Clark Gable at the Indianapolis 500.
Alan E. Hunter- Irvington
Original publish date:  May 25, 2010                                                                                 Reissue date: May 25, 2018 I originally wrote this article back…
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Alan E. Hunter
Original publish date: May 25, 2010 Reissue date: May 25, 2018

I originally wrote this article back in May of 2010 and in the years since, I have been informed by a longtime friend (and Irvingtonian) Bruce Gable that there is an Irvington connection, so I figured I’d update it and run it again. For the most part, here it is as it ran back then with a few appropriate updates.

It was 50 years ago that the “King of Hollywood”, Clark Gable died. They called him the king for good reason. Women swooned at his masculine screen presence and men viewed him as the ultimate man’s man. Best remembered as Rhett Butler in Gone with the Wind, most film critics agree that without Gable, GWTW would have blown away quietly. Yet, most Hoosiers don’t realize that Gable has several ties to our fair state.

It is a little known fact that Gable was a devoted race fan who regularly attended races including the Indianapolis 500. In 1950 Gable starred in the movie “To Please a Lady”, filmed at the Indianapolis Motor Speedway,. Although not critically acclaimed, the movie is considered to be a motorsports classic. Most of the scenes were shot over a three-week period at the speedway. To make the racing scenes as authentic as possible, director Clarence Brown used a good deal of actual professional racing footage. Gable did some of his own driving for close-ups, while a stunt driver took the wheel for the more dangerous shots. The film’s climax was shot at the 1950 Indianapolis 500 won by Johnnie Parsons in a rain shortened race.

In the film Gable stars as Mike Brannon, a thrill-seeking race car driver whose ruthless tactics cause a crash that results in another driver’s death. Barbara Stanwyck plays Regina Forbes, an influential newspaper columnist who is determined to get him permanently banned from the professional racing circuit. Gable’s Brannan character has a bad reputation and Stanwyck’s columnist Forbes character tries to interview him, but he refuses. Regina’s column suggests that Brannan caused the fatal accident deliberately, which leads to him losing his ride. Brannan begins driving in a stunt show, eventually earning enough money to buy a car of his own and enter the Indy 500 himself. The pair engages in an explosive battle of wills while fighting off an attraction to each other that threatens to spin out of control.

The film was director Clarence Brown’s eighth and final film with Clark Gable, who was also his good friend. Brown managed to pull off some of the most thrilling racing sequences ever filmed, capturing the raw excitement of the speedway by throwing viewers right into the middle of the action. Fans experience the energy of the pit crew in action, the zooming car engines, and the roar of the crowd. Cinematographer Hal Rosson used up to six camera crews at a time to capture action from actual races. The location shooting paid off in the film’s nail-biting climax where car speeds averaged 100 miles an hour.

Gable and Stanwyck are well matched as a romantic onscreen duo whose character’s intense chemistry is undeniable. This was the couple’s second film together. Their first, “Night Nurse”, was made nearly 20 years earlier at Warner Bros. In that movie Gable, not yet a major movie star played a small role as a nasty chauffeur who viciously slaps Barbara Stanwyck across the face. The moment was replicated in the speedway film when Stanwyck took another smack across the kisser from Gable.

Ironically, “To Please a Lady” was not a major box office success due in part to the surge in household television sales, which by 1950 was rapidly taking business away from movie theaters. However, the film did win plenty of critical praise. The New York Times said of the film: “You can bet that Indianapolis never experienced a contest as hotly run as the race that Mr. Brown has staged.” Variety proclaimed that the movie “has excitement, thrills, with some of the greatest racing footage ever put on celluloid – It firmly returns Gable to the rugged lover, rugged character status.”

The film’s legacy among race fans is the chance to see authentic open-wheel midget and Indy-car racing footage from an often neglected time in auto racing. The montage featuring a racing engine being machined and assembled along with some nice race car close-ups and pit stop action make it a must see flick for gear heads. The film also captures a couple of minutes of authentic footage of Joie Chitwood’s famous stunt car show, a rare treat for vintage race fans.

Being in Indianapolis was difficult for Clark Gable personally. Married five times, Gable’s most glittering union was with Hoosier actress Carole Lombard. The city was the final stop of a 1942 war bond tour headlined by Lombard, before flying back home to Los Angeles. Tragically, Lombard’s plane never made it, crashing in Nevada killing everyone on board. Gable and Lombard honeymooned at Lake Barbee near Warsaw, Indiana. Their three-year marriage had been the ideal Tinseltown union, and Lombard’s death was a loss from which Gable never recovered.

At the time of “To Please a Lady” Gable had finally remarried, this time to Douglas Fairbanks’ widow, Lady Sylvia Ashley. During filming he seemed happier and healthier than he had been in years according to friends. Even so, Gable remembered his beloved late wife while in Indianapolis. He quietly made a point to visit the downtown locations where Lombard had made her final public appearances before her tragic death.

When Gable left Indianapolis, he had one last surprise waiting for him. Lady Sylvia’s teenage nephew, Timothy Bleck showed up on set with a group of friends and took over several rooms at the Marriott Hotel, where the Gables were staying, charging their bill to the Gable’s account. Many who knew Bleck felt that the youngster had developed a “crush” on Gable. For his part, Gable often complained to his new wife that Bleck and his friends were “eating me out of house and home and always pestering me for money.”

Lady Sylvia, a British National famous for her temper tantrums. Later that same year, she demanded a spacious dressing room for her personal use during Clark’s next movie being filmed in Durango, Mexico, “The Wide Missouri.” (Gable’s first Technicolor film since Gone with the Wind.) Heretofore an exclusive luxury granted only to mega-movie stars like Greta Garbo, Marlene Dietrich, Joan Crawford and Bette Davis. The couple divorced within the year.

Gable’s list of film pairings includes many of the most beautiful women in Hollywood. Joan Crawford teamed with Gable eight times, more than any other actress. Jean Harlow starred with Gable in six films in a union that would have undoubtedly continued if not for her untimely death. Lana Turner shared the credits with him four times. Gable worked twice each with Loretta Young and Claudette Colbert. In his final film, “The Misfits” at almost sixty-years-old, Gable starred opposite 34-year-old Marilyn Monroe. Gable had been her childhood idol. The film also starred the tragically flawed fallen film idol Montgomery Clift.

The Misfits would take on a macabre life of its own, fostering whispers of a curse, when Gable suffered a heart attack two days after filming ended, He died ten days later. Monroe and Clift attended the premiere in New York in February 1961 while Monroe was on pass from a psychiatric hospital; she later said that she hated the film and could not watch herself in it. Within a year and a half, she was dead of an alleged drug overdose. The Misfits was the last completed film for both Monroe and Gable.

Montgomery Clift, previously known for his classic profile, had been badly injured in a 1956 car crash requiring reconstructive surgery on his face, evident in his close-ups for “The Misfits”. He died six years after the filming. The Misfits was on television on the night Clift died. His live-in personal secretary asked Clift if he wanted to watch it. “Absolutely not” was Clift’s reply, the last words that he spoke to anyone. He was found dead the next morning, having suffered a heart attack during the night.

Many feel that Clark Gable danced a tango with death and morbid curiosity throughout his career. Gable’s perceived death wish circled around the many dangerous, often violent, themed films he starred in, his early death and the unexpected deaths of his costars. Capped off with the tragic early demise of his wife Carole Lombard. Another eerie connection to Indiana by Clark Gable can be found in the last movie Hoosier outlaw John Dillinger ever saw. Moments before he was gunned down in an alley outside Chicago’s Biograph Theatre, Public Enemy #1 was watching an MGM film called “Manhattan Melodrama” starring…you guessed it, Clark Gable.

Update: Irvingtonians Bruce and Fred Gable have shared stories with me about their famous relative. Turns out, Clark Gable was a distant cousin. The Gable home was located at 5850 University Avenue across from the guardian home. Bruce & Fred researched the Gable family connection and discovered that their Great-grandfather and Clark Gable’s grandfather were 1st cousins. “They were wildcatters who migrated to Indiana from Pennsylvania in search of oil back in the 1880s,” Bruce states, “All they found was natural gas though and neither made any money on that.”

The Gable family lived for a time in the Audubon Court apartments and they can remember stories about the elder Gable visiting his cousin / their grandfather in Irvington. Gable’s Great-grandfather owned the Thompkins drugstore on South Audubon Road across from the Magic Candle. The brothers recall a time when telling neighborhood kids that they were related to Clark Gable was a big deal. “Later, when my kids told their friends that, no one knows who they’re talking about.” says Bruce. As for that I’ll quote Rhett Butler by saying, “Frankly my dear I don’t give a damn” because I’m just glad to hear that Irvington has a connection to one of the most admired leading men in Hollywood history.