frieda’s wealthy, older husband, is once again WB’s resident bland, put upon male. Don Porter is sardonically amusing as Ferdie Lax, the literary lawyer who takes on Hawke. Porter is a scene stealer, especially in his big scene, railing against Hawke’s soon to be ex-publisher. Lee Bowman is authoritative as Jason Prince, the first publisher who signs Hawke on. Mark Miller is a refreshing ‘60s movie male, as Ross Hodge, a tough business man who is still a good guy. Mildred Dunnock, often the quavering noble type, this time out is a kick ass Southern mama. John Dehner chews the scenery and cigars as Hawke’s shyster uncle, Scotty Hawke.

I love that sexy little look in Franciscus' eyes when he gazes upon his dream girl, Frieda Winter.
Eva Gabor plays the literary hostess with the mostess.

Edward Andrews is campy fun as Quentin Judd, the literary critic, given to public performance-style critiques. Mary Astor brings authority and class as legendary actress Irene Perry. And Robert Aiken, once one of notorious agent Henry Willson’s boys, later star of Russ Meyer epics, is here Hawke’s literary rival, Howard Fain.

Franciscus and Pleshette are joined by other actors who also found fame on TV: Hayden Rorke of I Dream of Jeannie, Werner Klemperer from Hogan’s Heroes, and Eva Gabor of Green Acres all show up, as well.

Author Herman Wouk, who passed away in May of 2019.

Depending on your mood, Youngblood Hawke is a tall tale made highly entertaining by the old-school WB production and the fine, familiar cast. Or, this loony literary epic will have you looking for a good book to read.

Aside from the obvious, this shot of Franciscus in the pool is noteworthy, because the camera uses Hawke's underwater POV to see people standing around the pool, predating 'The Graduate' by a three years.

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