| Henry Fonda | ... | Abraham Lincoln | |
| Alice Brady | ... | Abigail Clay | |
| Marjorie Weaver | ... | Mary Todd | |
| Arleen Whelan | ... | Sarah Clay | |
| Eddie Collins | ... | Efe Turner | |
| Pauline Moore | ... | Ann Rutledge | |
| Richard Cromwell | ... | Matt Clay | |
| Donald Meek | ... | Prosecutor John Felder | |
| Judith Dickens | ... | Carrie Sue | |
| Eddie Quillan | ... | Adam Clay | |
| Spencer Charters | ... | Judge Herbert A. Bell | |
| Ward Bond | ... | John Palmer Cass | |
| rest of cast listed alphabetically: | |||
| Tiny Jones | ... | (scenes deleted) (as Elizabeth Jones) | |
| Eddy Waller | ... | Father (scenes deleted) | |
| Clarence Wilson | ... | Dr. Mason (scenes deleted) | |
| Ernie Adams | ... | Man with Lynch Mob (uncredited) | |
| Sam Ash | ... | Extra Dancing at Party (uncredited) | |
| Arthur Aylesworth | ... | New Salem Townsman (uncredited) | |
| Virginia Brissac | ... | Peach Pie Baker (uncredited) | |
| Paul E. Burns | ... | Loafer (uncredited) | |
| George Chandler | ... | Loafer (uncredited) | |
| Cliff Clark | ... | Sheriff Gil Billings (uncredited) | |
| Frank Dae | ... | (uncredited) | |
| Francis Ford | ... | Sam Boone (uncredited) | |
| Harold Goodwin | ... | Jeremiah Carter (uncredited) | |
| Charles Halton | ... | Hawthorne (uncredited) | |
| Herbert Heywood | ... | Tug-o'-War Contest Official (uncredited) | |
| Robert Homans | ... | Mr. Clay (uncredited) | |
| Dickie Jones | ... | Adam Clay as a Boy (uncredited) | |
| Jack Kelly | ... | Matt Clay as a Boy (uncredited) | |
| Fred Kohler Jr. | ... | Scrub White (uncredited) | |
| Kay Linaker | ... | Mrs. Edwards (uncredited) | |
| Robert Lowery | ... | Juror Bill Killian (uncredited) | |
| Jim Mason | ... | Juror (uncredited) | |
| Louis Mason | ... | Court Clerk (uncredited) | |
| Edwin Maxwell | ... | John T. Stuart (uncredited) | |
| Sylvia McClure | ... | Baby Clay (uncredited) | |
| Ivor McFadden | ... | Juror (uncredited) | |
| Tom McGuire | ... | Bailiff (uncredited) | |
| Dave Morris | ... | Loafer (uncredited) | |
| Frank Orth | ... | Loafer (uncredited) | |
| Jack Pennick | ... | Big Buck Troop (uncredited) | |
| Steven Randall | ... | Juror (uncredited) | |
| Russell Simpson | ... | Woolridge (uncredited) | |
| Milburn Stone | ... | Stephen A. Douglas (uncredited) | |
| Charles Tannen | ... | Ninian Edwards (uncredited) | |
| Harry Tyler | ... | Barber (uncredited) | |
| Dorothy Vaughan | ... | Apple Pie Baker (uncredited) | |
| Billy Watson | ... | Boy on Right of Bean Shooter (uncredited) | |
| Delmar Watson | ... | Admiring Boy in New Salem (uncredited) | |
Directed by | |||
| John Ford | |||
Writing credits | ||
| Lamar Trotti | (screenplay) | |
Produced by | |||
| Kenneth Macgowan | .... | associate producer | |
| Darryl F. Zanuck | .... | producer | |
Original Music by | |||
| Alfred Newman | |||
| David Buttolph | (uncredited) | ||
| Louis Silvers | (uncredited) | ||
| Paul Van Loan | (uncredited) | ||
Cinematography by | |||
| Bert Glennon | |||
| Arthur C. Miller | (uncredited) | ||
Film Editing by | |||
| Walter Thompson | |||
| Robert Parrish | (uncredited) | ||
Art Direction by | |||
| Richard Day | |||
| Mark-Lee Kirk | |||
Set Decoration by | |||
| Thomas Little | |||
Costume Design by | |||
| Royer | |||
Second Unit Director or Assistant Director | |||
| Wingate Smith | .... | assistant director (uncredited) | |
Sound Department | |||
| Eugene Grossman | .... | sound | |
| Roger Heman Sr. | .... | sound (as Roger Heman) | |
| Robert Parrish | .... | sound effects editor (uncredited) | |
Stunts | |||
| Yakima Canutt | .... | stunts (uncredited) | |
Costume and Wardrobe Department | |||
| Sam Benson | .... | wardrobe (uncredited) | |
Music Department | |||
| Louis Silvers | .... | musical director (uncredited) | |
Other crew | |||
| Rosemary Benét | .... | poet: poem "Nancy Hanks" | |
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| They Won't Forget | Karakter | Call Northside 777 | Fury | Strangers on a Train |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb USA section | Add this title to MyMovies |
Young Mr. Lincoln marks the first film of the director/star collaboration of John Ford and Henry Fonda. I recall years ago Fonda telling that as a young actor he was understandably nervous about playing Abraham Lincoln and scared he wouldn't live up to the challenge.
John Ford before the shooting starts put him at ease by saying he wasn't going to be playing the Great Emancipator, but just a jack-leg prairie lawyer. That being settled Fonda headed a cast that John Ford directed into a classic film.
This is not a biographical film of Lincoln. That had come before in the sound era with Walter Huston and a year after Young Mr. Lincoln, Raymond Massey did the Pulitzer Prize winning play by Robert Sherwood Abe Lincoln in Illinois. Massey still remains the definitive Lincoln.
But as Ford said, Fonda wasn't playing the Great Emancipator just a small town lawyer in Illinois. The film encompasses about 10 years of Lincoln's early life. We see him clerking in a general store, getting some law books from an immigrant pioneer family whose path he would cross again later in the story. And his romance with Ann Rutledge with her early death leaving Lincoln a most melancholy being.
Fast forward about 10 years and Lincoln is now a practicing attorney beginning to get some notice. He's served a couple of terms in the legislature, but he's back in private practice not really sure if politics is for him.
This is where the bulk of the action takes place. The two sons of that family he'd gotten the law books from way back when are accused of murder. He offers to defend them. And not an ordinary murder but one of a deputy sheriff.
The trial itself is fiction, but the gambit used in the defense of Richard Cromwell and Eddie Quillan who played the two sons is based on a real case Lincoln defended. I'll say no more.
Other than the performances, the great strength of Young Mr. Lincoln is the way John Ford captures the mood and atmosphere and setting of a small Illinois prairie town in a Fourth of July celebration. It's almost like you're watching a newsreel. And it was the mood of the country itself, young, vibrant and growing.
Fans of John Ford films will recognize two musical themes here that were repeated in later films. During the romantic interlude at the beginning with Fonda and Pauline Moore who played Ann Rutledge the music in the background is the same theme used in The Man Who Shot Liberty Valance for Vera Miles. And at a dance, the tune Lovely Susan Brown that Fonda and Marjorie Weaver who plays Mary Todd is the same one Fonda danced with Cathy Downs to, in My Darling Clementine at the dance for the raising of a church in Tombstone.
Lincoln will forever be a favorite subject of biographers and dramatists because of two reasons, I believe. The first is he's the living embodiment of our own American mythology about people rising from the very bottom to the pinnacle of power through their own efforts. In fact Young Mr. Lincoln very graphically shows the background Lincoln came from. And secondly the fact that he was our president during the greatest crisis in American history and that he made a singularly good and moral decision to free slaves during the Civil War, albeit for some necessary political reasons. His assassination assured his place in history.
Besides Fonda and others I've mentioned special praise should also go to Fred Kohler, Jr. and Ward Bond, the two town louts, Kohler being the murder victim and Bond the chief accuser. Also Donald Meek as the prosecuting attorney and Alice Brady in what turned out to be her last film as the pioneer mother of Cromwell and Quillan. And a very nice performance by Spencer Charters who specialized in rustic characters as the judge.
For a film that captures the drama and romance of the time it's set in, you can't do better than Young Mr. Lincoln.