Robert Donat was born in 1905 in Manchester. His stage debut came in 1921 and the following year made his first film “Men of Tomorrow”. He suffered from asthma which restristed his career. Although his film career is not extensive , his films are choise. They include “The Ghost Goes West” in 1935, “The Private Lives of Henry 8th”. He went to Hollywood to make one film “The Count of Monte Cristo” in 1934. He won an Academy Award for his performance opposite Greer Garson in “Goodbye Mr Chips”. His last film was in 1958 in “The Inn of the Sixth Happiness” with Ingrid Bergman in 1958. He died the same year at the age of 53.
TCM Overview:
One of Britain’s biggest stars from the Golden Age of movies, handsome Manchester native Robert Donat established himself as a formidable stage performer via one of Britain’s leading Shakespearean companies and made a splash in “The Private Life of Henry VIII” (1933), which also proved to be a major success abroad. A well-respected star in his homeland, Donat also built a following in America, but in the wake of “The Count of Monte Cristo” (1934), he opted to work only in England, which allowed him to continue appearing on the London stage. In between those engagements, he graced some of England’s best films of the 1930s, including Alfred Hitchcock’s “The 39 Steps” (1935), “Knight Without Armour” (1937), “The Citadel” (1938) and “Goodbye, Mr. Chips” (1939), which earned him a well-deserved Academy Award for Best Actor. Unfortunately, chronic asthma hindered Donat for much of his life, forcing him to take long periods of convalescence; by the time he appeared in “The Inn of the Sixth Happiness” (1958), he was forced to have an oxygen cylinder nearby at all times. Although poor health curtailed his career and forced Donat to turn down a number of potentially interesting roles, he managed to achieve a degree of respect and popularity with British audiences that matched such formidable contemporaries as Laurence Olivier.
Robert Donat was born Friedrich Robert Donat in Withington, Manchester, England on March 18, 1905. Intrigued by the prospect of being either a stage or screen actor, Donat first needed to overcome a pronounced stammer, which he was able to eventually do with the assistance of an elocutionist, who also helped him adopt a more neutral accent. In the wake of this speech therapy, Donat was revealed to possess a superb speaking voice and he left Central High School for Boys at age 15 in order to pursue an acting career. He made his stage debut a year later in a production of “Julius Caesar” and Donat’s proficiency with the Bard’s writings helped to establish him as an up-and-coming stage performer. He spent 1924 through 1928 as a member of Sir Frank Benson’s Company, appearing in such Shakespeare standards as “Merchant of Venice,” “King Lear” and “Hamlet.”
After honing his craft for several years with the Benson players and the Venner Repertory Company, Donat began to perform regularly in London. He soon acquired a positive reputation, but sought to appear in movies in order to help support himself and his wife. Donat first graced the silver screen in the crime drama “That Night in London” (1932), with his first notable part coming in “The Private Life of Henry VIII” (1933) as Thomas Culpeper. The picture was a notable critical and financial success, particularly in the United States, which led to an invitation from Hollywood for him to star in “The Count of Monte Cristo” (1934). As the unjustly besmirched Edmund Dantes, Donat made for a dashing, charismatic hero and the film proved to be a rousing and visually pleasing adaptation that satisfied both critics and the public.
Although he seemed on the verge of making a big splash in America, and was considered for the title role in “Captain Blood” (1935) that eventually went to Errol Flynn, Donat decided that he preferred working in England and returned home, where he was recruited to star in one of his most famous films, Alfred Hitchcock’s “The 39 Steps” (1935). Playing a man unjustly suspected of murder, Donat exuded great charm in his scenes with female lead Madeleine Carroll and added greatly to the movie, considered to be among its director’s best early efforts. Donat essayed a dual part in the delightful fantasy-comedy “The Ghost Goes West” (1935), as both an American businessman and his ancestral ghost, whom he unknowingly brought back home with him after moving the family’s castle in Scotland across the ocean. Critics were less impressed than ticket buyers, but it went on to be the top grossing British motion picture upon its general release the following year. Donat also displayed excellent chemistry with Marlene Dietrich in “Knight without Armour” (1937), a lavish tale of espionage set during the Russian Revolution. In the wake of these hits, he was put under contract by the British arm of the prestigious Hollywood studio, MGM.
Donat’s career was progressing wonderfully. He had become extremely popular with movie audiences, while also being able to continue his stage work in plays like “Romeo and Juliet” and “The Devil’s Disciple.” Unfortunately, these successes were dampened by a continuing problem with asthma attacks, which first began to afflict him earlier in the decade and caused production of “Knight Without Armour” to be halted for a month. His initial film for MGM was “The Citadel” (1938) and Donat received an Oscar nomination for his turn as a doctor who selflessly devotes himself to treating the poor, but has his ideals tested upon relocating to London and being exposed to the upper class. He was honored with a Best Actor Academy Award statue for “Goodbye, Mr. Chips” (1939), in which Donat portrayed a beloved English schoolmaster from age 25 through 83. In one his best remembered performances, Donat demonstrated remarkable range, beautifully conveying the breadth of the character’s life with both subtlety and dignity.
It would be three years before Donat returned to movies by essaying the title role in “The Young Mr. Pitt” (1942), with the historical biopic about the 19th century leader designed as a morale booster for war-weary English viewers. “The Adventures of Tartu” (1943) was a WWII thriller in the same vein, with Donat cast as a British soldier ordered to destroy a poison gas plant in occupied Czechoslovakia. That year, he also took over management of the Westminster Theatre, where he staged “The Cure for Love” and worked on radio. Donat was well matched with the lovely Deborah Kerr for the wartime romance “Perfect Strangers” (1945), though his real-life marriage to first wife Ella Annesley Voysey came to an end the following year. He appeared briefly as famous Irish politician Charles Parnell in “Captain Boycott” (1947) and enjoyed one of his best latter career parts in “The Winslow Boy” (1948), a superb adaptation of Terence Rattigan’s play concerning a naval cadet falsely accused of theft.
Donat expanded his motion picture credentials via the film version of “The Cure for Love” (1949), which he also wrote, produced and directed. Audiences adored the Lancashire-set comedy, but it was too local in nature to earn much international release and would be largely forgotten in later years. Remembered somewhat more widely, “The Magic Box” (1951) found Donat playing William Friese-Greene, the purported inventor of the movie camera and projector. The production’s claim of Britain deserving said honor was widely disputed, but Donat’s compelling performance more than compensated. By that point, Donat’s asthma issues (which he felt were psychosomatic) had hindered his career to an even greater degree, but he forged ahead. In 1953, the actor wed his second wife, actress Renée Asherson, and appeared at the Old Vic in “Murder in the Cathedral,” his final stage turn. Donat’s talents provided the best reason to watch the drama “Lease of Life” (1954), his first feature after a three-year absence, but by the late 1950s, Donat’s health had disintegrated to the point where he required steady access to an oxygen tank and the shooting of “The Inn of the Sixth Happiness” (1958) proved to be a difficult ordeal. He died on June 9, 1958, a brief time after the movie wrapped. His acting in “Sixth Happiness” took on an extra level of poignancy as Donat’s character was also on the verge of death. He was posthumously awarded a star on the Hollywood Walk of Fame in 1960.
By John Charles
The above TCM overview can also be accessed online here.
A Very Personal View
Robert Donat, the distinguished British actor whose mellifluous voice, sensitive intelligence and profound emotional range made him one of the finest performers of his generation — and whose Oscar‑winning portrayal of Mr. Chips remains a pinnacle of screen acting — died on 9 June 1958 at the age of 53. Despite a career tragically shortened by chronic asthma, he created a handful of performances of such depth and humanity that they continue to define excellence in cinematic art.
He was born Friedrich Robert Donat on 18 March 1905 in Withington, Manchester, the son of a Polish‑German civil engineer and an English mother. From childhood he was plagued by severe chronic asthma — a condition that would shadow his entire life and career. Yet even as a boy, his extraordinary speaking voice and natural dramatic instincts marked him as exceptional.
Donat trained at the Central School of Speech and Drama in London, where his classical technique and vocal precision quickly distinguished him. He made his professional stage debut in 1921, beginning a theatrical career that saw him excel in Shakespeare, Shaw, and contemporary drama. His stage presence was commanding yet intimate, and his voice — rich, precisely modulated, capable of infinite subtlety — became one of the great instruments of British theatre.
His film career began in the early 1930s, but his breakthrough came when Alfred Hitchcock cast him as Richard Hannay in “The 39 Steps” (1935). As the innocent man caught in a web of espionage and murder, Donat displayed the perfect combination of everyman vulnerability and heroic resourcefulness. His performance anchored Hitchcock’s masterpiece, making Hannay’s perilous journey completely believable and deeply engaging.
The success of The 39 Steps established Donat as a major international star, and he followed it with a series of distinguished performances:
• “The Count of Monte Cristo” (1934) — bringing psychological depth to Dumas’s revenge epic
• “The Citadel” (1938) — as the idealistic doctor whose principles are tested by success, earning him an Academy Award nomination
• “Goodbye, Mr. Chips” (1939) — his masterpiece, spanning fifty years in the life of a beloved schoolmaster
Goodbye, Mr. Chips represented the pinnacle of Donat’s artistry. His portrayal of Arthur Chipping from young teacher to aged headmaster was a tour de force of aging, character development, and emotional truth. Through makeup and masterful acting, he created a complete life story — the evolution of a shy, uncertain young man into a beloved institution. His performance earned him the Academy Award for Best Actor, beating Clark Gable’s Rhett Butler in Gone with the Wind.
Donat’s approach to acting was notably intellectual and meticulous. He researched his roles exhaustively, often learning new skills or studying professional fields to achieve authenticity. His preparation for The Citadel included extensive time with real doctors, and his Mr. Chips drew from detailed observation of British public school life.
Yet his career was increasingly constrained by his worsening health. His chronic asthma made filming difficult and sometimes impossible, forcing him to turn down numerous prestigious roles. The condition also affected his breathing technique, requiring him to carefully manage his energy and vocal resources.
His later films included:
• “The Young Mr. Pitt” (1942) — a stirring wartime biography of the British Prime Minister
• “Perfect Strangers” (1945) — opposite Deborah Kerr
• “The Winslow Boy” (1948) — Terence Rattigan’s acclaimed courtroom drama
• “The Magic Box” (1951) — a tribute to cinema pioneer William Friese‑Greene
Each performance demonstrated his continued growth as an artist. In The Winslow Boy particularly, his portrayal of the barrister defending a boy’s honour was both intellectually rigorous and deeply moving.
Despite his international success, Donat remained deeply connected to British theatre. He appeared regularly on the London stage, often in challenging classical roles that demanded his full range. His Becket in Murder in the Cathedraland his King Lear were particularly celebrated.
His personal life was marked by the same thoughtfulness that characterized his professional work. He was married twice — first to Ella Voysey and later to Renée Asherson — and was a devoted father. Friends described him as cultured, witty, and surprisingly modest despite his great success.
The final years of his life were increasingly dominated by illness, but he continued working when possible. His last major film, The Inn of the Sixth Happiness (1958), was completed despite severe health challenges and stands as a testament to his professional dedication.
Robert Donat died in London hospital, succumbing to the chronic condition that had plagued him throughout his life. His death at 53 was mourned internationally as the loss of one of cinema’s great artists.
His legacy endures in the timeless quality of his best performances. Goodbye, Mr. Chips remains a masterpiece of screen biography, while The 39 Steps showcases his remarkable ability to ground fantastic situations in recognizable human emotions.
Donat represented British acting at its most refined and intelligent — classical training combined with profound humanity, technical excellence balanced by emotional truth. He proved that great screen acting requires not just talent but patience, preparation, and the wisdom to choose quality over quantity.
Though his output was smaller than many of his contemporaries, every performance bore the mark of an artist committed to excellence and truth
