Tyrone Power
Tyrone Power (May 5, 1914 – November 15, 1958) was an American actor celebrated as one of Hollywood's premier matinee idols, particularly for his charismatic portrayals in swashbuckling adventure films and romantic dramas from the late 1930s to the mid-1950s.[1] Born in Cincinnati, Ohio, to stage actors Frederick Tyrone Power and Helen Emma Reaume, he hailed from a prominent acting dynasty that included his great-grandfather, the Irish performer Tyrone Power (1797–1841).[1][2] Power began his film career in 1932 with a minor role in Tom Brown of Culver, but achieved stardom in 1936 with his lead performance in Lloyd's of London, which launched him as a top box-office draw for 20th Century Fox.[1][2] He starred in over 50 films, excelling in genres from action-adventure—such as The Mark of Zorro (1940), Blood and Sand (1941), and Captain from Castile (1947)—to more dramatic roles in The Razor's Edge (1946) and the film noir Nightmare Alley (1947).[1][2] Later in his career, he transitioned successfully to the stage, earning acclaim for his performances in John Brown's Body (1953) and the 1950 London production of Mister Roberts.[1][3] During World War II, Power interrupted his Hollywood career to serve in the United States Marine Corps from 1942 to 1946, rising to the rank of captain and participating in combat missions in the Pacific Theater, including the Battle of Iwo Jima.[1][2] In his personal life, he was married three times—to actress Annabella from 1939 to 1948, actress Linda Christian from 1949 to 1955, and Deborah Minardos in 1958—and fathered three children: Romina Power, Taryn Power, and Tyrone Power Jr.[1][2] Power died suddenly of a heart attack at age 44 while filming Solomon and Sheba in Madrid, Spain; he was posthumously honored with a star on the Hollywood Walk of Fame in 1960.[1][2][3]Early years
Family background
Tyrone Edmund Power III was born on May 5, 1914, in Cincinnati, Ohio, into a family deeply rooted in the performing arts.[4] His father, Frederick Tyrone Edmond Power (1869–1931), known professionally as Tyrone Power Sr., was an English-born American stage and early film actor renowned for his Shakespearean roles and appearances in silent movies.[4] The paternal lineage traced back to prominent Irish actors of the 19th century; Power's great-grandfather, Tyrone Power (1795–1841), was a celebrated comedian and performer who toured extensively in Britain and America, while his granduncle, Maurice Power (d. 1849), gained acclaim as a Shakespearean tragedian.[4] This theatrical heritage, combined with his father's career, immersed young Power in an environment filled with discussions of plays, rehearsals, and performances from an early age.[5] His mother, Helen Emma Reaume (1882–1959), known onstage as Patia Power, was the daughter of Charles W. Reaume and shared her husband's passion for acting, performing in regional theater and silent films while also serving as a dramatic coach.[5] After Tyrone Power Sr.'s death in December 1931, Power remained in California to pursue acting opportunities, while his mother relocated there in 1932, settling in Santa Barbara.[6] This early exposure to the artistic world through both parents profoundly shaped Power's upbringing, fostering his innate interest in acting.[4]Education and influences
Tyrone Power received his early education at Catholic grammar schools in the Cincinnati area, where he was raised following his parents' divorce.[7] For high school, he began as a freshman at the Jesuit-run St. Xavier High School in downtown Cincinnati, where he credited Father Flynn as a significant positive influence on his development.[8] He then spent his sophomore year at the University of Dayton's preparatory school before transferring to and graduating from Purcell High School in 1931.[7][8] During his school years, Power nurtured an interest in drama, participating in school productions that deepened his passion for the stage, influenced by his family's long theatrical heritage.[8] He also pursued hobbies such as aviation, logging over 180 flight hours as a licensed private pilot before World War II, which reflected his adventurous inclinations.[9] Upon graduating from high school, Power opted against attending college and instead joined his father, the actor Tyrone Power Sr., that summer for an apprenticeship in Shakespearean acting, initially in Quebec.[10][6] Following his father's sudden death from a heart attack in December 1931 while performing in California, Power remained in the state to continue his theater involvement and build on the foundational training he had received.[2]Career beginnings
Stage debut and training
Following the death of his father in 1931, Tyrone Power relocated to California, where he engaged in community theater in 1932 before making his professional stage debut in 1933 at the Pasadena Playhouse. There, from 1933 to 1935, he honed his craft in small roles and stock theater productions. The Playhouse, a prominent training ground for aspiring actors, provided him with rigorous instruction in acting techniques, voice, and movement, allowing him to build a foundation away from his family's legacy. During this period, he appeared in minor parts in plays such as Low and Behold, gaining practical experience in repertory theater while supporting himself through odd jobs amid financial hardships.[6] Power's determination to forge an independent career was evident in his efforts to overcome early poverty and the burden of his family's legacy, often performing in low-paying stock companies and refusing financial aid from his mother to prove his merit. This resolve culminated in his Broadway debut in 1935 as an understudy in Flowers of the Forest, followed by his role as Benvolio in Shakespeare's Romeo and Juliet opposite the acclaimed Katharine Cornell at the Martin Beck Theatre. Directed by Guthrie McClintic, the production ran for 185 performances, earning Power critical notice for his performance, which helped solidify his transition from regional stages to major theater. His Pasadena years provided the onstage confidence for such high-profile roles.[4][11]Entry into film and breakthrough
After gaining attention on Broadway, Tyrone Power transitioned to film in 1936 when a 20th Century-Fox scout spotted him during a performance in Saint Joan and arranged a screen test.[6] Despite initial reservations from studio head Darryl F. Zanuck about his suitability, Power impressed director Henry King and was signed to a seven-year contract, marking his entry into Hollywood cinema. His prior stage experience provided a strong foundation for this shift, allowing him to bring poise and charisma to the screen.[12] Power's first substantial role came in Girls' Dormitory (1936), where he played the supporting part of Count Vallais, a brief but noticeable appearance opposite Simone Simon and Herbert Marshall that highlighted his appeal.[13] He followed with another supporting role as Count Karl Lanyi in Ladies in Love (1936), sharing the screen with Janet Gaynor and Loretta Young, which further showcased his versatility in ensemble casts. His breakthrough arrived later that year with the lead role of young Jonathan Blake in Lloyd's of London, a historical drama directed by Henry King; Power's portrayal of the ambitious insurance pioneer earned critical praise and propelled him to stardom at age 22, as the film became a box-office success.[14] Building on this momentum, Power solidified his leading man status in Love Is News (1937), a romantic comedy directed by Tay Garnett in which he starred as reporter Steve Leyton alongside Loretta Young and Don Ameche; the film received positive reviews for his light comedic timing and romantic chemistry. Under Zanuck's guidance at 20th Century-Fox, Power was positioned as a matinee idol, starring in a series of romantic and adventure films that capitalized on his handsome features, athletic build, and screen presence to draw audiences throughout the late 1930s.[7][15]World War II era
Pre-enlistment roles
Tyrone Power solidified his status as a leading man at 20th Century-Fox through a series of high-profile films in the late 1930s, showcasing his charisma and athleticism in historical dramas and adventures. In 1938, he starred as the ambitious gambler Dion O'Leary in In Old Chicago, directed by Henry King, a disaster epic that dramatized the Great Chicago Fire and highlighted Power's romantic tension with Alice Faye's character. Later that year, Power portrayed the visionary engineer Ferdinand de Lesseps in Suez, directed by Allan Dwan, where he depicted the engineer's unrequited love amid the construction of the Suez Canal, blending romance with biographical elements.[16][17] Power's breakthrough in the Western genre came in 1939 with Jesse James, directed primarily by Henry King, in which he played the titular outlaw alongside Henry Fonda as his brother Frank, portraying the James brothers' descent into crime following railroad exploitation. The film was a major commercial success, ranking as the third highest-grossing picture of the year and earning praise for Power's portrayal of the charismatic yet tragic anti-hero. That same year, Power was named the second biggest box-office draw in Hollywood according to the Quigley Publishing Company's annual poll, trailing only Mickey Rooney, which underscored his rapid rise as one of the industry's top male attractions.[18] Entering the 1940s, Power embraced the swashbuckling persona that defined much of his pre-war career. In The Mark of Zorro (1940), directed by Rouben Mamoulian, he dual-roled as the effete nobleman Diego de la Vega and the masked vigilante Zorro, dueling memorably with Basil Rathbone in a Technicolor spectacle that became one of Fox's biggest hits and cemented Power's image as a dashing hero. He followed this with Blood and Sand (1941), again under Mamoulian's direction, embodying the passionate matador Juan Gallardo in a lush adaptation of Vicente Blasco Ibáñez's novel, opposite Rita Hayworth and Linda Darnell, where his performance captured the bullfighter's rise, temptation, and downfall.[19][20] Power's final major pre-enlistment role was in The Black Swan (1942), directed by Henry King, as the roguish pirate Jamie Waring, who navigates treachery and romance with Maureen O'Hara aboard pirate ships in the Caribbean; the Technicolor adventure was another box-office triumph, further exemplifying Power's versatility across genres from Westerns and romances to high-seas epics. His frequent collaborations with Henry King—spanning In Old Chicago, Jesse James, and The Black Swan—produced some of his most enduring successes, fostering a directorial rapport that emphasized Power's physical prowess and emotional range. By 1942, Power had cultivated a massive fan base, rivaling stars like Clark Gable and positioning him as Hollywood's premier leading man in adventure and romantic fare.[21][22]Military service
In April 1942, Tyrone Power applied for enlistment in the U.S. Navy, reflecting his determination to serve amid his rising Hollywood career.[23] However, he ultimately enlisted in the United States Marine Corps on August 28, 1942, at the age of 28, rejecting Twentieth Century Fox's offer for a direct officer's commission to begin as a private.[9] His enlistment delayed his entry due to ongoing film commitments, such as completing Crash Dive (1943), a submarine-themed war picture that aligned with wartime propaganda efforts.[24] Power underwent boot camp training at Marine Corps Recruit Depot San Diego, followed by Officer Candidate School at Marine Corps Base Quantico, Virginia, where he was commissioned as a second lieutenant.[9] Drawing on his pre-war experience as a licensed private pilot with over 180 logged flight hours, he entered an accelerated aviation program at Naval Air Station Corpus Christi, Texas.[9] There, he qualified as a co-pilot on the R5C Commando, a Navy variant of the Curtiss C-46 transport aircraft used for hauling troops, cargo, and medical evacuations.[9] In July 1944, Power joined Marine Transport Squadron (VMR) 352 at Marine Corps Air Station Cherry Point, North Carolina, transitioning with the unit to Marine Corps Air Station El Toro, California, in October.[9] He was soon reassigned to VMR-353, deploying to Kwajalein Atoll in the Marshall Islands in February 1945 as part of the Pacific Theater operations.[9] From this forward base, Power flew critical transport missions, ferrying personnel, supplies, and wounded Marines under hazardous conditions, including participation in the Iwo Jima and Okinawa campaigns where his squadron supported amphibious assaults and sustained combat efforts.[9] Power's exemplary performance as a pilot earned him steady promotions, reaching the rank of first lieutenant during active duty.[9][24] For his contributions, he received the American Campaign Medal, the Asiatic-Pacific Campaign Medal with two bronze stars—for Iwo Jima and Okinawa—and the World War II Victory Medal.[9] His decision to enlist voluntarily, despite his status as one of Hollywood's top stars, underscored a commitment to duty that contrasted with his on-screen heroic personas from pre-war films.[9]Post-war career
Hollywood return and 1940s films
Following his honorable discharge from the U.S. Marine Corps in January 1946 after nearly four years of active duty, Tyrone Power swiftly reintegrated into Hollywood, resuming his contract with 20th Century-Fox.[24] His first postwar project was the adaptation of W. Somerset Maugham's novel The Razor's Edge, in which he portrayed the introspective Larry Darrell, a World War I veteran grappling with existential questions during a spiritual quest. Power actively lobbied studio head Darryl F. Zanuck for the role, viewing it as a departure from his prewar swashbuckler persona and a reflection of his own wartime introspection. Released in November 1946, the film earned Power widespread critical acclaim for his nuanced performance and grossed approximately $5 million domestically, becoming one of Fox's top earners that year and reestablishing his box-office draw.[25][26] Power's late-1940s output continued to blend adventure with emerging dramatic depth, signaling a postwar evolution in his screen image. In 1947, he starred as the heroic Spanish conquistador Pedro de Vargas in Captain from Castile, a lavish Technicolor epic directed by Henry King that showcased his athleticism in sword fights and chases across Mexico. The film, based on Samuel Shellabarger's novel, was a commercial success, ranking among the year's top-grossing releases and reinforcing Power's status as Fox's leading male star, whose films had collectively generated hundreds of millions in revenue by decade's end. Later that year, Power took on his most challenging role to date in Nightmare Alley, directed by Edmund Goulding, playing the ambitious carny Stanton Carlisle, who rises as a manipulative mentalist only to descend into moral ruin. This gritty film noir, adapted from William Lindsay Gresham's novel, marked Power's personal favorite among his works for its psychological intensity and allowed him to explore darker, anti-heroic themes influenced by his war experiences.[27][28][29] Despite these artistic advances, Power encountered tensions with 20th Century-Fox over his push for more substantive roles amid the studio system's rigid expectations. Zanuck initially resisted Nightmare Alley, fearing it would tarnish Power's matinee idol appeal, but the actor's insistence secured the project—though the studio provided minimal promotional support, contributing to its underwhelming box-office performance. This friction highlighted Power's growing dissatisfaction with formulaic assignments as Hollywood navigated postwar shifts, including the decline of the studio era and rising competition from television. While maintaining his commercial viability—evidenced by his consistent top-ten box-office rankings through the decade—Power began expressing interest in theater as an outlet for deeper artistic exploration, foreshadowing his later stage successes.[30][1]1950s roles and theater work
In the 1950s, Tyrone Power sought to diversify his career beyond the romantic leads that had defined his earlier Hollywood years, embracing more mature and challenging film roles as the studio system waned and independent productions rose. He portrayed the titular pianist in The Eddy Duchin Story (1956), a biographical drama directed by George Sidney that highlighted his ability to convey emotional depth amid musical sequences, contributing to the film's status as one of Columbia Pictures' top-grossing releases that year.[31] Power's performance earned positive notices for blending charm with pathos, marking a shift toward dramatic biopics.[1] A standout role came in Billy Wilder's Witness for the Prosecution (1957), where Power played Leonard Vole, a charming but potentially duplicitous murder suspect in an Agatha Christie adaptation. Critics lauded his nuanced portrayal, which balanced vulnerability and ambiguity, allowing him to subvert his matinee idol image in a tense courtroom thriller co-starring Charles Laughton and Marlene Dietrich; the film received six Academy Award nominations and remains a benchmark for Power's dramatic range.[32] His final film, Solomon and Sheba (1959), saw him as the biblical King Solomon in a lavish epic directed by King Vidor, filmed largely in Spain; Power advocated for the role to showcase his action-hero roots while exploring themes of wisdom and conflict, though production challenges reflected the era's turbulent industry landscape.[1] Parallel to his cinema work, Power revitalized his stage career, returning to theater for acclaimed productions that demonstrated his versatility and stage-honed skills from his youth. He starred as a principal narrator in the Broadway adaptation of Stephen Vincent Benét's John Brown's Body (1953), directed by Charles Laughton and co-starring Judith Anderson and Raymond Massey; the poetic Civil War epic toured nationally before its New York run, drawing praise for Power's commanding delivery and emotional intensity in a 58-performance engagement.[33] He took the lead as Lieutenant Doug Roberts in the London production of Mister Roberts (1950–1951) at the Coliseum Theatre, succeeding Henry Fonda in Joshua Logan's wartime comedy-drama and playing to packed houses for over six months, where his charismatic yet frustrated officer resonated with postwar audiences.[1] Power also headlined George Bernard Shaw's The Devil's Disciple (1950) during its U.S. tour and later revived it in London (1956) at the Winter Garden Theatre, portraying the roguish Dick Dudgeon with vigor in a role that allowed satirical bite against revolutionary fervor.[34] This decade's output reflected Power's maturation, balancing sporadic film commitments with extensive theater tours and brief radio appearances, such as revivals of classic dramas on networks like NBC, to sustain his artistic growth amid Hollywood's decline. His push for substantive parts underscored a deliberate evolution from swashbuckler to multifaceted performer.[1]Personal life
Marriages and relationships
Tyrone Power's personal life was marked by three marriages and several high-profile romances that often echoed his on-screen persona as Hollywood's quintessential romantic lead. His first marriage was to French actress Annabella (born Suzanne Georgette Charpentier) on April 23, 1939, in a private ceremony at the home of director Henry King in Bel-Air, California. The couple had met the previous year while co-starring in the film Suez, where their on-set chemistry blossomed into romance despite Annabella being eight years his senior and on her third marriage. Shortly after their wedding, Power adopted Annabella's 11-year-old daughter from her previous marriage, Anne (born 1928), giving her his surname and providing a semblance of family stability amid their rising careers.[35] However, Power's enlistment in the U.S. Marine Corps in 1942 led to prolonged wartime separation, exacerbating tensions; the marriage further deteriorated due to reported infidelities, culminating in a legal separation in December 1946 and a final divorce on January 26, 1948. Following his divorce, Power quickly entered his second marriage to Mexican actress Linda Christian on January 27, 1949, in a lavish ceremony at the Church of Santa Francesca Romana in Rome, Italy, attended by thousands of fans and drawing international media attention.[36] Dubbed Hollywood's "most beautiful couple" by the press for their striking looks and jet-setting lifestyle, the union produced two daughters: Romina Francesca, born October 2, 1951, in Los Angeles, and Taryn Stephanie, born September 13, 1953, also in Los Angeles, after Christian endured several miscarriages. Despite the early glamour, the marriage unraveled amid mutual extramarital affairs and growing incompatibilities, leading to their separation in 1954 and divorce finalized on August 7, 1956; the split was costly, with Power agreeing to substantial alimony and child support payments.[5] Power's third marriage came on May 7, 1958, to 26-year-old American socialite Deborah Minardos (born Deborah Jean Smith) in a quiet civil ceremony in her hometown of Tunica, Mississippi, just months after they met through mutual friends in New York. Minardos, a twice-divorced former model who had briefly dated Elvis Presley, brought a sense of domestic calm to Power's life after his tumultuous prior relationships, though their time together was tragically brief. At the time of Power's sudden death from a heart attack on November 15, 1958, while filming Solomon and Sheba in Madrid, Minardos was five months pregnant with their son, Tyrone William, who was born healthy on January 22, 1959. Throughout his career, Power's romantic entanglements fueled tabloid interest and reinforced his image as a charismatic heartthrob, with publicized affairs including a passionate 1943 liaison with Judy Garland during his marriage to Annabella—reportedly resulting in Garland's termination of a pregnancy—and a stormy post-separation romance with Lana Turner from 1946 to 1947. He was also linked to co-stars like Gene Tierney, with whom he shared intense on-screen chemistry in films such as Son of Fury (1942), The Razor's Edge (1946), and That Wonderful Urge (1948), sparking persistent rumors of an off-screen affair despite denials from those involved. Other rumored romances with figures like Sonja Henie and Mai Zetterling further cemented Power's reputation for a personal life as captivating and complicated as his cinematic roles.[37]Children and family dynamics
Tyrone Power adopted his first wife Annabella's daughter, Anne, from her previous marriage, giving her his surname in 1939 shortly after their wedding.[38] Despite the couple's divorce in 1948, Power maintained a warm relationship with Anne, who later recalled him fondly, and he expressed similar affection for her in personal writings, such as a 1941 journal entry gifting her a horse for her birthday.[38] As Anne was already in her early twenties by the time of the divorce, Power's direct involvement in her life remained limited thereafter, though their bond endured through mutual regard. Power's second marriage to Linda Christian produced two daughters, Romina, born in 1951, and Taryn, born in 1953.[39] Following the couple's divorce in 1956, Christian received primary custody of the girls for ten months each year, while Power cared for them during the remaining two months and whenever she was away filming.[40] The arrangement allowed Power meaningful time with Romina and Taryn, whom he adored; Romina remembered him rushing to the nursery upon returning home, and Taryn cherished playful moments like him carrying her on his back in the pool.[39] Both daughters later pursued acting careers, with Romina appearing in films such as Marquis de Sade's Justine (1969) and becoming a prominent singer in Italy, and Taryn starring in Sinbad and the Eye of the Tiger (1977), though neither achieved the same level of fame as their father. Taryn died on June 26, 2020, at the age of 66.[41][39] Power's third wife, Deborah Minardos, gave birth to their son, Tyrone Power Jr., on January 22, 1959—two months after Power's death.[42] Raised by his mother, who had married Power inspired by his films, the younger Tyrone never knew his father personally but grew up immersed in his legacy through home movies and family stories.[43] This influence shaped his own path in entertainment, leading him to become an actor and advocate for his father's work, emphasizing lessons in professionalism and kindness passed down through the family acting dynasty spanning four generations.[43] He maintains close ties with his half-sisters Romina and Taryn, united by their shared heritage.[39] Power's high-profile career, marked by frequent international travel for productions like The Black Rose (1950) in England and Solomon and Sheba (1959) in Spain, often pulled him away from family responsibilities, limiting consistent daily involvement with his children.[14] Despite the demands of stardom, he prioritized shielding his family from excessive media attention, fostering a relatively private home life centered on ranch activities and personal bonds when possible.[44] After his death, his estate faced financial challenges, potentially leaving insufficient assets to cover debts and distributions to his children and heirs.[45]Death and legacy
Final years and death
In the final years of his career, Tyrone Power suffered from an undiagnosed heart condition, rooted in a family history of heart disease—his father, Tyrone Power Sr., had died of a heart attack in 1931 at age 62—and exacerbated by his heavy smoking habit and the stresses of an intense filming schedule.[5][46] On November 15, 1958, while filming Solomon and Sheba in Madrid, Spain, the 44-year-old Power collapsed from a massive heart attack immediately after completing a strenuous dueling scene with George Sanders.[47][48] He was rushed to a nearby hospital but died en route.[47] Power had completed about half of his scenes as King Solomon, a role he had taken on amid his ongoing 1950s projects; production halted, and Yul Brynner was brought in to replace him, requiring extensive reshooting of Power's footage while retaining some long shots of the original actor.[49] Power's body was flown back to the United States, where his funeral was held on November 21, 1958, at the Chapel of the Psalms in Hollywood, followed by interment at Hollywood Forever Cemetery with full military honors provided by a Marine aviator honor guard, recognizing his World War II service.[49][50] The event drew widespread media attention and public mourning, with crowds gathering outside— including families with picnics and children—turning it into a spectacle; actor Cesar Romero delivered the eulogy, describing Power as "a beautiful man" inside and out, while his widow, Deborah Power, sat vigil by the open casket.[49][51]Honors and cultural impact
Tyrone Power received the Legion of Merit for his service as a Marine Corps pilot during World War II, presented by General Dwight D. Eisenhower in recognition of his contributions in the Pacific Theater.[52] He also earned the American Campaign Medal, the Asiatic-Pacific Campaign Medal with two bronze stars for participation in two campaigns, and the World War II Victory Medal.[53] Power was awarded a star on the Hollywood Walk of Fame in the motion pictures category on February 8, 1960, located at 6747 Hollywood Boulevard.[3] Power's image appeared on the cover of The Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band, positioned among other cultural icons as a nod to his status as a Hollywood heartthrob of the 1930s through 1950s.[54] In 2008, the American Cinematheque honored him with a three-day retrospective at the Egyptian Theatre in Los Angeles, featuring screenings of his films and remembrances by co-stars and family to celebrate the 50th anniversary of his death.[55] Power established the archetype of the swashbuckling hero in Hollywood through roles in adventure films like The Mark of Zorro and The Black Swan, influencing subsequent actors who embodied athletic, romantic leads in the genre, such as those following Errol Flynn's style with added dramatic depth.[56] His versatility across swashbucklers, romances, and serious dramas has been explored in biographies like Fred Lawrence Guiles's Tyrone Power: The Last Idol (1980, reissued 2020), which highlights his evolution from matinee idol to respected performer, and in documentaries such as the A&E Biography episode "Tyrone Power: The Last Idol" (1996) and his son Tyrone Power Jr.'s "My Dad, Tyrone Power" (2008).[57][58][59] Hollywood Forever Cemetery holds an annual memorial service for Power, with the 67th service occurring on November 15, 2025.[60]Professional works
Filmography
Tyrone Power's film career spanned from 1932 to 1959, encompassing over 50 appearances in feature films, including uncredited roles, primarily with 20th Century Fox. The following chronological list details his roles, directors, and notable co-stars for each production.[61]| Year | Title | Role | Director | Notable Co-stars | Notes |
|---|---|---|---|---|---|
| 1932 | Tom Brown of Culver | Cadet | William Wyler | Tom Brown, James Bush | Uncredited appearance; early uncredited role in this military school drama. |
| 1934 | Flirtation Walk | Cadet | Frank Borzage | Dick Powell, Ruby Keeler | Uncredited bit part in this musical romance. |
| 1935 | Northern Frontier | Bit role | Bernard B. Ray | Jack Perrin, Nelson McDowell | Minor uncredited role in this Western. |
| 1936 | Girls' Dormitory | Tony Anderson | Irving Cummings | Herbert Marshall, Simone Simon | First leading role; romantic drama set in a Swiss school. |
| 1936 | Ladies in Love | Karl Leck | Edward H. Griffith | Janet Gaynor, Loretta Young, Constance Bennett | Ensemble romantic comedy. |
| 1936 | Lloyd's of London | Jonathan Blake | Henry King | Madeleine Carroll, George Sanders | Breakout swashbuckling historical drama. |
| 1936 | Sing, Baby, Sing | Nick | Sidney Lanfield | Tony Martin, Alice Faye, Patsy Kelly | Uncredited bit part in this musical comedy. |
| 1937 | Thin Ice | Prince Rudolph | Sidney Lanfield | Sonja Henie, Arthur Treacher | Romantic comedy set in the Alps. |
| 1937 | Love Is News | Steve Leyton | Tay Garnett | Loretta Young, Don Ameche | Screwball comedy about a reporter and heiress. |
| 1937 | Cafe Metropole | Alexis | Edward H. Griffith | Loretta Young, Adolphe Menjou | Romantic comedy. |
| 1937 | Second Honeymoon | Raoul McLiesh | Walter Lang | Loretta Young, Claire Trevor | Romantic comedy. |
| 1938 | Alexander's Ragtime Band | Alexander | Henry King | Alice Faye, Don Ameche, Ethel Merman | Musical about a band leader; earned Academy Award nominations. |
| 1938 | In Old Chicago | Dion O'Leary | Henry King | Alice Faye, Don Ameche, Alice Brady | Disaster epic with the Great Chicago Fire; major box-office success. |
| 1938 | Suez | Ferdinand de Lesseps | Allan Dwan | Loretta Young, Annabella, Henry Stephenson | Historical romance about the Suez Canal. |
| 1938 | Marie Antoinette | Count Axel de Fersen | W.S. Van Dyke | Norma Shearer, Reginald Gardiner | Lavish historical drama produced by MGM. |
| 1939 | Jesse James | Jesse James | Henry King | Henry Fonda, Nancy Kelly, Randolph Scott | Western outlaw biography; one of Power's biggest hits. |
| 1939 | Rose of Washington Square | Bart Clinton | Gregory Ratoff | Alice Faye, Al Jolson | Musical biopic loosely based on Fanny Brice. |
| 1939 | Day-Time Wife | Keith | Gregory Ratoff | Linda Darnell, Binnie Barnes | Romantic comedy. |
| 1939 | The Rains Came | Major Rama Safti | Clarence Brown | Myrna Loy, George Brent, Brenda Joyce | Epic drama with Indian famine; special effects won an Oscar. |
| 1940 | Johnny Apollo | Johnny Apollo / Johnny Frazer | Henry Hathaway | Dorothy Lamour, Edward Arnold, Lloyd Nolan | Crime drama. |
| 1940 | The Mark of Zorro | Diego de Vega / Zorro | Rouben Mamoulian | Linda Darnell, Basil Rathbone, J. Edward Bromberg | Swashbuckler remake; grossed over $2 million domestically, a major box-office success.[62][63] |
| 1941 | A Yank in the R.A.F. | Tim Baker | Henry King | Betty Grable, John Sutton | War romance. |
| 1941 | Blood and Sand | Juan Gallardo | Rouben Mamoulian | Rita Hayworth, Linda Darnell, Nazimova | Technicolor bullfighting drama; remade from 1922 silent film. |
| 1942 | This Above All | Clive Briggs | Anatole Litvak | Joan Fontaine, Thomas Mitchell, Nigel Bruce | World War II romance drama. |
| 1942 | The Black Swan | Jamie Waring | Henry King | Maureen O'Hara, Laird Cregar, Thomas Mitchell | Technicolor pirate adventure; box-office hit. |
| 1943 | Crash Dive | Lt. R.D. "Rusty" Rusting | Otto Preminger | Anne Baxter, Dana Andrews, James Gleason | Submarine war film; Power's last before military service. |
| 1946 | The Razor's Edge | Larry Darrell | Edmund Goulding | Gene Tierney, Anne Baxter, Clifton Webb | Post-war philosophical drama based on Maugham novel; Anne Baxter won Oscar for supporting role. |
| 1947 | Captain from Castile | Pedro de Vargas | Henry King | Jean Peters, Cesar Romero, Lee J. Cobb | Technicolor adventure epic shot in Mexico. |
| 1947 | Nightmare Alley | Stanton "Stan" Carlisle | Edmund Goulding | Joan Blondell, Coleen Gray, Helen Walker | Dark noir psychological thriller; considered Power's finest dramatic performance. |
| 1948 | The Luck of the Irish | Stephen Fitzmaurice | Henry Koster | Anne Baxter, Cecil Kellaway, Lee J. Cobb | Fantasy comedy. |
| 1948 | That Wonderful Urge | Alec Pleydell | Robert B. Sinclair | Gene Tierney, Arleen Whelan, Reginald Gardiner | Romantic comedy remake of "Love Is News." |
| 1949 | Prince of Foxes | Andrea Orsini | Henry King | Orson Welles, Wanda Hendrix, Marina Berti | Technicolor Renaissance Italy adventure. |
| 1950 | The Black Rose | Walter of Gurnie | Henry Hathaway | Orson Welles, Cécile Aubry, Jack Hawkins | Epic adventure set in medieval Asia. |
| 1950 | American Guerrilla in the Philippines | Ensign Chuck Larson | Fritz Lang | Micheline Presle, Tom Ewell, Bob Patten | World War II action film. |
| 1951 | Rawhide | Ben Dexter | Henry Hathaway | Susan Hayward, Hugh Marlowe, Dean Jagger | Western. |
| 1951 | I'll Never Forget You | Dr. Peter Standish | Roy Baker | Ann Blyth, Michael Rennie, Dennis Price | Time-travel romance based on "Berkeley Square." |
| 1952 | Diplomatic Courier | Mike Kells | Otto Preminger | Patricia Neal, Hildegard Knef, Karl Lackner | Cold War spy thriller. |
| 1953 | King of the Khyber Rifles | Capt. Alan Mackie | Henry King | Terry Moore, Michael Rennie, Guy Rolfe | Adventure film set in British India. |
| 1953 | The Mississippi Gambler | Paul Monet | Rudolph Maté | Piper Laurie, Julia Adams, John McIntire | Adventure set in 19th-century New Orleans. |
| 1953 | Miss Sadie Thompson | Sgt. Phil O'Hara | Curtis Bernhardt | Rita Hayworth, Aldo Ray, José Ferrer | Remake of "Rain"; filmed in CinemaScope. |
| 1955 | Untamed | Paul Van Raden | Henry King | Susan Hayward, John Justin, Agnes Moorehead | South African adventure. |
| 1956 | The Eddy Duchin Story | Eddy Duchin | George Sidney | Kim Novak, Victoria Gordon, James Whitmore | Musical biopic. |
| 1957 | The Rising of the Moon | Narrator / Air. Constable | John Ford | Eileen Crowe, Cyril Cusack, Noel Purcell | Irish anthology film; Power appears in one segment. |
| 1957 | Abandon Ship! | Alec Holmes | Richard Sale | Mai Zetterling, Lloyd Nolan, Genevieve Page | Survival drama at sea. |
| 1957 | The Sun Also Rises | Jake Barnes | Henry King | Ava Gardner, Errol Flynn, Eddie Albert | Adaptation of Hemingway novel. |
| 1958 | Witness for the Prosecution | Leonard Vole | Billy Wilder | Marlene Dietrich, Charles Laughton, Elsa Lanchester | Courtroom drama based on Christie play; nominated for multiple Oscars.[64] |
| 1959 | Solomon and Sheba | Solomon | King Vidor | Gina Lollobrigida, Yul Brynner, David Farrar | Biblical epic; Power died during filming, with scenes completed using a double. |