Mickey Rooney: An Appreciation

Mickey Rooney, circa 1940

The career and work of Mickey Rooney, the legendary Hollywood star who died on April 6 at age 93, deserves a closer look. He started at a very early age in his parent’s vaudeville act, so he was hamming it up early in life. He moved on to low-budget 'Mickey Maguire' comedies (I count 55 of them between 1927 and 1934), and even did the voice for the cartoon Oswald the Rabbit (a sort of precursor to Bugs Bunny).

In between, he played roles calling for a cherubic kid, a rascally ragamuffin, or a street-smart scamp, many uncredited. And all this before 1935, when he was cast in a high-profile role as Puck in the film version of Shakespeare’s “A Midsummer Night’s Dream.” That same year saw him appear in an adaptation of Eugene O’Neil’s “Ah, Wilderness.” He played Tommy, the youngest brother in the Miller family. His work was so appealing, he was cast as Andrew Hardy in “A Family Affair.” This small-budget film was such a hit, it started the Andy Hardy series that made Mickey a household name. (It was also a showcase for several young starlets who would go on to bigger things, including Judy Garland, Lana Turner, Donna Reed, and Esther Williams.)

From there, he was one of the most popular young stars in Hollywood, appearing in many MGM comedies, dramas, and musicals from the late 30s through the late 40s.

He had proven himself an agile dancer, a charming singer, a funny comic, and a capable dramatic actor. But by the end of the 1940s, he was pushing 30 and audiences couldn’t really see him as anything but the young, energetic Andy Hardy type, and interest waned. His filmography after about 1948 is dotted with unremarkable titles, but he persevered.

With the advent of television, Mickey continued working in that new medium, alternating appearances in a variety of low-budget pictures throughout the 50s, with the occasional supporting role in a high-profile work.

Mickey and Judy Garland

By the early 60s, he was taking more small parts in big films, including ensemble comedies like “It’s a Mad, Mad, Mad, Mad World,” in which it seemed every major comic star of past and present made an appearance, from Milton Berle to Jack Benny, Sid Caesar to Jonathan Winters. At the same time as this comic fare, he was appearing in gritty dramas like 1962’s “Requiem for a Heavyweight,” arguably Mickey’s last really good role.

For the rest of his life, he worked steadily, appearing in many feature films and television productions throughout the 70s, 80s, and 90s. In between, he appeared in family pictures like “The Magic of Lassie,” “Pete’s Dragon,” both in 1978, and “The Black Stallion” a year later. (The first and third of these kid-friendly movies harkened back to his role as a jockey in the 1944 classic, “National Velvet”—which made Elizabeth Taylor a star.)

True, the quality of his filmography from the late 80s on is spotty at best, but the man never stopped working, all the way up to a brief cameo in 2011’s “The Muppets.” In fact, a look at his filmography shows three films in production for 2014. That’s saying a lot for a man who, born Ninian Joe Yule, Jr. in 1920, went on to be one of the biggest draws in Hollywood’s history and kept at it for nine decades despite many personal ups and downs.

Mickey's Best
Here are a few of the films that I believe encapsulate the Rooney spirit. They represent his comic ability, show off his dramatic skill, and capture his youthful, athletic ebullience.

Boys Town (1938): Spencer Tracy is Father Edward Flanagan, who opens a home for wayward boys on the belief that “there is no such thing as a bad boy.” Mickey, as Whitey Marsh, an arrogant punk, does his best to prove him wrong. Mickey is known to have been a pretty conceited young man in real life, and it’s a trait he leverages to create the character of Whitey. But through the influence of Father Flanagan and the events of the film, Whitey’s character changes, and we know he won’t go down the path of delinquency. Mickey manages to be tough and tender, his manic energy tamped down but still broiling at the surface.

The Adventures of Huckleberry Finn (1939): Seriously, who was better cast to play Huckleberry Finn than Mickey Rooney? Although he was already 19 years old, he was a perfect choice to play a rambunctious kid who embarks on an adventure on the Mississippi with Jim, a runaway slave (played by the towering Rex Ingram). This is a flavorful telling of the classic Mark Twain story, and Mickey is terrific. (BTW, the world needs to know more about Rex Ingram, a seemingly forgotten black actor who has a number of distinguished titles in his filmography.)

Babes in Arms (1939): In his first big musical with Judy Garland (but not their first film together), Mickey and Judy struggle to make a go of it in show biz, with the film culminating in a big Busy Berkeley dance number. The prototype for the ‘let’s put on a show’ storyline imitated ever since, “Babes” encapsulates the youthful energy of Mickey and Judy. She was only 17 years old, and he was just 19, and they represented America’s shining youth. (See also "Strike Up the Band," another musical with Judy and Berkeley, made the following year.)

Girl Crazy (1943): Mickey and Judy teamed again a few years later in this buoyant musical based on the Gershwin stage show. (You just can’t go wrong with the starring talents and music by George and lyrics by Ira.) Mickey plays a spoiled rich kid forced to get away from the girls by going to an all-boy’s college. While there, he falls for the Dean’s granddaughter, played by Judy. Amid the typical superficial but fun complications, they sing, they dance, they fall in love, and everyone has a great time: Especially the audience. This one really shows off the chemistry and talent of Mickey and Judy, honed from their previous musicals.

The Human Comedy (1943): For anyone who only knows Mickey’s energetic persona, this movie will come as a surprise. Based on the William Saroyan novel, Mickey plays Homer Macauley, a messenger boy whose simple life in a small New York town is altered dramatically by the stark realities of World War II. Throughout the course of the film, he sees first-hand the effects of war on families who have lost sons. The film has some excellent dramatic work from Mickey, really showing the depth of his skill at a young age. The rest of the cast is full of good performers who were just starting out, including Van Johnson (as Homer’s brother, who’s preparing to leave for the war) and Donna Reed (his sister). Ray Collins and Fay Bainter are lovely as Homer's parents. Frank Morgan (the Wizard in “The Wizard of Oz”) is touching as Homer’s drunken boss Mr. Grogan. There are a couple subplots to round out the film, giving a really good window on life in a small American town at a turning point in our recent history (and it’s better than the book).

Drive a Crooked Road (1954): In this B-movie, he plays Eddie Shannon, a mechanic with aspirations to be a great racecar driver. He’s living in a small apartment with trophies from past successes to remind him that he’s fallen on hard times. When he meets a pretty dame named Barbara, he falls fast; but her attentions are just a ruse to introduce him to two bank robbers who, after ingratiating themselves to him, convince him to drive the getaway car. It doesn’t go well from there. By this point in Mickey’s career, he was definitely no longer a first-rung star; but he is quite understated, except for several justifiably explosive moments. The film is a neat view into the lives of people living on the edge; and, with so much of the film made on location in California, it captures a particular place (I’m thinking Malibu) in the early fifties. It’s a small, subtle film but it pays off for its uniqueness. (It was written by Blake Edwards, who would later direct some famous comedies, including “Breakfast at Tiffany’s’, in which Mickey has a supporting role—as Audrey Hepburn’s harried Japanese neighbor! Hey, it was 1961.)

The Bridges at Toko Ri (1954): The stars of this Korean wartime picture are William Holden and Grace Kelly, but Mickey has a plum supporting role as Holden’s rescue helicopter pilot pal Mike Forney. He’s a tragic figure in a film—based on James E. Michener's novel and shot in color and on location in the Pacific—that asks hard questions about war. But bear in mind, it’s really not a war movie; rather it’s an examination of characters dealing with war’s ramifications. Mickey does a fine job in a real character part, getting the chance to be funny and touching.

Requiem for a Heavyweight (1962): Anthony Quinn is Louis 'Mountain' Rivera, a boxer at the end of his career. Jackie Gleason is his manager, who has bet it all on Quinn losing a round against none other than Cassius Clay (aka Muhammed Ali). This is a dark movie, about seedy characters; it was written by Rod Serling (“Twilight Zone”), based on his original television script, improved by a feature film budget and execution. Don’t be put off if you’re not a boxing fan; this is a character study of the first order, and everyone give stellar performances. (People seem to forget that Jackie Gleason was a very solid dramatic actor in the early 60s, because all they remember is “The Honeymooners” from the prior decade. Same can be said for Mickey: He plays Army, Mountain's trainer, and it's one of his best dramatic performances.)

Here's a typically sweet tribute to Mickey from Turner Classic Movies.

Side note: I don't recommend "Midsummer Night's Dream" (1935). It has gorgeous cinematography and some good moments, but Mickey as Puck is just too irritating for words. Granted, he was only 15 years old, so I blame the directors. Also, avoid one of the few films that Mickey directed, "The Private Lives of Adam and Eve" (1960), at all costs. He plays The Devil; it's not entertaining even on a camp level, just lousy.