Best remembered for his roles in Alfred Hitchcock’s The 39 Steps (1935) and Goodbye, Mr. Chips (1939), winning for the latter the Academy Award for Best Actor.
Men of Tomorrow
That Night in London
The Count of Monte Cristo
The Ghost Goes West
Knight Without Armour
The Young Mr Pitt
The Adventures of Tartu
The New Lot
Perfect Strangers/Vacation From Marriage
The Winslow Boy
The Cure for Love
The Magic Box
Lease of Life
I never had any real security in my life until I found the false security of stardom. ~ Robert Donat
Friedrich Robert Donat was born March 18, 1905 in Withington, Manchester, the fourth and youngest son of Ernst Emil Donat, a civil engineer, and his wife Rose Alice Green. He was educated at Manchester’s Central High School for Boys. He took elocution lessons with James Bernard.
Donat made his first stage appearance in 1921, at the age of 16, with Henry Baynton’s company at the Prince of Wales Theatre, Birmingham, playing Lucius in Julius Caesar. His real break came in 1924 when he joined the company of Shakespearean actor Sir Frank Benson, where he stayed for four years. Donat married Ella Annesley Voysey (1903–1994) in 1929; the couple had three children together but divorced in 1946.
Initially, he was known as “screen test” Donat in the industry because of his many unsuccessful auditions for film producers. MGM’s producer Irving Thalberg spotted him on the London stage in Precious Bane, and Donat was offered a part in Smilin’ Through (1932). He rejected this offer. Instead, Donat made his film debut in a quota quickie Men of Tomorrow (1932) for Alexander Korda’s London Films. An abysmal screen test for Korda had ended with Donat’s laughter. Reputedly, Korda in response exclaimed: “That’s the most natural laugh I have ever heard in my life. What acting! Put him under contract immediately.” Donat’s first great screen success soon followed in his fourth film. This was as Thomas Culpeper in The Private Life of Henry VIII (1933).
Korda loaned him to Edward Small for the only film Donat made in Hollywood, The Count of Monte Cristo (1934). He did not care for the film colony and, despite being offered the lead role in Captain Blood (1935), returned to Britain to begin work on Alfred Hitchcock’s The 39 Steps (1935) opposite Madeleine Carroll. His performance was well-received: “Mr Donat, who has never been very well served in the cinema until now, suddenly blossoms out into a romantic comedian of no mean order”, wrote the film critic C. A. Lejeune in The Observer at the time of the film’s release. Lejeune observed that he possessed “an easy confident humor that has always been regarded as the perquisite of the American male star. For the first time on our screen we have the British equivalent of a Clark Gable or a Ronald Colman, playing in a purely national idiom. Mr Donat, himself, I fancy, is hardly conscious of it, which is all to the good.” Hitchcock wanted Donat for the role of the Detective in Sabotage (1936), but this time Korda refused to release him.
In 1936, Donat took on the management of the Queen’s Theatre in Shaftesbury Avenue where he produced Red Night by J. L. Hodson. He made two further films under his contract with Korda, The Ghost Goes West (1935), and Knight Without Armor (1937). Korda became committed to the latter project because of Donat’s indecision. Madeleine Carroll had read the James Hilton novel while shooting The 39 Steps, and had persuaded Donat that it could be a good second film for them to star in together. Donat acquired the rights and passed them on to Korda, although by now Carroll was unavailable. His eventual co-star, Marlene Dietrich, was the source of much attention when she arrived in Britain, in which Donat was involved, and this was enough for him to suffer a nervous collapse a few days into the shooting schedule. Donat entered a nursing home. The production delay caused by Donat’s asthma led to talk of replacing him. Dietrich, contracted by Korda for $450,000, threatened to leave the project if this happened, and production was halted for two months, until Donat was able to return to work.
In 1938, Donat signed a contract with MGM British for £150,000 with a commitment to making 6 films. In The Citadel (1938), he played Andrew Manson, a newly qualified Scottish doctor, a role for which he received his first Best Actor Oscar nomination.
Donat is best remembered for his role as the school master in Goodbye, Mr. Chips (1939). His rivals for the Best Actor Award were Clark Gable for Gone with the Wind, Laurence Olivier for Wuthering Heights, James Stewart for Mr. Smith Goes to Washington and Mickey Rooney for Babes in Arms.
He was also a major theatre star. His stage career included performances in Shaw’s The Devil’s Disciple (1938) and Captain Shotover in a new staging of Heartbreak House (1942). With The Cure for Love (1945) by Walter Greenwood, one of the stage productions he directed, he began his professional association with Renée Asherson, later his second wife. This continued with a production of Much Ado About Nothing (1946) with the couple playing Benedict and Beatrice.
Donat lobbied hard for two film roles: he was cast in neither. He wanted to play the Chorus in Olivier’s Henry V, but the role went to Leslie Banks, and he longed desperately to be cast against type as Bill Sikes in David Lean’s Oliver Twist (1948), but Lean thought him wrong for the part and cast Robert Newton instead. The MGM British contract ended with litigation, and he made only two more films for the company, The Adventures of Tartu (1943), with Valerie Hobson and Perfect Strangers (Vacation From Marriage in the US) (1945) with Deborah Kerr.
Donat married Asherson, his second wife, in 1953. They later separated.
Donat suffered from chronic asthma, which affected his career and limited him to appearing in only twenty films. He was cast as Thomas Becket in T.S. Eliot’s Murder in the Cathedral in Robert Helpmann’s production at the Old Vic Theatre in 1952, but although his return to stage was well received, his illness forced him to withdraw during the run. The same reason also caused him to drop out of Hobson’s Choice (1954). Scheduled to play Willy Mossop, he was replaced by John Mills. Donat thought that his illness had a 90% basis in his psychology. Lease of Life (1954), made by Ealing Studios, was his penultimate film in which Donat plays a Vicar who discovers that he has a terminal illness.
Donat’s final role was the mandarin Yang Cheng in The Inn of the Sixth Happiness (1958). His last spoken words in this film, an emotional soliloquy in which he confesses his conversion reducing Ingrid Bergman as the missionary to tears, were the prophetic, “We shall not see each other again, I think. Farewell.” Several months after his death, Donat was nominated for his first Golden Globe and received a National Board of Review Special Citation for his performance.
He died on June 9, 1958 aged 53 in London. His biographer Kenneth Barrow writes on the cause of his death: “Perhaps the asthma had weakened him but, in fact, it was discovered he had a brain tumor the size of a duck egg and cerebral thrombosis was certified as the primary cause of death.”