Dick Powell

 Few actors ever managed a complete image transition as thoroughly as did Dick Powell: in his case, from the boyish, wavy-haired crooner in musicals like "42nd Street" (1933), to rugged crime fighters in films noir.

In 1935, Powell's salary amounted to $70,000. Two years later, he had become one of Hollywood's top ten box office stars. A keen businessman with an eye for profit, Powell had already invested wisely in land and property. When he left Warners in 1939 with no discernible acting opportunities in sight, he was in no way short of a dollar. He was, however, desperate to escape his image, declaring "I knew I wasn't the greatest singer in the world and I saw no reason why an actor should restrict himself to any one particular phase of the business." He fairly jumped at the chance to act in non-singing roles, joining Paramount in 1940 to appear opposite Ellen Drew in the sparkling Preston Sturges comedy "Christmas in July" (1940). This was followed by two marital farces featuring his then-wife, Joan Blondell, both efforts receiving only a lukewarm response at the box-office. Still dissatisfied with lightweight roles, Powell lobbied hard to get the lead (eventually scored by Fred MacMurray) in "Double Indemnity" (1944) but was knocked back. Instead, he was slotted into more of the same fare, refused to comply, and was suspended.

His box office credo now at a low ebb, Powell tried his luck at RKO and at last managed to secure a lucrative role: that of hard-boiled private eye Philip Marlowe in Raymond Chandler's "Murder, My Sweet" (194, below). The author himself approved of the casting, though director Edward Dmytryk fought off initial misgivings. The result proved nothing if not a tangible hit for RKO. Bosley Crowther of the New York Times remarked " ...and while he may lack the steely coldness and cynicism of a Humphrey Bogart, Mr. Powell need not offer any apologies. He has definitely stepped out of the song-and-dance, pretty-boy league with this performance."

Happy Birthday, Dick Powell!