I remember seeing Clark Gable’s star-making performance in “It Happened One Night” (1934) when I was a boy. Seeing as how a good portion of Capra’s clever jokes are easily lost on young viewers, I didn’t really have a particular interest in watching a black-and-white film that I barely understood. However, a decade later, I can still revel in the memory of Clark Gable bringing a goofy smile to my face, which is one of the many great things about the “King of Hollywood”--he has ability to charm even the most skeptical cynic.

What struck me first and foremost about this collection was Fox’s possession of the rights to several Gable films. Given his long-standing contract with MGM, Gable was almost always under the control and supervision of Louis B. Mayer. Occasionally, Mayer would lend Gable’s acting services to other studios (in the interest of financial gain), and that’s precisely how “Call of the Wild” (1935) came to be. Although William A. Wellman’s able direction provides the film with ample entertainment and rousing adventurism, it’s Gable’s charismatic persona that consistently piques audiences’ attention.

In contrast with Gable’s popularity, Wellman’s reputation in Hollywood was that of a temperamental obsessive. He was a director who had difficulty tolerating actors and, in many cases, their over-sized egos. This intolerance allegedly extended to the point where he would exercise physical abuse and fear to obtain desired performances. However, Wellman satisfied studio executives with his perfectionism--a quality that elevated his weaker films to great success and his finest films to masterworks. “Call of the Wild” may reside in Wellman’s lower echelon of productions, but it still has the distinct Wellman touch--a ruggedness and indisputable sense of excitement.

Not surprisingly, Gable, who was equally-opinionated and strong-minded, butted heads with Wellman throughout production. In one dire circumstance, Wellman claimed to have wanted nothing more than to punch Gable in the face. Fortunately for Gable, his good looks, an integral part of his charm and the film, were left unharmed.

Written by Gene Fowler and Leonard Praskins, the script is loosely-adapted from Jack London’s novel “Call of the Wild,” which is also the inspiration for numerous other film incarnations (several of which use “White Fang” as an alternative to the book’s original title). London’s tale of camaraderie is well captured by Gable (in the role of Jack Thornton) and the fierce sled dog, Buck. However, London’s liberal approach to domesticating the untamable is underplayed in this Hollywood adaptation--perhaps for the greater good of non-political entertainment. Above all other distinctions, Reginald Owen’s villainous performance separates Wellman’s “Call of the Wild” from subsequent versions.

Wellman and the screenwriters heighten Owen’s snarling crook to contrast the sappy companionship of a man and his dog, which works to the film’s advantage. Wellman never allows the film to become overly sentimental, regardless of the hints of melodrama. Unfortunately for film aficionados, studio executives scrapped a darker original ending in favor of a more pleasant finale. Although Fox has included Wellman’s compromised vision, the film is still a fine addition to the adventure genre.

In the years following “Call of the Wild,” Gable would become increasingly respected, and his personal life would mirror his professional success. In 1939, he wed actress Carole Lombard, and the two stars were happily married until Lombard’s tragic death three years later in an airplane crash. Gable’s status in Hollywood was that of an icon after his accomplished and noted performance in the immensely popular “Gone With the Wind” (1939). However, his wife’s untimely death brought a halt to his career aspirations and left Gable drifting in depression. Perhaps in an attempt to come to terms with his life, Gable enlisted in WWII. He returned to Hollywood a more mature person, and his performances were noticeably different for better and for worse. Gable’s newfound approach to life and his occupation immediately resulted in conflict with his longtime contacts at MGM, where he was offered roles that he found neither challenging nor exciting enough to suit his interests. In a bout to work on projects that he found more stimulating, Gable left MGM to work independently. Without the guidance of a major Hollywood studio, Gable had his share of hits and misses. Fox encountered a bit of both when they hired him for “Soldier of Fortune” (1955) and “The Tall Men.”

On many accounts, “Soldier of Fortune” is the missed opportunity of the three films included in this set. Leo Tover shot the film in Cinemascope and exquisite DeLuxe color, but director Edward Dmytryk rarely took advantage of the widescreen framing (in a case of unfamiliarity with new technology). Nevertheless, Tover’s knack for photography is evident in the lush scenes shot on-location in Hong Kong. It’s when the camera moves to Fox’s soundstages that the weight of Dmytryk’s inexperience is revealed. Although Dmytryk’s contributions are sub-par, he is not entirely responsible for the film’s weaknesses. Ernest K. Gann’s script is largely lifeless and meandering, which is relatively surprising when considering the film’s timely political subject matter. Unfortunately, Gann’s Cold War insights take a backseat to the cheesy romance that has very little to offer audiences other than Susan Hayward’s pleasant figure. Gable’s heroic Hank Lee and Rennie’s police inspector inspire enough fun to prevent the film from drowning in its many clichés, but it’s difficult to revive a film that’s plagued with a feeble script, regardless of one’s acting talent.

After drifting through the insipid melodrama in “Soldier of Fortune,” Raoul Walsh’s “The Tall Men” is a pleasure. The western draws on classic films of the past to inform the focus of Frank Nugent’s witty and intelligent script. Borrowing a major scenario from Howard Hawks’ masterful “Red River” (1948) involving the cattle drive, Nugent expands on the Hawksian themes of camaraderie and loyalty with a bitter rivalry between Gable and Robert Ryan. Again, Leo Tover worked as the cinematographer, and his use of ‘scope accentuates the vast beauty of the west. Director Walsh’s inexperience with comedy is hardly evident as he exploits Jane Russell’s steamy banter and sexually suggestive rendition of “I Want a Tall Man…” But, what’s most surprising is Russell’s handle on the material and her tolerable performance. Long considered a pretty face with a voluptuous stature after being cast in Howard Hughes’s “The Outlaw” for solely that reason, Russell is able to shake the misconceptions of her acting ability, albeit temporarily, for this film. “The Tall Men” is easily the gem in this collection--a western that is begging to be re-discovered by new audiences.

Twentieth Century Fox advertises their release of the “Clark Gable Collection” as a set that contains a selection of Gable’s “most thrilling classics.” While this claim may be stretching the truth, the films included in the box set contain a strong dose of the rollicking entertainment that Gable’s name is now synonymous with. With that said, what better excuse would Fox need to give cineastes and fans of Gable two fine films and a decent one that have yet to be released on DVD.

Kurtis J. Beard