The Sixth of Lionel: we get academical

Here lies the abstract and poster image of my recent research results on Lionel Barrymore's fifteen Kildare/ Gillespie films of the 30s and 40s. If  "Pearson Correlation Test" bores you, at least read on for the images! I presented this at my university on April 11, 2018.

Lionel Barrymore’s career began in 1911 and consists of over 200 films; from 1938 (when he required a wheelchair) through 1953, he made 37 films. As seen in film grosses and polls, he was very popular, in no small part due to his role as diagnostician Leonard Gillespie in fifteen Dr. Kildare/Dr. Gillespie films for Metro-Goldwyn-Mayer, from 1938 to 1947. Due to his appeal, MGM kept him constantly busy post-disablement—the role of Gillespie was adapted specifically for him, as were other roles, including in It’s a Wonderful Life. He acted in film and radio until his death in 1954, often as a highly lucrative loanout from MGM, working with filmmakers to adapt roles to his disability, only very occasionally as a plot device. His success acting in a wheelchair as a person who actually required one is unduplicated. How was he able to transition into roles in which his disability was rarely the primary focus, and how might his huge success have transformed the perception of physical disability by the public in his lifetime, reflected in film approaches to his wheelchair use? Specifically, how does this series of films serve as a normalizing influence on the perception of people in wheelchairs?

The data presented here covers all fifteen films, in the course of which Gillespie went from supporting role to lead role, and during which the back story went from Gillespie being near-terminally ill to free from illness. There is another significant shift represented, in that Lew Ayres, the young actor playing Dr. Kildare, Gillespie’s assistant, left the series after the start of World War II. He did not return to the series and Barrymore took on the primary lead from 1942-1947. A second article will explore in more depth the individual scenes and films which demonstrate the shifts in how Gillespie’s disability was discussed and used in the films from 1938 to the end and show how correlations among certain items coded for change both in the post-illness (or “cure”) films and in the post-Kildare films. The films served to “normalize” and make visible to a wide public in the US wheelchair-use—the sheer number of the Kildare/Gillespie films demonstrates a public desire for them, as well as Lionel Barrymore’s long and lucrative post-1938 career.

There are no prior studies on this; Norden (1994) mentions Barrymore as a disabled, successful actor but does not explore this film series or possible influence on public attitudes. Underlying the question is Wolfenberger’s Social Role Valorization concept and potential “normalizing” of wheelchair-users via Barrymore’s enormous success.

Hypotheses will be tested using via Pearson Correlation.

H1: There will be a relationship between time and number of instances of rejecting help

H2: There will be a relationship between time and number of instances of asking for help

H3: There will be a relationship between time and number of instances of interacting with others

The films were coded for instances of wheelchair use, based on the Dalhousie Wheelchair Skills Test 4.3 (2016) as well as the Fleiss-Douer, et al evaluation of wheelchair training programs (2010). 34 variables were coded for in each film by the principal investigator. Skills coded for are typical of those utilized by wheelchair users in the US and Canada, including negotiating doorways and obstacles and transferring. Further items included reactions and interplay among characters, queries about wheelchair use, verbal references to disability, and Gillespie’s reactions to help offered as well as his asking for assistance. Notable was a shift in attitude and camerawork in the presentation of Gillespie over time, significant for later research

For the first hypothesis, a Pearson correlation test was used to determine if a correlation existed between time and the number of instances of rejecting help. No significant relationship was found between the two variables, r = -.420, n = 15, p = .119. As time progressed, the number of instances of rejecting help did not increase or decrease. The hypothesis presumed a greater independence and visibility for Gillespie’s character would lead to an increase in “independent” activity. This was not borne out in analysis. “Rejecting help” here was verbal rejection of help offered by others (and verbal rejection of physical touch of his wheelchair or body?).

In the second instance, where the passage of time would correlate with the number of instances the character requested help, no significant relationship was found between the two variables in a Pearson correlation test, r = +.051, n = 15, p = .857. This presumption derived from the idea as the character grew into a more prominent role, his interactions would increase and therefore would have not only more people to assist him, but might also feel confident he could receive help if needed. While there was no obvious relationship between those two items, raw numbers of the items “Help accepted without request” and “Asking for help with wheelchair or item” stayed relatively consistent over the series, with “Acceptance of touch (non-aid, body or wheelchair”) increased after the “cure” film (number six in the series).

Finally, the third hypothesis, that there would be a relation between time and the number of instances of interaction between Gillespie and other characters, derived from the concept as Gillespie’s disability receded in importance, his interactions (not merely exchanging words) would increase. Items included were occurrences of asking for help, interacting with another character with a physical disability, help accepted, touch accepted, children speaking to Gillespie, and physical threats by others to Gillespie. No significant relationship was found between the two variables, r = +.053, n = 15, p = .851, in a Pearson correlation test. As time progressed, the number of instances of interacting with others did not increase or decrease.

DISCUSSION

While data did not support the hypotheses, preliminary exploration of variables in a number of combinations encourages further research on how these fifteen films contributed to a normalizing of wheelchair-users in public opinion. Notable was a shift in attitude and camerawork in the presentation of Gillespie over time, significant for later research. Additional data on box office earnings and qualitative research on reviews of the films, as well as the extent of the films’ distribution, will provide further directions for research. The unique nature of the films and Lionel Barrymore’s career promises a wealth of information to sharpen research focus

The research poster done with a colleague on the above data

And here are some images from the films that I did not include--happy sixth of Lionel!

Between 2 Women, with Van Johnson

Dr. Kildare's Wedding Day--yes, Mr B could stand and even walk. It just caused a lot of pain.

Young Dr Kildare--Dr G winking at a baby

The People v Dr. Kildare--unusual to see a therapy being used in films with disabled folk

The People v Dr. Kildare--Dr G sings "Mademoiselle from Armentier" to a baby

After Kildare's fiance is *SPOILER ALERT!!!!!*******killed, Dr G tells his own lost love story while playing piano

Lionel Barrymore and Lew Ayres, colleagues and friends.