Career Highlights: Grand Hotel, The Razor's Edge, Dark Victory
First Major Screen Credit: The Perfect Lover (1919)
Biography
Edmund Goulding started out as a child actor on the turn-of-the-century London stage. By the time he marched off to serve in World War I, he was enjoying a modestly successful career as an actor, writer and director. Invalided out of service, Goulding made his New York stage bow in 1915, then returned to the British Army for the balance of the war. It was back to the U.S. in 1919 and a career as a professional writer; in 1925, he joined the directing/screenwriting pool at Metro-Goldwyn-Mayer (both Goulding's novel Fury and his play Dancing Mothers would be adapted for the screen, though curiously not at Metro). Specializing in luminescent, star-studded dramas at MGM, Goulding reached an early career peak with his helming of the Oscar-winning Grand Hotel (1932). From 1936 through 1946, Goulding worked almost exclusively at Warner Bros., where he was one of Bette Davis' most frequent directors--though, judging by their well-publicized on-set tiffs during the filming of Dark Victory (1939), The Old Maid (1939) and The Great Lie (1941), neither Goulding nor Davis were particular favorites of one another. Joan Blondell, who appeared in Goulding's Nightmare Alley (1947) at 20th Century-Fox, characterized the director as "that nut," noting how he would floridly act out each scene before the cameras turned (as contrast, Nightmare Alley star Tyrone Power liked Goulding and delivered one of his finest performances in this film). For one of his last directorial efforts, Teenage Rebel (1956), Edmund Goulding also penned the musical score. ~ Hal Erickson, All Movie Guide
Before moving to films, Goulding was an actor, playwright and director on the London stage.
His biographer, Matthew Kennedy, stated:
He not only directed many types of films, but he took on multiple functions on each set. Though he didn’t usually take credit, he co-wrote many scripts, composed incidental music, produced, even consulted on makeup, costumes, and hair styling. His one blind spot in production seems to be the camera...When shooting a scene, Eddie was intent on capturing performers at their best and most truthful, but he left the mechanics of filming to his cameramen...he seemed adept at just about everything — comedy (Everybody Does It, We’re Not Married!), ensemble dramas (Grand Hotel), family relations (White Banners, Claudia), war (The Dawn Patrol, We Are Not Alone), psychiatry (The Flame Within), show business (Blondie of the Follies), male-female relationships (The Devil's Holiday, Riptide), and even existentialism (The Razor's Edge) and the dark arts of spiritism (Nightmare Alley).[1]