Ten North Frederick

Ten North Frederick, John O’Hara’s book TEN NORTH FREDERICK was hardly the masterpiece of political life, but it had strong characterizations, and the film, also not a masterwork, has a lot more going for it than we initially thought. Still of major consequence are the performances of the supporting players. In this tale of a failed political hopeful, his vengeful wife, his youngish girlfriend, and assorted other characters, the viewer is caught by the superb work of the cast. All seems possible with the effective work. Geraldine Fitzgerald, as always, is a total marvel — one of the finest of three decades. She should be almost deified. In this, she eschews her sensitive side to superbly capture the nastiness of a woman who want more and more… with less change to get it. But she is matched by young Ray Stricklyn as the confused young son… with at least one scene that should have done for him what the telephone scene in The Great Ziefgeld did for Luise Rainer. His work indicates the hope we all had for him…. but he correctly went to the L.A. stage where he scored enormous successes. Diane Varsi and Stuart Whitman both underscore the acting skills we first saw in them. The love story between the older Gary Cooper and the younger Suzy Parker works better than I had recalled. He tries with his expected skill to show the desperation of the man, but Suzy Parker DOES offer a multi-layered performance — far superior to the work she had done in other films. This film remains an interesting Hollywood look at the world of politics, and it should not be buried unmarked in the annals of solid craftmanship.