FEATURE image: Glenn Miller Orchestra, 1940-41. Public Domain.
The 1942 music film, Orchestra Wives, from 20th-Century-Fox is one of the best dance band movies ever made. Between 1934 and 1945 Fox studios made 57 musicals and music films (see – https://www.imdb.com/list/ls565533414/.) While M-G-M is known for its musicals where characters sing and dance in place of spoken dialogue, the music film is one that usually features a bandleader – which in Orchestra Wives is Glenn Miller – and musical performers within a band orchestra – Marion Hutton with The Modernaires – as well as music-related acts such as the Nicholas Brothers. In a music film, including Orchestra Wives, characters don’t break out into song but speak in regular speech. In the music film singing and dancing are normally set pieces in a nightclub or on a stage and the music itself is presented in a realistic setting all of which perfectly describes 20th Century-Fox’s Orchestra Wives.
Fox musicals and music films from the mid1930’s to mid1940’s were extremely popular. Orchestra Wives features high production set pieces of original swing music envisioned by its music director Alfred Newman (1900-1970). The film itself was directed by Archie Mayo (1881-1968) whose decades-long career was coming to a close (Mayo retired in 1946, shortly after completing A Night in Casablanca with the Marx Brothers). Orchestra Wives features 38-year-old Glenn Miller (1904-1944) and his 22-piece Band, then at the height of popularity. It was the second of two films Miller made for Fox (the first was Sun Valley Serenade in 1941). The Miller band returned to Hollywood to film 1942’s Orchestra Wives and though contracted to do a third movie for Fox called Blind Date, Miller disbanded the band and entered the US Army. Called the Gene Morrison Band in Orchestra Wives, music includes vocal performances by Marion Hutton (1919-1987) with The Modernaires, tenor sax player Tex Beneke (1914–2000) and Lynn Bari (1919-1989). The film concludes with choreographed athletic tap dancing of the Nicholas Brothers. The film is filled with pop-song classics by the successful writing team of composer Harry Warren (1893-1981) and lyricist Mack Gordon (1904-1959). In Orchestra Wives Warren/Gordon songs included in whole or in part, That’s Sabotage, Chattanooga Choo Choo (a main set piece in Sun Valley Serenade indicating Orchestra Wives picked up right where the previous successful film left off), People Like You and Me, the love ballad At Last, the torch song Serenade in Blue (performed by sultry Lynn Bari) and Orchestra Wives’ main production number (I’ve Got a Gal in) Kalamazoo which was nominated for an Academy Award for Best Original Song (the Oscar went to White Christmas by Irving Berlin). Warren melodies are instantly recognized as simple and fresh and Gordon’s lyrics are free of cliché. The music that opens Orchestra Wives presents the film’s first set piece which is a Warren/ Gordon song, People Like You and Me. It is performed by Glenn Miller and his Orchestra with Marion Hutton and The Modernaires. All of the Warren/Gordon songs for Orchestra Wives were recorded by Glenn Miller – as well as many other musical artists in those years.
Glenn Miller. Unknown author – Ad on page 65 of the Billboard 1943 Music Yearbook. Public Domain.
(5.51 minutes). Orchestra Wives’ opening scene is set in Melody-Tone Record Corp. featuring the Glenn Miller Band (called the Gene Morrison Band in the film). It starts with Glenn Miller’s 22-piece band recording a lively, perfectly arranged rendition of “People Like You and Me,” one of Harry Warren and Mack Gordon’s pop classics written for the film. The Glenn Miller Band, then at the height of their popularity, are presented with a touch of Hollywood – Jackie Gleason (1916-1987) appears as the Band’s bassist and César Romero (1907-1994) plays its pianist. Gleason and several other featured performers (such as Marion Hutton) went uncredited in the film. Miller had joined the armed forces where he led the Glenn Miller Army Air Forces Orchestra until his disappearance over the English Channel in December 1944 at 40 years old. The energy of the swing era is evident which includes trumpeter Bill Abbott (played by Western cowboy George Montgomery), one of the film’s romantic leads with Ann Rutherford, and singer “Tex” Beneke who played saxophone with bandleader Glenn Miller. One-minute-long opening credits showcase Glenn Miller’s theme from 1939, “Moonlight Serenade,” as its background music. This is a colorized version of the black and white film.Tall, suave and sophisticated César Romero was born in New York City to Cuban parents. Romero danced and performed comedy in the 20th Century Fox films he starred in opposite Carmen Miranda and Betty Grable, such as Week-End in Havana (1941) and Springtime in the Rockies (1942). In Orchestra Wives Sinjin’s role, though minor, is pivotal to the resolution of the plot. “Alice faye & Cesar Romero in ”Weekend in Havanna” 1941” by Movie-Fan is licensed under CC BY-NC-SA 2.0.Poster for Orchestra Wives (1942) called in Spanish, “Las viudas del jazz.” “Viudas del jazz” by Kirby York is marked with Public Domain Mark 1.0.
Orchestra Wives is one of the very few films to give insight into the lives of dance band musicians and their singers and spouses on tour. These singers and wives are portrayed in the Hollywood film by glamorous Ann Rutherford (1917-2012), Lynn Bari (1919-1989), Carole Landis (1919-1948), Mary Beth Hughes (1919-1995) and Virginia Gilmore (1916-1986). Each of their glamour and acting ability make dramatic scenes highly entertaining even as they advance the plot by way of bored and distasteful gossiping and rumor mongering.
The three catty spouses in Orchestra Wives are beautiful Carole Landis, Virginia Gilmore and Mary Beth Hughes (below):
Connie Ward (played by “America’s Sweetheart” Ann Rutherford) goes on a date with soda-jerk Cully Anderson (Harry Morgan) to hear and dance to Gene Morrison’s (Glenn Miller’s) Band in Dixon, Illinois. At Last is another song that takes place on stage in the music film Orchestra Wives. Used as a musical motif throughout the film in dramatic and romantic scenes, the Harry Warren/Mack Gordon love ballad is sung in a duet featuring headliner Lynn Bari (her voice dubbed by Pat Friday, 1921-2016, and not credited), In 1942 Ann Rutherford had been in the picture business almost a decade. She starred as Polly Benedict in the Andy Hardy series in the 1930’s and 1940’s and was one of Scarlett O’Hara’s sisters in Gone With The Wind (1939). Rutherford was a big star compared to slightly older Harry Morgan who was making his film debut in 1942. Co-star George Montgomery (1916-2000) was an actor who had begun to appear in a string of Western films starting in 1935. Montgomery signed with 20th Century-Fox in 1939 and soon was playing leading man roles such as Bill Abbott in Orchestra Wives and several other hit films at Fox. World War II interrupted that trajectory and, in 1943, Montgomery joined the U.S. Army Air Forces First Motion Picture Unit where he made training films. Though he returned to Fox in 1946 and resumed playing lead roles, he left the studio in 1947.
Orchestra Wives is a music film with excellent swing music as a highlight and featured in regular intervals that are set on stages such as a record studio, local dance and concert halls, and in nightclubs. The film’s central drama, however, lies in the love relationships of the professional bandmembers and their wives who travel with them. It seems everyone is stressed or bored or both by the intensity of the extra work involved in cross country touring as a musician in a popular swing band. These orchestra wives – namely, Natalie (Carole Landis), Elsie (Virginia Gilmore), and Caroline (Mary Beth Hughes) – are beautiful and jaded about living conditions and unique complications as orchestra wives. When Bill Abbott, the band’s superlative trumpeter, meets Connie Ward (Ann Rutherford), it is on the road at a local dance in Dixon, Illinois. The small-town young woman – daughter of a town doctor (Grant Mitchell) – goes on a date with the local soda jerk just to see and hear Gene Morrison’s swing band. Up close to the stage, it is love at first sight for Connie when handsome trumpet player Bill Abbott (George Montgomery) steps up to perform. The next night, on the spur of the moment, Bill and Connie get married after Connie traveled by bus alone to Elgin, Illinois, for the band’s next gig.
Ann Rutherford was known as “America’s Sweetheart” and a big star in 1942. Original studio publicity photo of Ann Rutherford Permission details This work is in the public domain in the United States because it was published in the United States between 1928 and 1977, inclusive, without a copyright notice. For further explanation, see Commons:Hirtle chart as well as a detailed definition of “publication” for public art. Note that it may still be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works (depending on the date of the author’s death), such as Canada (50 p.m.a.), Mainland China (50 p.m.a., not Hong Kong or Macao), Germany (70 p.m.a.), Mexico (100 p.m.a.), Switzerland (70 p.m.a.), and other countries with individual treaties.Harry Morgan in 1975. In the mid 1930s Harry Morgan was a star debater in high school in Michigan. and began acting at the University of Chicago in 1935. Orchestra Wives was one of two films Morgan made in 1942 that marked the actor’s film debut. Permission details Pre-1978, no mark. Public Domain.
Connie spontaneously joins the life of traveling orchestra wives and is at first innocent of its darker side. Connie learns a lot as she takes the long rides on train tours as a musician’s wife to the band’s engagements around the country and back. Those film scenes reflect accurately the lives of dance musicians of the era who had to take these long tours to far-flung places. Connie is soon at odds with the other wives who come in shapely forms of Natalie, Elsie and Caroline who are bored by the monotony of the road so that their lives get filled with backbiting gossip and being jealous of one another.
Glenn Miller, born in Clarinda, Iowa, near the Missouri and Nebraska state lines. Miller had his first first-class experience of playing professional dance music in Chicago in 1926. Miller quickly started freelancing where he became a top arranger for Ray Noble (1903-1978), Tommy Dorsey (1905 -1956), Jimmy Dorsey (1904-1957), and others. Miller formed his own band in 1936. In its first year Miller’s band was just one of many swing dance bands and it soon disbanded. In 1938 when Miller reformed the band, he had developed his definitive big-band sound and his records started selling like hot cakes to his mostly younger fans across the country. In art imitating life, Miller portrays bandleader Gene Morrison in Orchestra Wives who disbands his 22-piece band in the face of circumstances where some band-members resign because of their orchestra wives. Having to cancel the rest of the tour, Miller/Morrison immediately looks to re-assemble the band. In the film, Connie Ward Abbott, a new orchestra wife, conspires with Morrison band pianist Sinjin to reunite the original band. This will also produce, with the help of Dr. Ward (Grant Mitchell), Connie’s father, a reconciliation between Connie and Bill who had separated but were always deeply in love.
Among the many swing era musicals in this period, Orchestra Wives, while a comedy with the usual lighter fare typical for the genre, is notable for its realistic and serious plot. Though called a “musical comedy with the occasional touch of drama” (https://www.quotes.net/movies/orchestra_wives_8473) it is really more of a drama with musical comedy. The naïveté and lack of trust between lovers, namely small-town Illinois girl Connie Ward (played by “America’s sweetheart” Ann Rutherford) and Bill Abbott (played by Western cowboy George Montgomery) — whose fictional bandleader Gene Morrison (played by Glenn Miller) calls him “the best trumpet man in the business” — is raw, serious and real. Sparked by in-house rumor-mongering of band-members’ infidelities as well as other cascading gossip of bored wives on a cross- country band tour, the newlyweds Connie and Bill face their first big crisis as a couple very shortly after they are married. Upon suspecting her husband is having an affair with sultry Jaynie, the band’s lead singer, there is this confrontation between newlyweds whose misunderstanding gets mixed up in embarrassment and resentment:
CONNIE: I know there was nothing wrong between you and Jaynie (played by statuesque Lynn Bari)
BILL: That’s what I told you last night.
CONNIE: But it really wasn’t my fault. It was Natalie (Carole Landis) and Elsie (Virginia Gilmore) and Carole (Mary Beth Hughes) and their gossip started it.
BILL: From what I heard just now, you’ve been spreading a little gossip yourself.
Lynn Bari was born in Virginia. A statuesque, dark-haired WWII pin-up beauty Bari paid her acting dues for years by way of tart bit-parts as secretary, party girl and glorified extra. At the same time, she was being groomed as a starlet under contract to MGM and Fox. Fox Studios started giving her leads and top supporting roles in mostly second-tier films such as The Return of the Cisco Kid (1939), Pack Up Your Troubles (1939), Hotel for Women (1939), and Hollywood Cavalcade (1939). Bari had gained fame by her good looks though even her better roles tended toward unsympathetic parts such as in Orchestra Wives where she played a femme fatale. See – https://www.imdb.com/name/nm0054609/bio/?ref_=nm_ov_bio_sm – retrieved October 16, 2023. “Lynn Bari (colorized) by manito” is licensed under CC By 2.0.
Jaynie (Lynn Bari), lead singer for the touring Gene Morrison band, performs in a nightclub another Warren/Gordon pop classic from Orchestra Wives, “Serenade in Blue.” The composers believed this song, which became a pop standard, was a superior piece of music and that Glenn Miller was able to arrange its harmonies and perform the song at its best potential.
Jaynie, the band’s singer, held a torch for Bill though their affair was over shortly before Bill met Connie and married her. Because Gene Morrison didn’t want to pay for the wives to accompany the band on an overnight gig to Iowa City, the newlyweds were apart for the first time. Natalie gossiped to Connie about other band members’ extra-marital affairs and Carole told Connie about Bill and Jaynie. Connie, apparently unafraid to take the bus alone between towns, travels that way late at night to meet Bill. In the meantime, the gossiping wives call Jaynie (with a reproduction of Whistler’s Mother on the wall behind them) to tell her that Connie is coming to town. After Jaynie and Bill shared an after-show chop suey dinner together, Jaynie propositioned Bill in her hotel room which he declined. Afterwards learning that Connie was coming to the hotel she telephoned Bill’s room and on the pretext of needing cash, Bill comes into Jaynie’s room. Connie discovered the pair together in Jaynie’s room in their pajamas and, as Jaynie planned, is scandalized. Though Bill tells Connie that nothing was going on, Connie storms out, hurt and angry, and gets on the next bus back to Des Moines. The next day, when the band returns, Connie learns that what she was told is gossip. In revenge, Connies spills the beans about spousal infidelities of the gossiping wives that Natalie told her before. Connie’s words result in three band members leaving the tour and to the cancellation of the rest of the tour by bandleader Gene Morrison.
It also leads to a serious dramatic scene between Connie and Bill that honestly explores a situation of any new spouse – not just an “orchestra wife” – who is in love with someone with a stressful job who has to travel and be on the road all the time. The work/home tension is a modern theme and universal to more than a swing band musician’s family. Released in September 1942, Orchestra Wives, was popular cinematic fare in a country that neared its first full year of being “all-in” fighting in World War II. The film has one foot in a carefree pre-war swing era and another in wartime America that brought one of its longest lists of casualties in its history and, soon, the Atomic Age. Orchestra Wives is a music film and ostensible comedy that provides serious treatment to scenes that point, if briefly and thus superficially to the post-war era’s film noir and its themes of jealousy, infidelity, innuendo, mystery, and the femme fatale. To combine music, comedy and serious drama is a highlight of the original screenplay by Karl Tunberg (1907-1992) and Darrel Ware (1906-1944) – a writing team nominated the year before for an Academy Award for screenwriting for Tall, Dark and Handsome also from 20th Century-Fox.
BILL: I married you because you were a happy kid. Gay, cute, cheerful. But you’ve gone neurotic on me. You trail me around like a house detective. And then with one flick of your tongue you bust up our band. Last night you said you weren’t an orchestra wife and you hit the nail right on the head. You aren’t and you never will be.
CONNIE: Maybe you’re right Bill but I’ve tried. I don’t know the two things just don’t seem to go together. Look, how can you be a real wife when you are trailing from one hotel to another like a lot of gypsies? When you have breakfast at lunchtime and lunch at dinnertime and dinner at midnight? Why this isn’t living. Why this isn’t even being married.
BILL: What did you expect – a banker? You married a trumpet player. You weren’t getting a suburban home with flowerpots and kiddies. At the time you seemed to think the idea was pretty glamorous.
CONNIE: Well at the time I was crazy. This life is about as glamorous as a gymnasium.
BILL: Well, I’ll give you a chance for something better. You know that marriage certificate? That little piece of paper with rosebuds on it? Well you can pack it with your things. I’m through with it.
CONNIE: So am I. And I’ll leave you half the pieces.
The climax of the film occurs when Connie walks out on Bill—and vice versa—and leaves their marriage and love hanging in the air. With band members’ tensions among their wives exploding into the open, Gene Morrison (Glenn Miller) has to break up the band. Though these breakups’ flashpoint is Connie and Bill’s open rift, can and will she now help to get the band back together and reconcile with Bill? And who will help her?
MARION HUTTON. Singer Marion Hutton was discovered by Glenn Miller when she was 17 years old. Marion was the older sister of film actress Betty Hutton (1921-2007). Since the Huttons’ father had died, Glenn Miller and his wife Helen became Marion’s legal guardians which allowed her to accompany them as they worked. Marion Hutton stayed with the Glenn Miller Band until it disbanded in 1942. Unknown author – Ad on page 80 of Billboard 1944 Music Yearbook · Public Domain Created: 1 January 1944Tex Beneke was a saxophone player who played with the Glenn Miller Band, among others. Tex Beneke is featured in major production swing music numbers by Harry Warren and Mack Gordon in Orchestra Wives. “Tex Beneke” by Cushing Memorial Library and Archives, Texas A&M is licensed under CC BY-NC-ND 2.0.
The #1 popular song in 1942 was (I’ve Got a Gal) in Kalamazoo by Harry Warren and Mack Gordon and featured in the music film, Orchestra Wives. Featuring Tex Beneke and Marion Hutton with The Modernaires it was recorded by Glenn Miller and His Orchestra and was on the 78 r.p.m.’s A side with At Last on B side. The Glenn Miller record was 1942’s best-selling recording and spent 8 weeks in the no.1 spot. It was also nominated for the Academy Award for Best Original Song. The main production number in Orchestra Wives also featured The Nicholas Brothers composed of brothers, Fayard (1914–2006) and Harold (1921–2000). The act from the 1930s to 1950s excelled in a variety of dance techniques, especially its high acrobatics, and they were considered the greatest tap dancers of their time. See – “The Year’s Top Recordings”. The Billboard. 55 (1): 27. January 2, 1943. – retrieved October 16, 2023.
About composer Harry Warren and lyricist Mack Gordon.
Orchestra Wives provides a lot of first-class music and a dramatic film record of the dance hall scene in the swing era. (I’ve Got a Gal) in Kalamazoo was nominated for an Academy for Best Original Song. Harry Warren wrote some of the great popular songs of the 1930s and 1940s. Many of them were used in Fox musical films in their heyday. Warren had been writing music in Hollywood since 1932. When he moved from Warner Bros. to Twentieth-Century Fox he was assigned to write for Fox’s well-produced and highly popular musicals.
Harry Warren believed he saw the quality of motion pictures in Hollywood actually improve during World War II, the mid20th century’s major global crisis. Through all of it, Americans, Warren observed, expressed a general feeling of confidence that the war would ultimately be won. This excitement translated to the movies at the time.
In addition to working with lyricist Mack Gordon (1904-1959), Warren worked with Fox’s arranger-orchestrator Herbert Spencer (1905-1992). In a long career, Spencer worked with many successful composers and helped orchestrate scores in Holiday Inn (1942), Gentleman Prefer Blondes (1953), Call Me Madam (1953), Carousel (1956), Funny Girl (1968), Hello, Dolly (1969), and more, but he expressed especial enjoyment working with Warren.
Warren’s many inspired melodies, Spencer thought, were simple but logical, seemingly inevitable, and Warren’s song drafts arrived to Spencer filled with detail that helped make the orchestrator’s role more interactive. Spencer also enjoyed working personally with Warren whom the Chilean-born arranger described as “simpatico.” Warren, unlike other busy composers, was accessible to discuss and develop a musical score. With beguiling modulation, the songs rise and fall in intervals, and its notes and meter, as Herbert Spencer might have had it, follow their logical and effortless path.
Head of production at 20th Century-Fox and producer of Orchestra Wives, William LeBaronwas brought to Hollywood by Joseph P. Kennedy.
William LeBaron (1883 1958) in 1919. LeBaron became the production chief at several studios, including RKO Studios (1929-1931), Paramount Studios (1936-1941) and 20th Century Fox (1941-1947). He started out working as a playwright in New York City and was brought to Hollywood in 1924 by one of his theatrical investors, Joseph P. Kennedy (1888-1969). LeBaron was born in Elgin, Illinois, an Illinois town that had a pivotal role in Orchestra Wives as the script’s setting where Connie Ward and Bill Abbott get married. Public Domain.
While not in the top ten films of 1942 that earned between $2.885 (M-G-M’s Somewhere I’ll Find You starring Clark Gable and Lana Turner) and $5.358 million (M-G-M’s Mrs. Miniver starring Greer Garson and Walter Pidgeon), 20th Century-Fox’s Orchestra Wives produced a solid and popular music film that took in a very respectable $1.3 million at the box office.
SOURCES: The Films of 20th Century-Fox A Pictorial History, Tony Thomas and Aubrey Solomon, Secaucus NJ: Citadel Press, 1985, pp. 129-130. The Dance Bands, Brian Rust, New Rochelle, NY: Arlington House Publishers, 1974, pp. 140-142. Harry Warren and the Hollywood Musical, Tony Thomas, Foreward by Bing Crosby, Secaucus NJ: Citadel Press, 1975, pp. 184-189.
Unknown author – Ad on page 27 of May 16, 1942 Billboard magazine. Public Domain.
FEATURE image: Douglas Fairbanks, c. 1918. Harris & Ewing, photographer. Collection Library of Congress. No known restrictions on publication. Public Domain.
By John P. Walsh.
Born in Denver in 1883, Douglas Fairbanks’ mother had been married three times before she had him, the younger of two brothers with his father, an East Coast publisher and lawyer, who had relocated his family to the West. Douglas’s father abandoned the family when he was 5 years old, and the brothers were raised by their mother in Denver. Douglas also had two older half brothers by way of his mother’s previous marriages. With Douglas’s father’s departure, his mother gave her youngest sons her first husband’s surname—Fairbanks.
Douglas Fairbanks started acting as a youth in summer stock at the historic Elitch Theatre in Denver so that by 1899 Fairbanks was touring with the acting troupe of English Shakespearean actor Frederick Warde (1851-1935). For two seasons Fairbanks was an actor and assistant stage manager with the group.1 Fairbanks moved to New York where he debuted on Broadway in Her Lord and Master in February 1902. The year before, from February 1901 to July 1901, Ethel Barrymore (1879-1959) of the legendary Barrymore acting family became a Broadway star in a new romantic comedy play, Captain Jinks of the Horse Marines, at the Garrick Theatre in New York City. Barrymore’s production ran on Broadway for 168 performances in 1901 and made the 22-year-old actress a star. The turn of 20th century was a time when the theatre was king of the arts – and where, in the new century’s first decade, the nation’s celebrities were born to be made. Her Lord and Master by Martha Morton was first produced in New York, during the spring of 1902. The play, in which Douglas Fairbanks had his first role, met with success, and ran for 69 performances at the Manhattan Theatre (demolished) at 102 W. 33rd Street in New York City.2 The opening night cast for A Case of Frenzied Finance in April 1905 included Douglas Fairbanks playing Bennie Tucker at third-billing. The play, set in the Vanbillon Hotel, ran for less than a month at the Savoy Theatre at 112 W. 34th Street. That theatre opened in 1900 and closed in 1933 and was demolished in 1952.3
A dapper and svelte 22-year-old Douglas Fairbanks played third-bill Bennie Tucker in A Case of Frenzied Finance at the Savoy Theatre in April 1905. It closed after 8 performances. Public Domain.
Fairbanks appeared in A Gentleman from Mississippi from September 1908 to September 1909. On September 22, 1908 (datelined September 21, 1908) The New York Times wrote a blurb regarding a preview that stated: “A Gentleman from Mississippi received its initial performance to-night at the New national Theatre. The play deals with Congressional riots and social life in the National capital. Thomas A. Wise, Douglas Fairbanks, Sue Van Duser, Harriet Worthington and Lola May were in the cast. Mr Wise [1865-1928] and Harrison Rhodes [1871-1929] are the authors of the play.”
A Gentleman from Mississippi ran for 407 performances moving to the Bijou Theatre in NYC.4 In July 1907, 24-year-old Douglas Fairbanks married wealthy Anna Beth Sully (1886-1967) of Rhode Island. The couple had one son who followed his father into the acting business—Douglas Fairbanks, Jr. (1909-2000).
Douglas Fairbanks, c. 1910. It was on Broadway before 1915 that Fairbanks established his character type of the athletic all-American hero that followed him into films. By 1920 it was the full-blooded romanticism of Douglas Fairbanks film roles that drew the biggest movie-going audiences in the country5https://www.loc.gov/resource/hec.16616/ Harris & Ewing, photographer. Public Domain.
It was in November 1912, on opening night of Hawthorne of the USA, a play by J.B. Fagan, that Fairbanks established his character type for stage and screen: the athletic all-American hero.6 With Fairbanks in the starring role as Anthony Hamilton Hawthorne, the play set in Oberon, the small capital of Borrovina, a small independent state somewhere in the mess of Southeastern Europe, ran for 72 performances at the Astor Theatre at 1537 Broadway (45th St.) in New York.7 It was made into a silent film in 1919 starring Wallace Reid (1891-1923) as the American hero.
Athleticism and acrobatic stunts characterized Douglas Fairbanks’ roles on stage since 1912 and translated to his films. They are on full display in A Modern Musketeer, a silent adventure comedy film produced by and starring Douglas Fairbanks in 1917.Fairbanks family, c. 1916. Public Domain. https://www.wikitree.com/photo/jpg/Sully-110-1
In 1915 the Fairbanks moved to Los Angeles – Douglas Fairbanks Sr. had received a lucrative offer from the nascent film industry. It was a three-year contract for $104,000 per year (over $3 million in today’s dollars) to join Triangle films. Exorbitant sums were dangled, often over-ambitiously by producers, to coax legitimate theatre actors to work on the West Coast in film – and under sometimes multi-year contracts. The strategy usually worked but came at a high cost later to a company’s survival and the star’s future. Again, Ethel Barrymore who became a Broadway star in 1901 and national celebrity at 22 years old began to appear in major silent films starting in 1914. Her brothers John and Lionel were already making films and though absolutely devoted to the stage from her youth, Ethel made at least 14 films before returning to the stage full time in 1920. The trend to capitalize on the talents of the stage in film was already underway when Triangle company was formed in 1915 to do just that on a spectacular scale.
Harry Aitken, c. 1910. Public Domain.
Harry Aitken (1877-1956) and his brother Roy Aitken (1882-1978) co-founded a film distribution business in Milwaukee in 1906. There had also been a relationship with a Chicago film distributor who established American Film Manufacturing Company production company in 1910. The Aitken brothers relocated to California in 1908 and in 1912, with others, formed the Mutual Film Corporation. One of Mutual’s many subsidiary production and auxiliary units was Keystone Studios, where 24-year-old Charlie Chaplin got his start in films in 1913 at $150 per week (Chaplin was making more than $20,000 a week 5 years later). In 1914 Harry Aitken went into partnership with D.W. Griffith (1875-1948) and, in 1914, founded Reliance-Majestic Studios at 4516 Sunset Boulevard which is today a strip mall.
Following the tremendous success of The Birth of Nation in 1915 with which Harry Aitken was involved so to reap some of its incredible profits, the Aitken brothers and various other companies, such as Reliance-Majestic Studio, departed from Mutual to form a conglomerate of Triangle Film Corporation. The company served as a distributor to other studios in California and Aitken’s plans included sweeping into the fold the best and the brightest of Broadway theatre – which included 32-year-old Douglas Fairbanks. A leading artistic objective for these Hollywood producers was to bring these stage actors’ greatest plays to the screen. Believed to be a worthwhile goal in 1915, before the end of the 1920’s such published plays and other literature while fine for the boudoir reader were problematic to simply translate to the silver screen. The movement towards self-censorship had developed in reaction to the fear the industry would be regulated or outright banned by states. In 1915 there were fewer worries about this as such theatrical artistic fare was expected to attract a better educated movie-goer as well as the Wall Street big-money-type investors who invested in Broadway plays. In one fell swoop Aitken contracted over 60 actors and actresses including Billy Burke (1884-1970), recently married to Florenz Ziegfeld; soon-to-be Western star Dustin Farnum (1874-1929); Shakespearean actor Sir Herbert Beerbohm Tree (1852-1917) who played Macbeth in D.W. Griffith’s lost 1916 film of the same name; and, “Casey At the Bat” DeWolf Hopper (1858-1935).
Douglas Fairbanks, 1916. Public Domain.
The debut feature from Triangle starred Douglas Fairbanks in The Lamb, a film based on a 1913 stage play that was expanded to have Western cinematic elements. It premiered with two more features on September 23, 1915 at The Knickerbocker Hotel in Fairbanks’ old stomping ground of New York City. Triangle had in-house three master directors – D.W. Griffith, Mack Sennett, and Thomas Ince. D.W. Griffith had a hand in The Lamb, though its directing and screenplay credits went to 27-year-old W. Christy Cabanne (1888-1950). The Lamb was a hit with audiences, and critics praised Fairbanks’ performance marked by his celebrated physicality.8 The film had a nationwide release that November 1915. Although not yet a movie star, Fairbanks saw his weekly salary doubled. By His Picture in the Papers, a 1916 silent comedy film for Triangle that provided stunts for Fairbanks to wrap his athleticism around, Fairbanks became a popular screen idol. Fairbanks made 13 films for Triangle and when his contract expired, Harry Aitken was paying him $10,000 per week.9 Yet, excepting Douglas Fairbanks, Aitken had over bought his stable of stage stars in relation to their poor return so that in 1916 Triangle was known in the industry to be on the verge of collapse.
Adolph Zukor (1873-1976). Paramount Pictures’ co-founder was one of the innovators of the motion picture business. In 1916 Zukor convinced Douglas Fairbanks to become the independent producer of his own films. From the May 1922 issue of Motion Picture Classic. Public Domain.https://archive.org/details/MotionPictureClassicMay1922/mode/1up?view=theater
Douglas Fairbanks, Triangle’s star, was convinced by Paramount Pictures’ co-founder Adolph Zukor (1873-1976), believed to be “the business brains of the motion picture industry,”10 to become the independent producer of his own films. This became reality at the end of 1916 with the creation of the Douglas Fairbanks Picture Corporation. Zukor had already worked to do something similar for Mary Pickford’s films.
Douglas Fairbanks and Mary Pickford around 1919. Both movie stars already had established independent productions companies for their own films which still required their distribution, a key aspect of making money in movies, by others. These stars along with comedy star Charlie Chaplin and master director D.W. Griffith, founded United Artists in 1919 in large part to establish control of the distribution arm of the movie making business for their independently produced films. In 1919, Douglas Fairbanks divorced his wife, Anita. The following year, Mary Pickford, “America’s Sweetheart,” divorced her husband, Owen Moore, and married her paramour since 1916, Douglas Fairbanks. The American public took tremendous interest in these personal affairs and, if shocked, hardly surprised by the country’s changing values. Even Douglas Fairbanks’ films between 1915 and 1919 had demonstrated those changing values by way of his athletic, likeable characters increasingly drawn to display a comical, good-natured, brash overambition of a hero with a popular philosophy of his own whose sole adversary is boring convention – and, conventional boredom. While Fairbanks’ dramatis personae would change dramatically in the 1920s – broadly, from comedies to swashbucklers- this fantastic and ultimately attractive and likeable character type was merely reinforced.11 Glass negative, Harris & Ewing photographer.https://www.loc.gov/resource/hec.30098/ Public Domain.
As Fairbanks had been lured away by a better offer, so the actor hired his team at Triangle for his own company. Director John Emerson (1874-1956) and screenwriter Anita Loos (1888-1981) – to be husband and wife in 1919 – had successfully collaborated on Fairbanks’ movie hits at Triangle and even D.W. Griffith valued the pair as among the best film editors in the business after working on Intolerance in 1916. Emerson had directed important films at Triangle in 1916 featuring Douglas Fairbanks including His Picture in the Papers, The Americano, and The Mystery of the Leaping Fish. These Emerson-directed films were followed in 1917 by In Again, Out Again, Wild and Woolly, Down to Earth, and Reaching for the Moon, all for Douglas Fairbanks Productions. In 1918 Fairbanks made 5 more romantic comedies and one melodrama called Arizona, a film now lost. Despite a film receiving perhaps a mixed review from critics or being subject to local censorship, Douglas Fairbanks’ films proved box office gold due to his star power. In 1918 and moving into 1919 Fairbanks had become a millionaire, screen idol and soon to be co-founder of his own movie studio, United Artists.
John Emerson and Anita Loos in 1918. These two creative individuals who married in 1919 worked closely with Douglas Fairbanks as well as D.W. Griffith at Triangle films and later at Douglas Fairbanks Picture Corporation as director, screenwriter, and film editor helping to make some of the most popular and critically-acclaimed films in the industry at that time. Public Domain.
Down to Earth is a 1917 American comedy romance film produced by and starring Douglas Fairbanks with Irish-born actress Elaine Percy. Directed by John Emerson with a screenplay co-written by Anita Loos, the film features Fairbanks as Bill Gaynor who sets out to prove the outdoors and self-reliant manual labor are better for health than any modern medical treatment. He does this by kidnapping a group of hypochondriacs from a clinic that includes a girl, Ethel Forsythe (Percy), Bill is interested in but who has so far refused his proposals. Finally, after proving his point on a “deserted island”that is next to a California freeway, Bill bids farewell to the revived group of patients and escapes with his awaiting newly-gained love interest, Ethel, into the sunset by rowboat. The film is in the Public Domain. The most popular silent film stars on the road selling Liberty bonds in 1918 were Douglas Fairbanks (depicted above on Wall Street in New York City before a massive crowd that year), Charlie Chaplin, and Mary Pickford. At the end of 1918 it was Fairbanks and Chaplin who decided to hire private detectives to spy on their respective studios, Paramount Pictures and First National. They were told that the studios were going to put a stop to their exorbitant salaries and not renew their contracts.12 The positive audience response from the Liberty drives and a fear of a corporate merger that would end star leveraging power, led directly to Fairbanks, Chaplin, Pickford, and master director D.W. Griffith, to found United Artists in January 1919. Public Domain.
NOTES:
1. Goessel, Tracey. The First King of Hollywood; The Life of Douglas Fairbanks. Chicago Review Press, 2016.
8. Lombardi, Frederic (2013). Allan Dwan and the Rise and Decline of the Hollywood Studios. McFarland. pp. 53–54.
9. United Artists, Volume 1, 1919–1950: The Company Built by the Stars, Tino Balio, University of Wisconsin Press, 2009. p. 143.
10. Quoted in the May 1922 issue of Movie Picture Classic, p. 26.
11. A Short History of the Movies, Gerald Mast, Indianapolis: Bobbs-Merrill Company, Inc., 1976, pp. 124; 127 and The Liveliest Art: A Panoramic History of The Movies, Arthur Knight, New York: MacMillan Publishing, 1978, p 107.
12. Chaplin: His Life and Art, David Robinson, New York: McGraw-Hill Book Company, 1985, p. 267.
BIBLIOGRAPHY:
A Short History of The Movies, Gerald Mast, The Bobbs-Merrill Company, Inc. Indianapolis, 1977.
David Robinson, Chaplin: His Life and Art. New York: McGraw-Hill Book Company, 1985.
Hollywood: The Pioneers. Kevin Brownlow and John Kobal, New York: Alfred A. Knopf Inc. A Borzoi Book,1979.
History of the American Cinema, Volume 5, 1930-1939, Charles Harpole, General Editor, New York: Charles Scribner’s Sons, 1993.
The American Film Industry, ed. Tino Balio, University of Wisconsin Press, 1976.
The Hollywood Story, Joel W. Finler, New York: Crown Publishers, Inc., 1988.
The Liveliest Art: A Panoramic History of The Movies, Arthur Knight, New York: MacMillan Publishing, 1978
The United Artists Story, Ronald Bergan, Crown Publishers, Inc., New York, 1986.
United Artists, Volume 1, 1919–1950: The Company Built by the Stars, Tino Balio, University of Wisconsin Press, 2009
FEATURE image: Charles (Charlie) Chaplin (1889-1977), 1918, A Dog’s Life, First National. Public Domain.
Charles (Charlie) Chaplin (1889-1977), 1918, A Dog’s Life, First National.
Twenty-four-year-old Charlie Chaplin was “discovered” in 1913 when he was touring Stateside in an English pantomime, acrobat and clown show troupe. Chaplin signed up to work for $150 a week in Mack Sennett’s Keystone Comedies. It was a definite pay raise at about triple what he was making in vaudeville and music halls. It opened his eyes to movies’ possibilities for popularity and money making. Chaplin made 35 motion pictures in the first year. The norm of one- and two-reels was a perfect foil for Chaplin’s trademark character – “the Tramp” – and he became an overnight sensation among film-hungry audiences.
Though Sennett wanted to keep his surprising new star, Chaplin was lured away by Essanay Film Manufacturing Company of Chicago for $1,250 a week and the option to direct his own pictures. Whereas Chaplin was making 5 and 6 figures with Essanay, the company was making 7 figures with the artist. Chaplin made 14 films for Essanay and exerted a high level of control of these films before he left for Mutual Film Corporation in early 1916.
Charlie Chaplin (1889-1977) and Edna Purviance (1895-1958) in a clip from A Dog’s Life (1918). Granville Redmond (1871-1935) plays the dance hall proprietor. Purviance appeared in over 30 films with Chaplin between 1915 and 1923.
Chaplin’s new salary was $670,000 a year or $10,000 a week (equal to a staggering $300,000 plus per week in 2023 dollars) – plus bonuses that amounted to what had about been his collective total salary over two years at Essenay. By 1916 Charlie Chaplin had become the nation and world’s favorite comedian and a very marketable cultural phenomenon. In 1916 Chaplin made 12 films for Mutual which were all comic masterpieces- The Floorwalker, The Fireman, The Vagabond, One A.M., The Count, The Pawnshop, Behind the Screen and The Rink. In 1917 Chaplin made 4 more films. By the beginning of 1918 twenty-something Chaplin had become a world-renown film artist comic/auteur who found entrée to meeting with other international celebrity cultural artists.
Chaplin was a trouper who churned out the work and Mutual looked to keep Chaplin on for another series of profitable films. They presented a generous offer of $20,000 per week which is about $600,000 per week today. The studio would pick up Chaplin’s production costs as well. But, Charlie Chaplin, wanting to keep fresh as well as share in the profits of his pictures, signed with First National. Their deal included matching Mutual’s per week salary requirements as well as a signing bonus of $15,000. Though Chaplin had to pay his production costs with First National, he received the aforesaid profit-sharing for his next 8 pictures. At this point Chaplin was an independent producer with financing and artistic control over his own pictures as well as a 50% share in its box office. One next logical step would be to increase profit margin.
Chaplin’s first picture release for First National was A Dog’s Life. It was a three-reeler (33 minutes) featuring the Tramp that was released in April 1918 and for which Chaplin was its producer, writer, director, and star.
Main Theme by John Barry of Chaplin, the 1992 biographical film of the legendary English comic and filmmaker starring Robert Downey, Jr. as “the Tramp.” The film was produced and directed by Richard Attenborough (1923-2014) and co-starred Marisa Tomei as silent film actress Mabel Normand (1893-1930), Dan Ackroyd as director and studio head Mack Sennett (1880-1960), Penelope Ann Miller as silent film actress Edna Purviance and Kevin Kline as Douglas Fairbanks Sr. (1883-1939). The film featured Charlie Chaplin’s own daughter, Geraldine Chaplin (b. 1944), playing Chaplin’s mother and her own grandmother, Hannah Chaplin (1865-1928), Maria Pitillo played “America’s Sweetheart,” silent film actress Mary Pickford (1892-1979). Though the film received mixed critical reviews it was nominated for three Academy Awards, including Best Original Score for John Barry whose haunting Main Theme evokes the greatness of the main character in a comedy-drama story from TriStar Pictures (US).
Bibliography:
David Robinson, Chaplin: His Life and Art. New York: McGraw-Hill Book Company,1985.
Tino Balio, “Stars in Business: The Founding of United Artists” in The American Film Industry, ed. Tino Balio, University of Wisconsin Press, 1976.
FEATURE image: United Artists founders in 1919, (Left to right) Douglas Fairbanks (1883-1939), Mary Pickford (1892-1979). Charlie Chaplin (1889-1977) and D.W. Griffith (1875-1948).
By John P. Walsh
It is debated whose brainchild the United Artists Corporation (UA), founded in 1919, ultimately was. Was it Mary Pickford’s and Douglas Fairbanks’ theatrical lawyer and a later UA executive who advised them to found an artist-controlled movie company or UA’s first president, a former U.S Treasury Department official, who suggested Douglas Fairbanks start a distribution company for his films or was it a publicity man for one of the majors who suggested to UA’s first general manager to create a movie studio run by artists for artists – or, finally, was it, as Charlie Chaplin claimed, by way of his elder half-brother Sydney who had hired a pretty girl to spy on another studio’s imminent potential merger and whose culled information led directly to founding their own?1 Whatever or whoever was the conduit or original source, in 1919, four of Hollywood’s legendary film artists — actors Douglas Fairbanks (1883-1939), Fairbanks’ future wife, Mary Pickford (1892-1979), Charlie Chaplin (1889-1977), and “the Father of Film Technique” director D.W. Griffith (1887-1948)- formed United Artists, one of Hollywood’s name-brand film studios.
In April 1918 Douglas Fairbanks, Mary Pickford, and Charlie Chaplin, traveled the country selling Liberty Loans (war bonds). The adulation these stars received everywhere during the tour worked to convince them and others that it was time for them to establish an artist-controlled movie studio which occurred months later in February 1919. Public Domain.
Distinct from other movie studios, UA was especially founded by artists for artists. From His Majesty, The American in 1919 starring Douglas Fairbanks that premiered in New York City at the newly-built Capitol through to The Underdoggs scheduled for 2024, a comedy starring Snoop Dog – and many hundreds of major motion pictures in between – United Artists’ impact on the entertainment industry and culture has been highly significant in that its range of film product envisioned and presaged the artist/ producer-driven film industry that is normal today. Yet United Artists was also more as it allowed independents to make their films free of heavy-handed interference from the higher ups which was often the case at the majors. Such freedom in the marketplace could be risky and United Artists’ survival through the decades is nothing other than extraordinary.
Alexandria Hotel in downtown Los Angeles where Pickford, Chaplin, Fairbanks and Griffith met in the dining room in January 1919 to finalize plans for the founding of their artist-controlled movie studio called United Artists. Built in 1906, the Alexandria Hotel was a relatively new hotel in 1919 sitting on the southwest corner at 501 South Spring Street. “Alexandria Hotel (Los Angeles)” by Los Angeles is licensed under CC BY-SA 3.0.
The following artist corporate manifesto was released to the press on February 5, 1919. Over 100 years later it remains prescient for many reasons including a warning about the use of technology in filmmaking (“machine-made entertainment”) and freedom of choice for the consumer in terms of viewership (“not force[ing] upon him program films he does not desire”) – A new combination of motion picture stars and producers was formed yesterday, and we, the undersigned, in furtherance of the artistic welfare of the moving picture industry, believing we can better serve the great and growing industry of picture productions, have decided to unite our work into one association, and at the finish of existing contracts, which are now rapidly drawing to a close, to release our combined productions through our own organization. This new organization, to embrace the very best actors and producers in the motion picture business, is headed by the following well-known stars: Mary Pickford, Douglas Fairbanks, William S. Hart, Charlie Chaplin and D.W. Griffith productions, all of whom have proved their ability to make productions of value both artistically and financially. We believe this is necessary to protect the exhibitor and the industry itself, thus enabling the exhibitor to book only pictures that he wishes to play and not force upon him (when he is booking films to please his audience) other program films which he does not desire, believing that as servants of the people we can thus serve the people. We also think that this step is positively and absolutely necessary to protect the great motion picture public fromthreatening combinations and trusts that would force upon them mediocreproductions and machine-made entertainment.2
In a short 30 years, by the early 1950’s, with the demise of the studio system and the rise of broadcast television, UA would bring this visionary independent investor and producer driven film product to the world as the business template for how all films in and outside of Hollywood would be made. In 1919, United Artists was originally conceived as a prestige studio that distributed some of the industry’s best larger budget pictures. By the 1940’s it had evolved to add less expensive film products that met audience demands and kept the studio’s distribution networks humming. As capital and power tends towards concentration in a capitalist economy, the notion for a nimble, relatively low overhead movie-making patron facilitating production planning and distribution of films by independent producers proved a vital idea whose relevancy renewed itself through the years.3
In contrast to the major studios, such as MGM, Paramount, Fox, RKO, and Warner Bros., which had production, distribution and exhibition arms, United Artists focused solely on distribution. Unlike the majors, United Artists had no star stable, no studio facilities to speak of, no directors, no technicians, no chain of theaters, no house style, but, functioned as a distribution outlet for independently-made productions. In that way, UA was responsible for all phases of an independent production company’s film releases. This included the layers of market testing desired, the planning (including some financing) and booking of production releases, sundry marketing, and settlement matters following release. Distribution duties ranged from pre-production to marketing assistance as well as a bird’s-eye evaluation during production. Post-production distribution of motion pictures to the country 23,000 theatres in the 1930’s was an umbrella term for what was really a chain of complex business actions starting at the beginning of a film project to its being shown flickering on a local screen.
In the beginning: the 1920’s.
Throughout the silent era’s heyday and ultimate demise—the 1920’s—UA was clearly distributing films of its four founders which was a large reason for the company’s genesis. This soon included bankable silent film stars, such as Gloria Swanson (1889-1983). Lillian Gish (1893-1993), Buster Keaton (1895-1966) and Norma Talmadge (1894-1957). UA had no shortage of money-making hits in the roaring ‘20’s. There were melodramas such as Griffith’s Broken Blossoms (1919) to his Way Down East (1921) and comedies starring Mary Pickford, including Pollyanna (1920) and Little Annie Rooney (1925). Douglas Fairbanks starred in UA crowd-pleasers in roles that in the 1930’s sound era was played by Errol Flynn, such as The Mark of Zorro (1920), The Three Musketeers (1921), Robin Hood (1923) and The Thief of Bagdad (1924).
Douglas Fairbanks, Sr. was a swashbuckling film hero of the 1920’s. Made for $2 million, The Thief of Bagdad in 1924 was the most expensive movie ever made up to that time. Douglas Fairbanks Pictures had simply outdone itself since his 1922 silent film, Robin Hood, made for $1.5 million had been the most expensive motion picture ever made (see – Tino Balio, Grand Design: Hollywood As A Modern Business Enterprise, 1930-1939, New York: Scribner’s Sons, 1993, p. 205). For The Thief of Bagdad, based on the Arabian Nights stories, there were monumental sets constructed – and a fantastic magic carpet ride- which set a new standard for Hollywood production values. In a United Artists’ picture directed by Raoul Walsh (1887-1980), Fairbanks played the lead role of Ahmed the Thief, an exotic athletic romantic role. In this leading man type, Fairbanks was joined by Rudolph Valentino (1895-1926), Ramon Novarro (1899-1968), John Barrymore (1882-1942), John Gilbert (1897-1936), Ronald Colman (1891-1951) and Gilbert Roland (1905-1994). Usually playing opposite sexy, mysterious heroines such as Greta Garbo (1905-1990) and Vilma Banky (1901-1991), Douglas Fairbanks played opposite Julanne Johnston (1900-1988) in this silent action film. Douglas Fairbanks Sr.” by twm1340 is licensed under CC BY-SA 2.0.
United Artists’ 1924 silent classic, The Thief of Bagdad, was written, produced and starring Douglas Fairbanks. Mary Pickford in 1920 in Los Angeles. Pickford was “America’s Sweetheart” and one of the highest paid film stars of the silent era. Pickford made about 50 feature films over which she exercised complete control. As a cofounder of United Artists Pickford exercised direct influence over scores of Hollywood releases for more than 30 years. Portrait by Nelson Evans. Public Domain.Master of film technique, D.W. Griffith, with Dorothy and Lillian Gish. In 1908 Griffith was paid $5 a day as a scene writer and actor. Seven year later, in 1915, with Griffith’s Birth of a Nation the film director was a millionaire. Made for $100,000, that film generated $18 million at the box office (see – Tino Balio, “Stars in Business: The Founding of United Artists” in The American Film Industry, ed. Tino Balio, University of Wisconsin Press, 1976, p.144). “D.W.Griffith, Dorothy & Lilian Gish” by oneredsf1 is licensed under CC BY-NC-SA 2.0.Lillian Gish in 1922 by an unknown photographer. In D.W. Griffith’s Broken Blossoms released by United Artists in 1919, Gish plays young girl, Lucy Burrows, who is abused by her alcoholic prizefighting father, and who meets Cheng Huan, a kind-hearted Chinese man who falls in love with her. In a film career that spanned from 1912 to 1987 – including a directorial debut in 1920 – Gish was called the “First Lady of American Cinema.” “Lillian Gish by unknown photographer, ca. 1922” by trialsanderrors is licensed under CC BY 2.0.Public Domain.Buster Keaton in The General, released by United Artists in 1927. The film was an example of a speculative bare bones film studio gone awry. UA president Joseph Schenck had lent Buster Keaton productions (his brother-in law) $750,000 for the silent action film that essentially broke even and prompting UA’s facilitating Buster Keaton’s move to a more watchful MGM for future projects. Screenshot of a film in the Public Domain.
Gloria Swanson, born in Chicago, was, at 26 years old, considered the most bankable silent film star of the time. In a successful career in film since 1918, she signed with United Artists in 1925 with UA chairman of the board Joseph Schenck who was brought in the year before. It was a six-picture distribution deal, and her production company was advanced financial loans through United Artists’ own Art Cinema Corporation subsidiary. Swanson also agreed to invest in UA by buying $100,000 of preferred stock. These financial terms proved difficult for Swanson to repay later and required the services of financier Joseph P. Kennedy (1888-1969) who reconfigured her business portfolio to meet her obligations and produced one of her films.4 Meanwhile, her UA debut, The Love of Sunya, basically broke even. Swanson made two other UA films that were critical and financial successes –Sadie Thompson in 1927 with director Raoul Walsh (1887-1980) and The Trespasser, one of Swanson’s few sound films. The latter was directed by Edmund Goulding (1891-1959) and produced by Kennedy in 1929. For both of these films, Gloria Swanson received Academy Award nominations for Best Actress.
Gloria Swanson, c. 1923. Swanson signed with UA for a six-picture deal. Though the actress adapted well to talkies, Swanson remained the consummate silent screen film star. “smokin turban gloria swanson, c.1923” by carbonated is licensed under CC BY-NC-SA 2.0. Public Domain.Kennedy family, c. 1923. Joseph P. Kennedy, an imaginative and successful businessman, was the financial advisor to Gloria Swanson in 1927 and film producer for Queen Kelly, a United Artists release, in 1928. The future president of the United States, John F. Kennedy, is seated to the left. Public DomainEnglish film director Edmund Goulding (1891-1959) helping William Twiddy and “Bill” Easton kiss while making a film in 1927. Public Domain.
As its founders first looked to protect their public image and screen product, United Artists opened its doors to an array of outside suppliers expanding their business operations. In 1929 UA produced 18 pictures – a company record – and, in the next few years, was expanding to distribute films of Samuel Goldwyn, Howard Hughes, Joseph Schenck, Walt Disney, Alexander Korda, David O. Selznick, and Walter Wanger, among others. With the onset of talkies in 1927 and the Great Depression in 1929 the new pressures on the movie studios were enormous. While having built their reputation on silent film stars and watching their film output dwindle 25% in the early 1930’s, UA benefited from the management of Joseph Schenck (1876-1961) who facilitated the release of several popular money-making features by Samuel Goldwyn (Palmy Days), Howard Hughes (The Front Page – nominated for an Academy Award for Best Picture), Charlie Chaplin (City Lights) and Alexander Korda (The Private Life of Henry VIII).5
Actor Toby Wing (1915-2001) was an actress and showgirl, once called “the most beautiful chorus girl in Hollwood.” In 1931 she became one of the first Goldwyn Girls and started her film career in Palmy Days (1931), a United Artists release starring Eddie Cantor. In 1933, she was the blonde in 42nd Street in the ‘Young and Healthy’ number with Dick Powell – a film that singlehandedly saved Warner Bros. in the throes of the Great Depression. Sam Goldwyn, imitating the Ziegfeld Follies, looked to create a chorus line for his films where the producer insisted each actress in the Goldwyn line-up “must look as though she had just stepped out of a bathtub. There must be a kind of a radiant scrubbed cleanliness about them which rules out all artificiality.” In a memorable if short film career – Toby Wing retired at 23 years old – her roles were small, often uncredited, and, before the introduction of the Production Code in 1934, frequently risqué. In 1934 she played Consuelo of Claghorne to Cary Grant’s Dr. Maurice Lamar in Paramount Pictures’ rom-com, Kiss and Make-Up and, in 1937, in True Confession, starring Carole Lombard. When, in 1938, at 22 years old, she married “Dick” Merrill, a dashing airmail pilot 20 years her senior, observers didn’t expect the union to last. Wing promptly retired from show business and the newlyweds moved to Florida where Merrill had a reliable Florida-to-New York City route. Wing had two children with Merrill, became a successful real estate agent and the couple stayed together for 44 years until Merrill’s death in 1982. While Toby Wing may have been one more zany platinum blonde that Hollywood and its audiences adored, she possessed an on-screen radiance that found her honored in 1960 with a star on the Hollywood Walk of Fame. Toby Wing died in 2001 at 85 years old. “Toby Wing; (1915 – 2001)” by Movie-Fan is licensed under CC BY-NC-SA 2.0. Adolphe Menjou (1890-1963) starred as newspaper editor Walter Burns in The Front Page produced by Howard Hughes and distributed by United Artists in 1931. When the remake of the film by Howard Hawkes was released in 1940 by Columbia Pictures, it was renamed “His Girl Friday” with Cary Grant in the Walter Burns role. For his performance in 1931, Adolphe Menjou as Walter Burns received an Academy Award nomination as Best Actor. “Adolphe Menjou” by twm1340 is licensed under CC BY-SA 2.0.Charlie Chaplin’s City Lights (1931) released by his United Artists –here with Virginia Cherrill (1908-1996) as the visioned-impaired flower girl – was a silent film though made in an era when talkies were most wildly popular. While a tender relationship blossomed between Chaplin’s tramp and the flower girl in the film, on the set, in real life, Chaplin almost fired Cherrill for not meeting his threshold for professionalism. Ultimately, Chaplin didn’t follow through on his threat because it would be prohibitively expensive to find and film a replacement. Independent film production companies, even when it is a famous star and movie studio owner, often had to follow a tighter budget than the majors. “City Lights,” one of Chaplin’s classic films, became one of that year’s blockbusters and helped UA make money during the Great Depression. “City Lights” by Mgmax is licensed under CC BY-NC 2.0.
In 1926, Joseph Schenck in a visionary move, set up the United Artists Theatre Circuit which selectively acquired certain first-run theatres in major markets to show their pictures. This also had the effect of the majors working more accomodatingly with an astute competitor and showed UA pictures in their venues. Yet, since United Artists, as part of its nimble, skeletal organization, did not have a portfolio of theatres like MGM, Paramount, Warner Bros., Fox, and RKO – collectively, these majors owned about 15% of the country’s total number – meant that when times were bad, such as in the Great Depression, UA was not impacted as negatively by the sudden decline in movie attendance or dipping real estate values. Moreover, UA’s low operating overhead included a smaller staff that resulted in less lay-offs in hard times. Under Joseph Schenck, UA started in the 1930’s to invest money in future productions with profit-sharing in addition to simply loaning money to producers to be paid back with interest in post-production (Gloria Swanson’s deal). After Joseph Schenck partnered with Darryl F. Zanuck (1902-1979), formerly of Warner Bros., to form Twentieth Century Pictures in 1933, they produced most of UA’s films in 1933 and 1934. When Schenck left United Artists in 1935 after being rejected for partnership6 he merged with Fox Films to form Twentieth Century-Fox and became its chairman. The situation placed United Artists in a difficult position of having to replace their leading producer. The leadership issue was, arguably, not be addressed by UA until Krim and Benjamin in the 1950’s. After-Schenck’s departure, notable filmmakers slowly fled UA, though this was also the natural condition of the movie business, especially among the independent-minded, to find greener pastures. Disney exited in 1936 and Goldwyn in 1940, both moving to RKO, and William Wanger moved in 1941 to Universal Pictures. Not until in the post-war period did Mary Pickford and Charlie Chaplin look to recruit vibrant new leadership for UA following the demise of the studio system in the late 1940’s and the rise of television at the same time – and would swiftly result in their own departures from the company.
Joseph Schenck. Joseph M. Schenck Productions became Art Cinema Corporation in 1926. In addition to Buster Keaton, Norma Talmadge (Schenck’s wife) and Gloria Swanson, Schenck through United Artists Studio (Art Cinema using Pickford and Fairbanks’ studio) produced scores of pictures in the 1920’s by Rudolph Valentino (The Son of the Sheik in 1926), John Barrymore (The Beloved Rogue in 1927) and Dolores Del Rio (Evangeline in 1929). In 1927 Schenck had brought in Samuel Goldwyn to United Artists. In 1933 Schenck and Darryl F. Zanuck (1902-1979), formerly of Warner Bros., formed Twentieth Century Pictures. In 1935 Schenck and Zanuck left United Artists to form Twentieth Century-Fox studio in 1935. It had been mainly Charlie Chaplin who resisted Schenck’s vision for a more comprehensive movie studio like the majors that hastened Schenck’s ultimate departure as owner-co-founder Chaplin looked to continue the vision of United Artists for pictures that reflected the specialized talents of its independent creators (see – Tino Balio, “Stars in Business: The Founding of United Artists.” in The American Film Industry, ed. Tino Balio, University of Wisconsin Press, 1976, p.151). Public Domain.
Meantime, in 1935 David O. Selznick (1902-1965) joined UA and released his pictures – in 1936, Little Lord Fauntleroy and The Garden of Allah; in 1937, A Star is Born, The Prisoner of Zenda, and Nothing Sacred; in 1938, The Adventures of Tom Sawyer and Young at Heart; and, in 1939, Made For Each Other and Intermezzo, starring Ingrid Bergman who Selznick introduced to American film audiences. These films were jewels for UA and made a fortune for the studio. Selznick International Pictures’ Gone With The Wind should have been released through UA but part of the condition of MGM lending Clark Gable to the project was that the film would be distributed by Gable’s home movie studio. In the 1940’s Selznick released Rebecca (1940), Since You Went Away (1944), I’ll Be Seeing You (1945) and Spellbound (1945) through UA.
Ingrid Bergman (1915 – 1982) was a 23-year-old Swedish actress when she was introduced to U.S. film audiences after she appeared in David O. Selznick’s 1939 film production, Intermezzo. co-starring Leslie Howard and released by United Artists. “Ingrid Bergman 1915 – 1982” by oneredsf1 is licensed under CC BY-NC-SA 2.0
Other notable films from the 1930s released by UA included Walter Wanger’s Trade Winds (1938), John Ford’s Stagecoach (1939), and Samuel Goldwyn’s Wuthering Heights (1939). Before Goldwyn’s departure in 1940 under circumstances not unlike Joseph Schneck in 1935 – a star producer wanting to buy in or buy out UA- he left to form his own movie enterprise after 50 critically acclaimed and money-making films in 14 years for United Artists.
Carole Lombard (1908-1942), well known screen actress shown on the courthouse steps in Carson City, Nevada, on August 18,1933 following her divorce from her husband, William Powell. A rising comedian originally from Indiana, Lombard appeared in the 1937 Technicolor screwball comedy feature film, Nothing Sacred. From Selznick International Pictures, the film was released by United Artists as part of an agreement Selznick made with the movie studio to release a dozen films in a 10-year period. “Carole Lombard 1908 – 1942” by oneredsf1 is licensed under CC BY-NC-SA 2.0.
The War Years.
Seeking diversion, news information, and community camaraderie, America continued to go to the movies in record numbers before and during World War II (1939-1945). In 1938 there were 80 million tickets sold every week.7 The U.S. population in 1940 was about 130 million people and in pre-Pearl Harbor 1941 about 55 million of them (about 40% ) attended the movies each week. 8 In three years, by 1944, weekly attendance numbers nearly doubled to 100 million people – or about 75% of the U.S. population.9 By comparison, starting in the early 1970’s and through to today, the trend is very different. About 10% of the population may attend the movies each week at movie theatres. The early 1940’s was booming times for the movie industry whose contemporaneous films often extolled democracy’s virtues as well as a sentimental Homefront along with providing the outright escapist fare such as Westerns, comedies and musicals. Despite this prosperity UA’s film product was mostly undistinguished in this period and their income fell slightly from the end of the pre-war period.10 After the war, movie attendance levels dropped as people returned to start families, and go back to school and work. In response, the movie industry released less product – and the decline spiraled so that by the end of the decade of the 1940’s UA was in debt and ripe for a takeover.
In 1949 Orson Welles starred in Black Magic, an 18th century costume drama, released by United Artists. Welles played Count Cagliostro, a legendary hypnotist, conjurer, showman and charlatan. The film co-starred Nancy Guild (1925-1999) as Marie Antoinette and her supposed double, Lorenza, whom the Count plots to replace at the Dauphin’s side and control France. The film received mixed reviews. The photograph of Welles in 1949 is from The Third Man. “The Third Man (1949)” by twm1340 is licensed under CC BY-SA 2.0.Lucille Ball (1911-1989) in the mid 1940’s. Lucy appeared in the stylish atmospheric “Lured,” a United Artists release, in 1947. Directed by Douglas Sirk and co-starring George Sanders, the film noir is a murder mystery set in Victorian England where 8 young women have mysteriously disappeared after answering an advertisement. Lucy is recruited by Scotland Yard to act as bait for the killer who could be one of several suspects. In the 1940’s United Artists included many lower budget and B pictures to meet demand and keep its distribution business humming. “Lucille Ball” by manito℡ is licensed under CC BY 2.0.Jane Russell (1921-2011) appeared in Howard Hughes’ The Outlaw, released by UA in 1946. From the start, the Western, with its sexual overtones, was mired in controversy so that it only gained a wide showing in 1950. Russell, playing Rio and wearing a Howard Hughes’ specially designed bra using his aeronautical engineering skill – all of which became part of the film’s controversy – ended up as an iconic Hollywood sex symbol in the process. “Jane Russell (1)” by oneredsf1 is licensed under CC BY-NC-SA 2.0.
Notably, at the end of the decade, beyond film noir with, as Michael F. Keaney points out, “its thematic criminal content” and “Emphasis on obsession, desperation, alienation, and paranoia” that is noted for its “dark visual style,“11 United Artists’ releases contributed to the new willingness after the war and ushering in of the Atomic Age to present serious social issues in films such as Home of The Brave (1949) exploring issues of race bigotry. Produced by Stanley Kramer, directed by Mark Robson, and written by Carl Foreman Kramer and others would continue to explore these social issues in the future.
Lloyd Bridges (1913-1998) played the buddy who was killed in Home of The Brave, a 1949 UA release, that results in a Black GI (James Edwards) returning in a state of shock from their mission in the South Pacific during World War II. Using psychoanalysis conducted by a sympathetic doctor (James Corey), the Black soldier’s reaction is revealed to be the result of racial abuse by one of the platoon leaders. This serious social issue of racial bigotry in American institutions and controversial subjects was part of a Hollywood’s new willingness to confront them in popular film in the late 1940’s. “Lloyd Bridges” by YorkieBoy is licensed under CC BY-NC 2.0.
The Post War Era: 1950’s to 1970’s. Krim and Benjamin.
In 1951, Arthur B. Krim (1910-1994) and Robert Benjamin (1909-1979), lawyers and producers, were given leadership at UA and, based on their immediate success, soon acquired the movie studio. The duo unabashedly practiced the capital-producer-driven model for making movies which has since defined the film industry business model. United Artists’ visionary low overhead approach from its inception proved prescient for film production outside the once all-encompassing major studio system. Continuance of a skeletal staff which caused independent producers, notably Samuel Goldwyn, to flee from its sometime sloppy operations and no studio space – such could be leased from Pickford and Chaplin – became the de facto method to critical and box office success. 12 When Krim and Benjamin took over United Artists, stockholders gave them three years to make a profit. They did it in six months.13 United Artists devised a strategy based on financing and distribution of independent production that quickly and sustainably transformed the company into an industry leader. The revamped 1950’s United Artists worked with producer Sam Spiegel (1901-1985) and director John Huston (1906-1987) to have two upfront hits – The African Queen in 1951 and Moulin Rouge in 1952. This was followed up by High Noon in 1952 which was nominated for 7 Academy Awards and won four. United Artists was soon working closely with Stanley Kramer, Otto Preminger, Hecht-Hill-Lancaster Productions (actor Burt Lancaster’s production company) and other free-agent actors and others wanting to produce and direct. UA’s innovative and successful business model made the movie studio run by artists for artists the envy of the film industry so that, by the 1960’s, the majors were imitating them.
Humphrey Bogart won his only Oscar for the role of the scruffy captain who falls in love with a spinster missionary (Katharine Hepburn) as they take an old steamer down the Congo River during World War I in The African Queen (1951) released by United Artists under the new management of Krim and Benjamin. John Huston’s script wisely focused on the character development and performances of the two talented leads. “The African Queen (1951)” by Wasfi Akab is licensed under CC BY-NC-ND 2.0.
Surviving Founders Mary Pickford and Charlie Chaplin Sell.
By 1956 both Chaplin and Pickford had divested their shares to Krim and Benjamin who came from Eagle-Lion Films. United Artists then made a motion picture, Marty in 1955, that won four Oscars, including Best Picture. In 1957, a social drama, 12 Angry Men, was Oscar-nominated multiple times. There was also The Bachelor Party, an Oscar-nominated follow-up to Marty, in 1957 and Stanley Kramer’s The Defiant Ones in 1958. UA also released some of the era’s great comedies, including Billy Wilder’s Some Like It Hot in 1959 and The Apartment in 1960 which won the Best Picture Oscar. In the 1960’s Wilder did some of his best work with United Artists including, all of them box office hits, One, Two, Three in 1961, Irma La Douce in 1963, Kiss Me, Stupid in 1964 and The Fortune Cookie in 1966.
Jack Lemmon (right) as Jerry/”Daphne” with admirer Osgood Fielding III (Joe E. Brown) in Billy Wilder’s Some Like It Hot, released in 1959 by United Artists. Lemmon and Tony Curtis as Joe/”Josephine” gave the two best drag performances of their generation as Some Like It Hot marked the best in post-war comedy. “Some Like it Hot, 1959” by thefoxling is licensed under CC BY-NC-SA 2.0.Theatre marquee with Billy Wilder (and United Artists) comedy double feature. “Some Like it Hot” by Thomas Hawk is licensed under CC BY-NC 2.0.Marilyn Monroe as Sugar Kowalczyk, a ukulele player and singer, talks to film director Billy Wilder during the filming of a scene in Some Like It Hot. There is no funnier and sexier performance by Monroe in her filmography. “Marilyn Monroe Talking with Billy Wilder” by Movie-Fan is licensed under CC BY-NC-SA 2.0.Arthur Krim with his wife Mathilde Krim and President John F. Kennedy at the White House in 1962. Public Domain.
In 1957 Krim and Benjamin did something the founding owners didn’t do and if they had the studio’s history, likely starting in the mid-1930’s, would be very different: they took UA public. Before the 1950’s was finished, United Artists was the envy of the Hollywood motion picture industry, very profitably producing films, television shows, and records.14 Arthur Krim and Robert Banjamin remained with UA until 1978 when, with others, they created Orion Pictures. From 1978 to 1992, Krim attempted to mirror UA’s success with a company that, since 1997, is a subsidiary of MGM.
In 1961, United Artists released West Side Story which won a record 10 Academy Awards including Best Picture. Producer-Director Stanley Kramer with whom United Artists first started working in 1958, released Judgement At Nuremburg in 1961 and It’s a Mad, Mad, Mad, Mad World which, in its homage to slapstick, featured a Who’s Who ensemble cast of stage and screen comedians and became a box office smash.
One of the best animated opening credits in film history is Saul Bass’s effort for It’s a Mad, Mad, Mad World in 1963 from United Artists.Director John Sturges’ The Magnificent Seven released by United Artists in 1960 – it was an adaptation of the 1954 Japanese film classic, The Seven Samurai – and a major blockbuster. It featured (pictured above) Yul Brynner and Steve McQueen. “The Magnificent Seven” by MacQ is licensed under CC BY-NC-ND 2.0.“Brochure for ‘West Side Story’ (brochure)” is licensed under CC BY-NC-ND 4.0.In 1962 United Artists released The Miracle Worker, starring Anne Bancroft as Annie Sullivan, the partially blind teacher of deaf, mute and blind Helen Keller played by Patty Duke, both in Oscar-winning performances. William Gibson’s inspiring theatrical play was altered slightly by the author for the screen that was directed by Arthur Penn. “Miracle Worker” by Mike Monteiro is licensed under CC BY-NC-SA 2.0.Sidney Poitier (1927-2022) in 1963. Two years later, in 1965, Sidney Poitier became the first Black performer since Hattie McDaniel in Gone With The Wind (MGM. 1939) to win an Oscar for his role as Schmidt, a workman who helps a small group of German nuns build a chapel in Arizona in the United Artists release of Lilies of The Field. “1-a-patch-of-blue-sidney-poitier-1965-everett” by jamesjoel is licensed under CC BY-ND 2.0.
It was also in 1963 that United Artists backed the first film in the James Bond 007 franchise – Dr. No. Starting in 1964, they also backed The Pink Panther films directed by Blake Edwards and Bud Yorkin. Starting in 1964, Clint Eastwood was well on his way to becoming a star by way of his UA-backed spaghetti westerns. These and other films looked to satisfy the younger movie-going demographic that increasingly desired depictions of sex and violence at the cinema.
The first James Bond ride was this 1961 Sunbeam Alpine Mk1 in Dr. No. In 1961, producers Albert R. Broccoli and Harry Saltzman purchased the filming rights to Ian Fleming’s spy novels. The pair founded Eon Productions and, with financial backing by United Artists, produced Dr. No that was directed by Terence Young and featured Sean Connery as 007. “The First James Bond Ride: 1961 Sunbeam Alpine Mk1” by Automotive Rhythms is licensed under CC BY-NC-ND 2.0.UA-backed spaghetti westerns in the mid-1960’s made Clint Eastwood a star. They included A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, The Bad and The Ugly (1966). “Clint Eastwood” by yagisu is marked with Public Domain Mark 1.0.
In 1964 and 1965 United Artists got on board to introduce the Beatles to U.S. film audiences with A Hard Day’s Night and Help. Both films were phenomenal money makers. In 1965 UA had the means to finance, at $20 million, the most expensive film ever made up to that time: George Stevens’ production of The Greatest Story Ever Told. Starring Max von Sydow as Jesus Christ with an ensemble cast of actor favorites, the film was critically acclaimed and received five Academy Award nominations in 1965. However, the film recouped most though not all of its historic initial investment.
The Beatles with Richard Lester, film director of A Hard Day’s Night (1964). The film was released by United Artists in the U.S. on August 11, 1964. It accompanied the Beatles’ hit song of the same name and became a phenomenal hit with U.S film audiences, particularly teenagers around the country who lined up to see it with their friends, often multiple times. The film starred the Fab Four – John, Paul, George, and Ringo – in a rather mundane story whose better purpose was to feature the band mates and about a dozen of their most popular songs. “Sept hard-days-night-a-1964-011-beatles-richard-lester-clapperboard-00o-cjr” by bridgevillepennsylvania is licensed under CC BY-NC-ND 2.0.
LATER DEVELOPMENTS and the end of an era.
United Artists was ascendant in the 1960’s. It won 5 best Picture Oscars in the decade – more than any other single movie studio, a remarkable accomplishment. In addition to The Apartment in 1960 and West Side Story in 1961, there was Tom Jones directed by Tony Richardson in 1963, In the Heat of the Night in 1967, and Midnight Cowboy in 1969. United Artists was working with an array of directors such as Norman Jewison (In The Heat of the Night in 1967 and The Thomas Crown Affair in 1968), John Sturges (The Magnificent Seven in 1960), Robert Wise and Blake Edwards.15 In the 1960’s this diverse array of directors and actors and their films from United Artists found their audience although, as production exploded with independent projects, not every movie made its mark.16 Purchased in 1967 by Transamerica Corp. based on its film and television success, Krim and Benjamin were pushed aside for new management as UA continued to manufacture film hits such as The Graduate (Best Picture nominee) and In The Heat of the Night (Best Actor and Best Picture winner). In 1968 UA’s income reached $250 million with a $20 million in profit. Yet, in 1970, the studio lost $35 million. Krim and Benjamin were restored while staff and overhead expenses drastically cut.17
On the set of Midnight Cowboy, a United Artists production, in 1969. Directed by Britisher John Schlesinger, and starring Jon Voight as small-town stud Joe Buck and Dustin Hoffman as down-and-out local hustler Ratso Rizzo, Midnight Cowboy, follows the pair’s unlikely relationship through the seedy, sordid streets of New York City and beyond. Midnight Cowboy won that year’s Best Picture, Best Director and Best Screenplay at the Academy Awards and both Voight’s and Hoffman’s performances were Oscar-nominated for Best Actor, though it was John Wayne who took home Oscar for his role in True Grit that year. Midnight Cowboy was made on a shoestring budget of $3 million and though criticized for being luminous but not accurately observed, with a haunting theme by John Barry and hit rock songs on the soundtrack (“Everybody’s Talkin’” by Nilsson), the film scored over $44 million at the box office. Still, the movie studio’s new owner, insurance giant Transamerica, was not particularly pleased with this UA release and, later, its Last Tango In Paris, because of the X-rated content. It led to the insurance corporation taking action to distance itself from certain of its own films. This fissure ultimately led to an irreparable fracture with the movie studio’s longtime successful management team who were also its former owners and who left United Artists in 1978 to form a competing movie studio. Transamerica put United Artists up for sale two years later.18 “On the set – Midnight Cowboy – United Artists production, 1969” by dou_ble_you is licensed under CC BY-NC-SA 2.0.
The decade of the 1960’s saw a precipitous decline in movie attendance. What began in 1960 with 44 million Americans, or 25% of the population, going to cinema each week was 15 million in 1970 – or less than 10%. Most of these numbers were concentrated in a few films while the rest languished. The movie studios’ search for the surefire blockbuster intensified. One or two misses could – and did – sink a studio’s fortunes. Though UA was no longer the Oscar leader, the 1970’s was a mostly remarkable decade for United Artists. It made hits such as Fiddler on the Roof (1971) and the James Bond series with Roger Moore and had three Best Picture films in a row – One Flew Over the Cuckoo’s Nest (1975), Rocky (1976) and Annie Hall (1977).19 Significantly, in 1977 and 1979, respectively, Charlie Chaplin and Mary Pickford both passed away – and, with them, some of the last vestiges of old Hollywood.
In 1978, following Chaplin’s death, Krim and Benjamin left UA to form Orion Pictures, looking to make it a worthy heir to what United Artists had been. Their exit evolved with clashes with Transamerica since the insurance giant took over the movie studio in 1967. In 1973, as United Artists took over U.S. sales and distribution of MGM films and its music publishing business, in 1981 Transamerica sold United Artists and its film library to Tracinda Corp. Since Tracinda Corp. owned MGM, these two iconic film studio brands merged to become MGM/UA Entertainment Company with a host of subsidiaries.20
Mid-1970’s – Three Best Picture Oscars in a Row.
Jack Nicholson in 1976. Nicholson won the Oscar for Best Actor for his portrayal of grinning anti-hero McMurphy fighting the system personified by Nurse Ratched played by Louis Fletcher in the United Artists’ 1975 release, One Flew Over the Cuckoo’s Nest. Based on a 1960’s novel and stage play, the film swept the Oscars winning Best Picture, Best Director (Miloš Forman), Best Actor (Nicholson), and Best Actress (Fletcher). “File:Jack Nicholson in 1976 crop retouch.jpg” by AP Wire press photo – from eBay auction ebay (auction archive) is marked with CC0 1.0.Sylvester Stallone in Rocky (1976). Stallone was offered $300,000 for his original script but declined and counter-offered for $75,000, a percentage of the box office and the lead role. It was a shrewd move. The film made $54 million at release and won Best Picture, Best Director (John G. Avildsen) and Best Film Editing Oscars. Stallone was nominated for Best Actor. Made for $1 million, “Rocky” has grossed nearly $1 billion worldwide and spawned 8 sequels so far. “Rocky (1976)” by 7th Street Theatre is licensed under CC BY 2.0.Diane Keaton in Annie Hall, 1977. “A Nervous Romance” co-written and directed by Woody Allen won 4 Oscars including Best Picture, Best Director (Allen), Best Actress (Keaton) and Best Original Screenplay. It was the first comedy film in Oscar history to win for Best Picture. Diane Keaton’s quality costumes of baggy pants, knotted black tie, felt hat, stylish eyewear and liberated hairstyles set a fashion going forward into the 1980’s. “Diane Keaton in Annie Hall, 1977” by Beauties in Glasses (Movies) is marked with Public Domain Mark 1.0.
The end of the 1970s was profitable for UA. Though Krim and Benjamin were gone, UA was headed by Andy Albeck, Krim’s longtime assistant and the studio’s investments were reaping themselves handsomely at the box office – Francis Ford Coppola’s Apocalypse Now (1979), Woody Allen’s Manhattan (1979), Bond installment Moonraker (1979) and Rocky II were all hits, Although Westerns had fallen out of favor, in 1978 UA fronted almost $8 million for Heaven’s Gate. Starting in the 1960’s the film market was gearing to younger audiences. This trend intensified so that in the late 1970s and early 1980s most films were targeted to teenagers.21 Heaven’s Gate became way over budget and then opened to devastatingly reviews. Albeck saw the train wreck that was coming. The film was released then pulled and re-released after severe editing but was a box office bomb, Albeck resigned and UA, despite its money-making releases, including For Your Eyes Only (1981), Rocky III (1982) and Yentl (1983) was sold to MGM and became MGM/UA Entertainment Corp.
Roger Moore in Moonraker. The film was made precisely to cash in on audience demand for space adventure films that 20th Century-Fox’s Star Wars started in 1977. The most expensive Bond film ever made and its biggest money maker, the film nonetheless received mixed to negative reviews. The era of the adolescent, formulaic blockbuster had clearly taken hold at the movies. “moonraker” by cdrummbks is licensed under CC BY 2.0.
Late 20th century to today.
By 1983, MGM started selling UA assets such as its New York City headquarters as part of the consolidation process while in terms of film and television production the two jointly-owned studios under Kirk Kerlorian’s Tracinda Corp. were put in direct competition with one another. In March 1985 both studios went under one studio head, Alan Ladd, Jr.22 In March 1986,Ted Turner bought MGM/UA and renamed it MGM Entertainment Co. selling back the United Artists’ assets (about one third of the deal) to Tracinda Corp. Though it shared the same or similar assets, it was, from a transactional viewpoint, the end of the original United Artists and start of a new company.23
Later in 1986 Turner sold back MGM’s production and distribution assets to United Artists, retaining ownership of film libraries. United Artists was renamed MGM/UA Communications Company.24 In the 1990s United Artists (MGM/UA) traded hands from and back to Tracinda Corp and in the 2000s MGM folded UA into Metro-Goldwyn-Mayer Pictures though certain distributorship, branding, and copyrights could bear the United Artists name. In 2005, Comcast, Sony and partner banks bought United Artists and, its parent, MGM, and folded those operations into Sony. The era of mega-consolidation was well underway.25 In 2006, in a return to its roots as an artists’ film studio, actor Tom Cruise, producer Paula Wagner and MGM Studios created United Artists Entertainment LLC. In 2011 it was revealed that MGM bought United Artists whose brand name remains though the last films made under the United Artists banner was in 2009. 26
Since the 1980’s until today, certain UA films have been geared to mature audiences -such as, François Truffaut’s The Last Metro (1981), Karel Reisz’s The French Lieutenant’s Woman (1981), Walter Hill’s Wild Bill (1995) and other less successful ventures. But, starting with War Games (1983), the majority of feature films released in the last 40 years are geared to the youth market demographic.
War Games started as a film for mature audiences on the risks of nuclear war. Market research, however, revealed that such a serious-minded film would not be a blockbuster in the box office sense. Director John Badham (“Saturday Night Fever,” Paramount Pictures, 1977) was brought in and working with newcomer Matthew Broderick and witty script by Lawrence Lasker and Walter F. Parkes appealed to a youth market with a film about games. A teenage computer wiz uses his home computer to connect to the Pentagon and with teenage girlfriend Ally Sheedy go about saving the world from the next Armageddon. Made for $12 million, WarGames earned $124 million at the box office and, like United Artists itself, provided a formula for successful movie making that has endured through the decades. “WarGames (1983)” by Wasfi Akab is licensed under CC BY-NC-ND 2.0
Notes:
1. Bergan, Ronald, The United Artists Story, Crown, 1986, p. 8.
4. see- Balio, Tino, United Artists, Volume 1, 1919–1950: The Company Built by the Stars, 2009 and Welsch, Tricia, Gloria Swanson: Ready for Her Close-Up, University Press of Mississippi, 2013.
14. Mayer, Arthur L., “UA at 40,” Variety, June 24, 1959, p. 42; Balio, Tino (March 2, 2009). United Artists: The Company that Changed the Film Industry (1st ed.). Madison, Wisconsin: University of Wisconsin Press. pp. 226–227.
23. Balio, Tino (March 2, 2009). United Artists, Volume 2, 1951–1978: The Company That Changed the Film Industry. Madison, Wisconsin: University of Wisconsin Press. p. 343.
24. Gendel, Morgan (June 7, 1986). “Turner Sells The Studio, Holds on to the Dream”. Los Angeles Times – retrieved August 8, 2023; “Turner, United Artists Close Deal”. Orlando Sentinel. United Press International. August 27, 1986 – retrieved August 8, 2023.
25. Leming, Mike Jr; Busch, Anita (September 22, 2014). “MGM Buys 55% Of Roma Downey And Mark Burnett’s Empire; Relaunches United Artists”. Deadline Hollywood; “United Artists restructuring by MGM”. CNNMoney. June 7, 1999.
26. Fritz, Ben, “MGM regains full control of United Artists”. Los Angeles Times, March 23, 2012.
BIBLIOGRAPHY
A Short History of The Movies, Gerald Mast, The Bobbs-Merrill Company, Inc. Indianapolis, 1977.
Film Noir Guide, Michael F. Keaney, McFarland & Co., Inc. Jefferson North Carolina, 2003.
History of the American Cinema, Volume 5, 1930-1939, Charles Harpole, General Editor, New York: Charles Scribner’s Sons, 1993.
Hollywood The Glamour Years (1919-1941), Robin Langley Sommer, Gallery Books: New York, 1987.
License To Thrill: A Cultural History of the James Bond Films, James Chapman, 2009.
My Autobiography, Charlie Chaplin, Melville House Publishing, Brooklyn and London, 2012 (originally published in 1964).
The American Film Industry, ed. Tino Balio, University of Wisconsin Press, 1976.
The United Artists Story, Ronald Bergan, Crown Publishers, Inc., New York, 1986.
United Artists, Volume 1, 1919–1950: The Company Built by the Stars, Tino Balio, University of Wisconsin Press, 2009
United Artists, Volume 2, 1951–1978: The Company That Changed the Film Industry, Tino Balio, University of Wisconsin Press, 2009.
You’re Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot, Mike Medavoy and Josh Young, New York: Pocket Books, 2002.
FEATURE IMAGE: Mary Pickford in 1927 in a publicity photograph for My Best Girl.
This publicity photograph of Mary Pickford in 1927 is by K.O. Rahmn. Knute Olaf Rahmn was Mary Pickford’s personal photographer who photographed her private, as well as professional, life throughout most of her career. Rahmn was the still photographer for a pair of her films, both in 1929, Coquette and The Taming of the Shrew. The 1927 photograph captures Pickford’s warmth, intelligence and beauty. The long screen kiss in My Best Girl between Buddy Rogers (1904-1999) and Mary Pickford may be because they were already falling in love. The pair wouldn’t marry until 1937 but then remained in wedded bliss for the next 42 years until Pickford’s death in 1979. In My Best Girl Pickford plays a sweet 18-year-old store clerk who falls in love with the new clerk (Rogers) who turns out to be the boss’s son. The Hollywood silent rom-com has all the surprises and happy results as can be predicted for movie-going audiences to enjoy. The film was directed by Sam Taylor (1895-1958).
In I Confess, a 1953 film noir by Alfred Hitchcock (1899-1980) from Warner Bros., a Catholic priest, Fr. Logan (played by Montgomery Clift) hears the confession of a man who works in the rectory and just killed another man.
That killer had been dressed as a priest and, among other circumstances, points to Fr. Logan as the primary suspect for the police Inspector (Karl Malden) and prosecutor (Brian Aherne) for the murder of Villette, a prominent lawyer.
Because of the seal of confession – that is, when a person confesses his sins to a priest in Confession, the priest must maintain absolute secrecy about anything that the person confesses – Fr. Logan does not and cannot under any circumstances divulge the identity of the confessed killer though he (and the audience) knows it.
Even after Fr. Logan is arrested for the crime and put on trial for murder for it, the priest does not reveal the identity of the killer but only protests for his own innocence.
Hitchcock’s black-and-white film was shot by cinematographer Robert Burks (1909-1968) who would later shoot Hitchcock’s The Birds in 1964. It is edited by German-born Rudi Fehr (1911-1999) who in 1954 edited Hitchcock’s triumphant color feature, Dial M For Murder.
The story in I Confess was based on a 1902 play by Paul Anthelme Bourde (1851-1914), a French journalist who coined the term “decadent” for the avant-garde when he called indecipherable poets such as Symbolist Stéphane Mallarmé (1842-1898) one in the late 19th century.
The film follows the play which is about a killer who confesses to a priest knowing his crime cannot be betrayed. To complicate matters further, the killer blackmails the priest for a long-ago love affair he had with Ruth Grandfort (Anne Baxter), the wife of a leading citizen, and who still loves him. For the priest, the love affair is in the past though for Mrs. Grandfort it is not.
This work is in the public domain in the U.S. because it was published in the U.S. between 1927 and 1977, inclusive, without a copyright notice.
Clearly, for Hitchcock in I Confess, the priest in this situation is a highly curious figure. By the end of the film, it becomes clear that the seal of confession is a cross for the priest because of his priesthood – and though sins do not always deal with high crime – demonstrates the personified sacramental nature of self-sacrifice that is involved for the priest with each confession he hears. Throughout the film, Fr. Logan is a tragi-comic figure as he simply does not state the obvious of who the murderer is on behalf of social justice and his own innocence, but equally personifying the religious nature of living with and taking on another’s sin particularly when a person refuses their own responsibility and makes amends for it. In I Confess, the murderer has no intention of turning himself in and is content to let the priest under seal of confession take the rap in the courtroom of the law and public opinion.
Fr. Logan never impedes law enforcement’s investigation. He continually states his own innocence for which a jury of his peers is brought in to decide what to believe.
The sin of omission – and in I Confess it is for the gravity of murder – remains with the impenitent Otto Keller (O.E. Hasse) although his loving wife, Alma (Dolly Hass), to whom Keller confessed the crime outside confession’s seal, cannot abide by his secret.
If, despite the seal of confession, crimes can be revealed to government investigators then the sanctuary of the law of the cross is extricated to get at evil – which is not contradiction nor improvement to the confessional box (the priest may ask the penitent for a release from the sacramental seal to discuss the confession) but its obligatory public replacement. As there is often no transparency and plenty of state secrets in and around various government agencies, this becomes no less problematical than breaking down a Catholic (and Lutheran) church’s confessional door.
Although found “not guilty” for lack of evidence to convict, the presiding judge expresses his disbelief in Fr. Logan’s innocence. When Fr. Logan exits the court building, he is followed and faced by a hostile crowd – “Preach us a sermon, Logan!” The prosecutor, as he watches the ugly scene from his office above, is forced to lament his actions: ”Do you think I enjoyed it?” he says, washing his hands. After Fr. Logan is crashed into a car window in the crowd, Alma, Keller’s wife, (her name means “soul”) rushes in towards the priest to tell what she knows – and which an accompanying police guard relates to the Inspector – “She said he was innocent.”
Considered Hitchcock’s once most Catholic of films, I Confess is a tight drama with a truly despicable villain, whose murderous rampages continue. The film is ahead of its time in terms of direction – presaging some of the camera angles, editing, pacing and themes of international crime and psychological dramas that would come to fruition in the decades ahead.
An online search by title at the US copyright office yielded no copyright renewal. In the absence of renewal of the US copyright, this poster art entered the public domain 28 years after its US publication date.
FEATURE image: Portrait of Molière, c. 1658 , Pierre Mignard (1612-1695), Château de Chantilly. Pierre Mignard is one of the major classic French portrait artists. When he crossed paths with Molière in Avignon in 1658, after having worked in Orange and Saint-Rémy, a great friendship started between the two men, until the death of the writer in 1673. The painting in Chantilly probably dates from this meeting, because the model appears to be less than forty years old.
Nicolas Mignard (1606-1668). Molière (1622-1673) dans le rôle de César de la “Mort de Pompée”, tragédie de Corneille. Paris, musée Carnavalet.
Molière was born into a well-to-do family on January 15, 1622 at Rue St. Honoré and grew up near the Bastille at Rue Saint-Antoine in Paris. The greatest genius of the French theater was baptized at St. Eustache as Jean-Baptiste Poquelin. He adopted the stage name of Molière in the mid1640s after he founded his first theater troupe.
St. Eustache, Paris. The place of Jean-Baptiste Poquelin, dit Molière, was baptized.
A type of Shakespeare of France – profound theater actor, writer and poet – Molière’s characters and wit are timeless – such as in Tartuffe (1664), Don Juan (1665), and The Misanthrope (1666).
Romain Duris as Molière and Laura Morante as Elmire
French actor Romain Duris as Molière and Italian actress Laura Morante as Elmire in a scene from the 2007 movie “Molière.”
The fictional film is told in flashback to 1645. It is a conflation of two different periods in Molière’s life into one earlier period. Indeed, in 1645, 23-year-old bachelor Molière was bailed out of debtor’s prison. When his great, most controversial play, Tartuffe, appeared in the mid1660s, Molière was married and much older.
For the film, a presumably historical Molière poses as “Monsieur Tartuffe” (a priest) who serves as tutor for Orgon’s children. In real life, Molière played a part in his play, “Tartuffe,” but as the householder and trusting husband, Orgon. In the film, young Molière as Tartuffe, similar to the play, falls in love with Elmire, the neglected wife of the household.
In this scene Molière delivers a letter to Elmire from her secret admirer which, unknown to her, was written by the debonaire M. Tartuffe (Duris as young Molière).
Whereas in the present day any type of true romance may be heart-warming, the 17th century viewed romance through a lens of means and ends, either of which could be scandalous.
Molière’s great plays Don/m Juan and Tartuffe were halted in their tracks by French religious and royal authorities who were concerned that their characters and plots would provoke popular scandal. In the mid1660s, the Archbishop of Paris condemned Molière’s work – and nearly the libertine Molière himself – and then turned to the highest state authority, the king, with whom the top bishop was privileged to be closely aligned, to carry out the sentence.
“But I ought to warn you, strictly between the pair of us, that in Don Juan my master you see the greatest scoundrel that ever walked on Earth. He is a madman, a dog, a devil, a Turk. He is a heretic who believes in neither Heaven, nor saint, nor God, nor the bogeyman. He lives the life of an absolute brute beast. He is an Epicurean hog, a regular Sardanapalus who is deaf to every Christian remonstrance, and looks on all that we others believe as nothing but old wives’ tales. You say he has married your mistress. He would have done far more than that to gratify his desires. He would have married you, and her dog and cat as well. It costs him nothing to marry. That is the best baited trap he has.” – Sganarelle, servant of Don Juan, played by Molière. From Don Juan (1665).
“You see him as a saint. … I see right through him. He’s a fraud.” – Dorine, played by Madeleine Béjart, Act 1, Scene 1. From Tartuffe (1664).
“It’s true – those whose private conduct is the worst,/Will mow each other down to be the first/To weave some tale of lust, and hearts broken/Out of a simple kiss that’s just a token/Between friends.”– Dorine, played by Madeleine Béjart, Act 1, Scene 1. From Tartuffe (1664).
“See, I revere/Everyone whose worship is sincere./Nothing is more noble or beautiful/Than fervor that is holy, not just dutiful.“ – Cléante, played by La Thorillière, Act I, Scene 4. From Tartuffe (1664).
“What good would it do to dissent? A father’s power is great.” – Mariane, played by Mlle de Brie, Act 2, Scene 3. From Tartuffe (1664).
“Don’t be deceived by hollow shows; / I’m far … from being what men suppose.“ – Tartuffe, played by Du Croisy, Act 3, Scene 6. From Tartuffe (1664).
“There’ll be no sins for which we must atone,/Because evil only exists when it’s known.” – Tartuffe, played by Du Croisy, Act 4, Scene 5. From Tartuffe (1664).
“Ah! Ah! You are a traitor and a liar!/Some holy man you are, to wreck my life, / Marry my daughter? Lust after my wife?” – Orgon, played by Molière, Act 4, Scene 7. From Tartuffe (1664).
“Damn all holy men! They’re filled with deceit!/I now renounce them all, down to the man.” – Orgon, played by Molière, Act 5, Scene 1. From Tartuffe (1664).
“All that we most revere, he uses/To cloak his plots and camouflage his ruses.” – Dorine, played by Madeleine Béjart, Act 5, Scene 7. From Tartuffe (1664).
For Molière, the Ancien Régime was not yet dead as a doornail. The American and French Revolutions were a distant century in the future. The latest risk in the late 20th and early 21st centuries of the Apostolic church selling its religion for parts in exchange for a share at the table of the new global faith was not yet a necessary strategy for a powerfully splendorous, yet ever troubled, church in 17th century France.
While “mixing it up” in politics may be the Catholic church’s normal path, it was the irreligious observations of its outcomes in human life in the 17th century that proved a major theme in Molière’s wittiest dramas and brought him into trouble. While the young King Louis XIV (1638-1715) approved orders that banned some of Molière’s farces, the royal personage expressed his reluctance to do so. It had been the priests who were stung by Molière’s popular ridicule with its social danger of being overthrown by comic truths. Their well-connected desires to cancel Molière proved only partly successful in the mid17th century–and, soon after that, hardly at all.
King Louis XiV of France (1638-1715). The young king was reluctant to censor Molière (but did).
The 17th century continued the wealth of French literature in its many genres – poetry (Malherbe; La Fontaine; Boileau); novels and fairy tales (Cyrano de Bergerac; Perrault); essays (Pascal; La Rochefoucauld; La Bruyère); philosophy (Descartes); theology (St. Francis de Sales; Fénelon; Bossuet) and drama (Corneille; Racine; and Molière), and many others.
Molière’s Comedy – Wit And Types
Molière wrote based on actual facts of society and human nature and, using ludicrous incidents, looked straight ahead to a moral purpose – his plays were very instructive and had all the makings of high comedy. Further to attract us, Molière is the premier dramatist of wit.
His characters are not individuals but types – which allows for perhaps greater intensity than complexity. Though the French are not as known for comedy, the form is mostly indigenous, contrasted to tragedy as a dramatic form which came out of Italy.
The City of Paris Plays a Role
Paris is a theatrical city. Similar to today’s Beaubourg, there were outdoor performances at the Pont Neuf and Place Dauphine. The Hotel de Bourgogne on Rue Etienne Marcel was used in the 16th century by the Confraternité de la Passion for passion plays. In the mid1620s when America was a wilderness there would be street parades of comedians in Paris to lure spectators into the theatre. Stock farce characters included Aurlupin (mean spirited school teacher), Gros Guillaume (dressed in a flour sack), and Captain Fracasse (break things). At the permanent flea market of St. Germain de Prés, spectacles were put on stage. Goods were sold, some of it junk, because, as Daumier observed, “people are always fooled.”
Molière’s mother died when he was 10 years old and he was raised by a nurse maid. In his later plays there are often such maids and servant girls.
Public domain.
In Paris, three rival theatre groups coexisted: that of the Marais; that of the Hôtel de Bourgogne; and, that of the Palais-Royal, directed by Molière. After Molière’s death, the actors of the Marais joined Molière’s troupe of actors by royal order. This new troupe settles at the Hotel Guénégaud, rue Mazarine.
La Thorillière (1626-1680). La Grange (1635-1692).
François de La Thorillière was Molière’s companion and kept the register of the company during the 1663/1664 and 1664/1665 seasons. He moved to the Hôtel de Bourgogne after Molière’s death. In 1680 La Thorillière, head of the troupe of the Hôtel de Bourgogne and the last rival in Paris of Molière’s former troupe, died. The King ordered these two troupes of French actors established in Paris to play together going forward.
On August 25, 1680, the actors of the Hotel de Bourgogne and that of the Hotel Guénégaud – Molière’s former troupe now led by La Grange – gave their first joint performance.
On October 21, 1680, an official royal letter signed at Versailles, established the unique troupe, composed of 27 actors and actresses chosen by the King for their excellence, to have a monopoly of performances in French so to “make performances of comedies more perfect.” The repertoire includes Corneille, Molière, Racine, Jean Rotrou, Paul Scarron, and others.
Molière Schools in Paris and Orléans
Molière was a commuter student at the Collège de Clermont behind the Sorbonne. Founded in the 1560s by the Jesuits who had a tremendous hold on educating the young in this period, it was renamed Lycée Louis-le-Grand in the 1680s. Nobility and the well-to-do bourgeois schooled together though segregated by a so-called “golden barrier” of identity – an illiberal, reactionary practice. Molière received a strict, excellent education and was a Latinist. He went to Orléans to study law but didn’t pursue it. His father sent him to Narbonne to be a royal tapestry maker (the family business) but Molière was idealistic and chose to be in theater. Following his bliss, twenty-something Molière – around the time of the film scene – was close to penniless for the next 15 years.
Following the queen of the sciences (theology), cultural authorities officially ordered the boycott of theater as immoral. But the people in Paris mostly ignored these bought-and-paid-for kill joys of church and state and the theater life thrived.
Molière’s first theater production flops; bailed out of debtor’s prison by a street contractor
By the 17th century the Renaissance social fad of tennis had faded away and Molière rented empty courts for the theater. He joined Madeliene Béjart, four years older, and from a family of actors, and established his first theater in June 1643 called the Illustre Théâtre (“Illustrious Theater”). The first performances in the tennis court featuring the 22-year-old Molière and the others opened on January 1, 1644.
Madeleine Béjart (1618-72) playing Madelon in “Précieuses Ridicules” by Molière, oil paint on stone, French School, 17th century (after 1659,). Bibliotheque Nationale, Paris. Public Domain.
To build the theater, Molière fell into debt in 1644. The first performances were a complete flop and Molière was thrown into debtor’s prison for 3 days in July 1645.
There were two official theatre troupes in Paris in the mid 1640s– and Molière’s Illustre Théâtre was not one of them. The troupe did have a royal protector or sponsor, the king’s brother. But financial help was not to be had from Gaston d’Orléans (1608-1660). Rather, a paving contractor paid the bail to release the young actor/writer, a remarkable historical fact. Molière’s first theater was auctioned off with proceeds going to his creditors.
Gaston d’Orléans (1608-1660) by Anthony Van Dyck, 1634. Musée Condé. Molière’s noble sponsor was not financially responsible for the ill-fortune of the young actor’s first theatre troupe in Paris.
In 1646 Molière and Mme. Béjart joined a troupe led by Charles Dufresne (1611-1684). They relocated to the provinces, specifically to the west at Nantes and south. Success as an actor had been fleeting and Molière was very close to returning to his father’s business as a tapestry maker. Molière, like his fellow actors, could afford to wear only his street clothes on stage – or vice versa. Molière was part of just one theatre troupe among about 1,000 in France.
Others of the defunct Illustre Théâtre joined Molière in 1648. Dufresne handed over the direction of the troupe to Molière in 1650. He rechristened the troupe Comédiens de SAR le prince de Conti. The prince de Conti (1629-1666), fifth in line to the French throne, was Molière’s patron and friend. At the domaine de la Grange des Prés at Pézenas in Languedoc, the prince and the actor-playwright discussed plays and theater.
Armand de Bourbon, prince de Conti (1629-1666). The prince in Languedoc was a patron and friend of Molière in the 1650s. Le musée du Vieux Nîmes.Anne-Marie Martinozzi (1637-1672) was the wife of the prince de Conti. She was also the niece of Cardinal Mazarin, successor to Richelieu. Though there were interludes of life together at Pézenas with the prince, much of their marriage they lived apart. The princess shows herself in love, writing her husband numerous letters. Château de Versailles.
In the 1650s, Molière’s troupe became moderately successful performing all over the Mediterranean in France. Though Molière kept a notebook to record his ideas and character types these personal items have been lost to history.
Portrait of Molière, c. 1658 , Pierre Mignard (1612-1695), Château de Chantilly. Pierre Mignard is one of the major classic French portrait artists. When he crossed paths with Molière in Avignon in 1658, after having worked in Orange and Saint-Rémy, a great friendship started between the two men, until the death of the writer in 1673. The painting in Chantilly probably dates from this meeting, because the model appears to be less than forty years old.
The prince de Conti, Languedoc governor, was the king’s cousin, and, upon marrying Anne-Marie Martinozzi (1637-1672) in 1654, an in-law of sorts to Cardinal Mazarin (Anne-Marie was Mazarin’s niece). The prince di Conti, however, lived with his mistress at Pézenas among Molière’s free-spirited actors. In 1655 the prince, being engaged in military campaigns in Spain and experiencing failing health, had a religious awakening. He discarded the mistress, returned to his wife and banished the theatre. Molière was suddenly cancelled.
Allowance of theater in society based on moral grounds would continue to evolve – though audiences always enjoyed its entertainment value. Finding a need and filling it, Molière sold drama as morality (and vice versa) and using dialogue and plot that cut things close to the bone.
Armande Béjart (1645-1700).
Armande Béjart was in Molière’s troupe in 1653 under the name of Mademoiselle Menou and played child roles. Married to Molière in 1662, she was the inspiration for all his heroines: the Princess of Élide, Charlotte, Célimène, Lucinde, Elmire, Alcmène, Élise, Angélique, Lucile, Hyacinthe, Henriette.
Armande and Molière’s daughter, Madeleine-Esprit, survived but their two sons did not. When Molière died in 1668, Armande encouraged the troupe, led by La Grange.
In 1677 Armande remarried a man not in the theater named Guérin d’Etriché and they had a son. She became Mademoiselle Guérin on stage in the troupe brought together by Louis XIV in 1680 and retired in 1694.
After being cancelled by the prince de Conti who became an implacable enemy of the theater until his death in 1666, the reputation of Molière’s traveling troupe was being critically appreciated at the highest levels. In 1658, the king’s brother, 18-year-old Philippe d’Orléans, le Monsieur (1640-1701), arranged an audition for Molière and his troupe in Paris. The result was that King Louis XIV approved the Troupe de Monsieur to share the royal theater, the Petit-Bourbon. Molière immediately premiered there on November 2, 1658. The troupe soon had to build up its cast and repertoire to meet the Paris audience’s expectations and Molière looked to provide them with original comedies. This was notably effected by the addition of 24-year-old La Grange, who would play young romantic lead roles, in 1659.
Also in 1659, having acquired the king’s favor, Molière set about to write the first of his great works: Précieuses Ridicules. In 1662 he married Madeleine Béjart’s younger sister (possibly daughter), Armande. The king was godfather to their child as Molière now performed at the Palais Royal for the king and royal family. In the next years, Molière wrote plays about marriage, jealousy, and adultery, including The Imaginary Cuckold in 1660; Don Garcie de Navarre and The School for Husbands in 1661; and, a great success, The School for Wives in 1662. Opening in December 1662, by the end of May 1663, audiences filled the theatre to watch The School for Wives, a play whose scheming plot is more straightforward than its characters, in over 60 performances. It was afterward attacked by critics who felt and feigned outrage for its sexual references and irreligiosity, but also, possibly, envy of its newness and blatant success. A flurry of artful broadsides between Molière and the King’s Actors at The Hôtel de Bourgogne followed in pamphlets and on their respective stages.
“People of quality know everything without ever having learned anything.” (Les gens de qualité savent tout sans avoir jamais rien appris.) – Mascarille, played by Molière, Act 1, Scene 8. From Précieuses Ridicules (1659).
“A man’s not simple to take a simple wife. Your wife, no doubt, is a wise, virtuous woman. But brightness, as a rule, is a bad omen. And I know men who’ve undergone much pain because they married girls with too much brain. I want no intellectual, if you please.” – Arnolphe, Act 1, Scene 1. From School For Wives (1662).
“It must be confessed that love is a skillful instructor. It teaches us to be what we never were before. By its lessons a complete change in our manners is often the work of a moment. It overcomes obstacles in our very nature, and its sudden effects seem like miracles. It makes misers liberal in an instant, cowards become heroes, and, dear gentlemen, it turns the most inexperienced mind into a nimble wit, as it gives understanding to the most simple.” – Horace, Act 3, Scene 4. From School For Wives (1662).
Philippe d’Orléans (1640-1701). Musée des Beaux-Arts de Bordeaux. Le Monsieur, the king’s younger brother, wears an ostentatiously beautiful bow-tie. Pierre Mignard, Musée des Beaux-Arts de Bordeaux. Artist’s imaginary depiction of Lully’s Armide, Salle du Palais-Royal, 1761, by Gabriel de Saint-Aubin (1724-1780), Boston Museum of Fine Arts.
The middle 1660s was a high point for Molière’s plays: Tartuffe; Festin de Pierre (Don Juan) and Le Misanthrope were all written in these same two or three years (1664-1666). These greatest comedies of enduring genius, however, were not well received in their days by a mostly obliging audience yet who took governance and religion very seriously. In May 1664, Molière staged the first three acts of his later Tartuffe at Versailles. Called The Hypocrite, the play was immediately banned by Louis XIV. When it opened again in 1667 as The Imposter, it was once more immediately banned. Any further performance – and this extended to its audience – adventured excommunication. It was not until February 1669 that Louis XIV allowed the performance of Tartuffe in its completed five act form. It instantly became the hottest ticket in Paris.
A prosperous man wanting to retain his hard-earned social position and continue to practice his theory of the stage as the layman’s pulpit, Molière in these final years turned toward lighter, innocuous spectacles to teach and entertain French society. In 1665 Don Juan ran for 15 performances though it was censored and its financial proceeds had to benefit the Church.
“I expect you to be sincere and as an honourable man never to utter a single word that you don’t really mean.” – Alceste, played by Molière, Act 1, Scene 1. From The Misanthrope (1666).
“There’s a season for love and another for prudishness, and we may consciously choose the latter when the hey-day of our youth has passed—it may serve to conceal some of life’s disappointments.” – Célimène, played by Armande Béjart-Molière, Act 3, Scene 4. From The Misanthrope (1666).
“I’ll confront her in no uncertain terms with her villainy, confound her utterly, and then bring to you a heart entirely freed from her perfidious charms.” – Alceste, played by Molière, Act , Scene . From The Misanthrope (1666).
“The failings of human nature in this life give us opportunities for exercising our philosophy, which is the best use we can put our virtues to. If all men were righteous, all hearts true and frank and loyal, what purpose would most of our virtues serve?” – Philinte, played by La Grange, Act 5, Scene 1. From The Misanthrope (1666).
“You shall observe me push my weakness to its furthest limit and show how wrong it is to call any of us wise and demonstrate that there’s some touch of human frailty in every one of us.” – Alceste, played by Molière, Act 5, Scene 4. From The Misanthrope (1666).
At rest in Père Lachaise Cemetery in Paris since 1817, Molière was denied a Catholic burial in 1673
The baptized Molière died in 1673 at 51 years old. He was denied a religious burial for the simple fact that he was a theater actor. The traditional wing of the Catholic Church constantly impugned Molière’s work. Educated by the more liberal Jesuits, Molière never renounced his Catholicism, and was probably not an atheist. He was secretly buried in a Catholic cemetery in the section of unbaptized infants. In 1792, during the French Revolution, Molière’s remains were transferred to the museum of French Monuments. In 1817, Molière was laid to rest in Père Lachaise Cemetery where he lies today.
Molière’s Tomb, Père-Lachaise Cemetery, Paris, 1854, Etching in warm black on ivory laid paper, The Art Institute of Chicago.
Molière’s legacy
Tartuffe disguises himself as a virtuous man and is a hypocrite. As the French celebrate Molière’s 400th birth anniversary they reflect on the relevance of Molière’s drama for today. Some argue that false faces in democracy are just as numerous as those in mid17th century Paris though perhaps in a different way.
Cancel Culture derives from Tartuffe
The cancel culture can be said to derive of Tartuffe. Though not displaying a purely religious hypocrisy as in Molière’s original character, today’s Tartuffe hates the individual heart’s freedoms and hides their will to crack down on people by citing the “common good” or other platitude which usually includes a spectrum of needs and fears. Notions of superiority, duplicity, and simple stupidity are present in Molière’s Tartuffe – that is, the hypocritical type of 350 years ago.
A supposed offense today is paired with Molière’s hypocrite of 350 years ago against a partisan viewpoint of the “higher interest” with its obligations and payments “overdue” to them from which as a penalty and means requires the ban, cancellation, and banishment –yet, almost conveniently, not of one’s fragile self, if opposed. While the perennial distrust of politicians is well known, today’s social breakdown is broader and endemic – with the inflation of hypocrisy a common denominator.
Like a popular play on an outdoor stage in 17th century Paris, hypocrites can be better recognized, fortunately or not, by type. The brittle use of virtue signaling can offer one such type. When it becomes evident that it serves the practicioner’s hidden ends, the audience, assuming its role, heckles and boos such stock farce characters off the stage with gusto.
Though censorship and restrictions of thought and action of others in its many forms is hardly always the result of hypocrisy, hypocrites (whichever side of the fence their belief or opinion may fall) are certain to take the short route to do so.
Molière would have sufficient material today to write and perform another of his great dramas for the 21st century and whose production is under a similar menace of cancellation by such powers grown antagonistic to his content and close or lower the curtain when opportunity is seen to enter.
Comedy scenes according to Molière (Lustspielszenen nach Molière), wallpaper, c. 1825-1830, Deutsches Tapetenmuseum, Kassel, Germany. Photo credit: “lustspiel Moliere 1825” by janwillemsen is marked with CC BY-NC-SA 2.0.
FEATURE IMAGE: Jerry (Curley) Howard, Moe Howard and Larry Fine are The Three Stooges. “The Three Stooges” by twm1340 is licensed under CC BY-SA 2.0.
The year 2022 marks the 100th anniversary of the start of The Three Stooges in show business.
The Stooges began in 1922 as part of a vaudeville act called “Ted Healy and his Stooges.” It started with two stooges originally – brothers Moe and Shemp Howard. Larry Fine joined the act in 1925 or shortly thereafter. Their first Hollywood feature (with Ted Healy) was called Soup to Nuts in 1930. The Stooges worked with Healy until 1934. In that time Shemp broke off on his own to work for Warner Bros. Vitaphone and Jerry Howard, Moe’s younger brother, joined the act as Curley.
Between 1934 and 1958 The Three Stooges made over 90 two-reel shorts featuring their ribald comedy. Starting in 1934 and until the end of the 1950s, The Three Stooges had 26 different opening credits.
In chronological order, all The Stooges’ opening credits from 1934 to 1958.
Moe and Larry appeared in all of them. Curley appeared in 19; Shemp, 6; and Joe, one.
In 1934 there were 4 updates; 6 in 1935; 1 each in 1936, 1937, and 1939; 2 in 1940; 1 in 1943; and 2 in 1945. The 9th (1935), 12th (1937), and 13th (1939) versions were significant brand updates for the Stooges’ opening credits.
In 1946 there were 2 updates – Curley’s last and Shemp’s first. In the postwar years there were less updates – one each in 1947, 1950, 1952, and 1953.
Moe’s brother, Curley, died in 1952 after a long illness. Shemp died suddenly from a heart attack in 1955. Though Curley and Shemp’s comedy styles are very different from one another, they are both equally very funny. Though similar in body type to Curley, Joe Besser brought his own unique comic personality to the act from 1956 to 1958. Joe Besser passed away in 1988.
In 1959 Columbia Pictures released Three Stooges shorts for the first time on television. TV broadcasts in the 1960’s brought a new generation of fans to the Stooges. In 1970 the Stooges were scheduled for a new TV sitcom series but Larry Fine had a paralyzing stroke.
Both Larry and Moe died in 1975. Eight years later, in 1983, The Three Stooges were inducted onto the Hollywood Walk of Fame.
Melbourne Spurr (1888-1964) arrived in Hollywood around 1917 at 28 years old. Spurr first worked at the studio of photographer Fred Hartsook (1876-1930) where he shot portraits of silent film stars.
Melbourne Spurr (1888-1964). Public Domain.
GLAMOUR PHOTOGRAPHER MELBOURNE SPURR’S CAREER LAUNCHED BY SILENT SCREEN STAR MARY PICKFORD
After Spurr photographed Mary Pickford at the Hartsook studio, Pickford personally helped Spurr launch his career as a Hollywood portrait photographer. Regarding Mary Pickford, Spurr once said, “[she] always comes back to me, so I guess she thinks I’m not a bad photographer.”
By 1916 Mary Pickford (1892-1979) was a big star and had full authority over the films in which she appeared. She was earning a record-breaking $10,000 a week which was a staggering amount of money in the midteens (about $240,000 a week today).
Mary Pickford (1892-1979) in a photograph taken in about 1914 was a big star in Hollywood.
MELBOURNE SPURR BECAME ONE OF THE MOST POPULAR CELEBRITY PHOTOGRAPHERS IN THE WORLD
Pickford’s special personal interest in Spurr’s career was matched or exceeded by the popularity of his photographs her distributed to the public. The film indutrsy and public’s insatiable interest in Spurr’s portraits following his published Mary Pickford shots made Spurr overnight one of the most popular celebrity portrait photographer in Hollywood. By the mid1920’s Melbourne Spurr was one of the most popular celebrity photographers in the world.
Spurr’s sitters through the roaring 20’s included, among many others, Mary Astor, Marion Davies, Pola Negri, Theda Bara, Norma and Constance Talmadge, Harold Lloyd, Buster Keaton, Fatty Arbuckle, John Barrymore, Lucille Ricksen—and, of course, Alice Terry.
PORTRAIT PHOTOGRAPH OF ALICE TERRY, FILM ACTRESS AND DIRECTOR
Spurr’s portrait photograph of Alice Terry presents a very close-cropped close-up with piercing, radiant eyes, perfect lips, and rich toning.
Alice Terry (1900-1987) began her career as a film actress and director in the silent film era.
Between 1916 and 1933 Terry appeared in 39 films. She started in Not My Sister in 1916. That same year, Terry made the anti-war film, Civilization. In 1921 she starred as Marguerite Laurier, her most acclaimed role, in prominent Irish director Rex Ingram’s film, The Four Horsemen of the Apocalypse. Alice Terry and Rex Ingram married that same year.
In 1925, Rex Ingram (1892-1952), was a director on Ben-Hur, an extravaganza production that started in 1923 and became one of the biggest box-office hits of the decade. Working on this film in Italy gave Alice Terry and Rex Ingram the idea to relocate to Nice on the French Riviera and set up their own film studio. In the next years the expatriate actress-director and director made several films for M-G-M on-location in southern Europe and North Africa. Alice Terry made her final film in 1933 in an appearance in Baroud, a film she and Rex Ingram co-directed.
SPURR’S POPULARITY DECLINES AS STUDIO SYSTEM MANDATES IN-HOUSE PHOTOGRAPHERS
With studio consolidation and competition becoming more intense, major movie studios mandated that their stars be photographed only by studio photographers. So was inaugurated the age of motion picture inhouse operators heralding the legendary careers of glamour portrait photographers George Hurrell, Clarence Sinclair Bull, Eugene Robert Richee and others. Since Spurr chose to keep his own studio and not work for a major studio, he began to lose business. It had been for one glorious decade—the 1920’s— that Melbourne Spurr shined in Hollywood.
FEATURE image: Ethel Barrymore on the cover of The Theatre in August 1901 following the close of the successful Captain Jinks of the Horse Marines which ran on Broadway for 168 performances from February to July 1901 and made 22-year-old Ethel Barrymore a star. Public Domain.
22-year-old Ethel Barrymore on stage at the Garrick Theatre on West 35th Street in New York City in Clyde Fitch’s Captain Jinks of the Horse Marines in 1901. Dramatist Clyde Fitch (1865-1909) wrote over 60 plays in his career that ranged from comedies and farces to melodramas. Fitch was the most popular writer for the Broadway stage in his time and specialized in writing important dramatic parts for women. Fitch’s new play was a romantic comedy set in the States years after the Civil War. Ethel Barrymore played Madame Trentoni, the female lead and the play’s love interest. The 1901 Broadway production made Barrymore a star. The public domain photograph is in the archive of the Museum of the City of New York.
By John P. Walsh
Stage and screen actress Ethel Barrymore (1879-1959) was the sister to older brother Lionel (1878-1954) and younger brother John (1882-1942) Barrymore. Though Ethel Barrymore was absolutely devoted to the stage from her youth, she began to appear in major silent films starting in 1914. Much later, in the 1940’s, the veteran stage actress was nominated twice for an Academy Award for Best Supporting Actress. She won the golden statuette in 1944 for her role as Ma Mott in the film None but the Lonely Heart starring Cary Grant who used a Cockney accent for his part.
By the time Barrymore appeared in her first feature motion picture, The Nightingale, in 1914, she was a celebrated stage actress on both sides of the Atlantic. Coming from the famous American acting family of Drews and Barrymores, the just 16-year-old Ethel Barrymore made her Broadway stage debut in 1895 alongside her uncle, John Drew, Jr. (1853-1927).
Ethel Barrymore at 17 years old in 1896. In 1895, a 16-year-old Barrymore made her Broadway stage debut alongside her uncle, Jack Drew, Jr., a famous and well-liked actor.
John Drew, Jr. in 1896. A versatile actor, Drew was so highly esteemed by his fellow actors that they elected him the lifetime president of New York City’s Players’ Club. The private social club for actors founded in the 1840’s at 16 Gramercy Park remains active today.
Before she was 20 years old, Ethel appeared several times on the London stage. Her first role was that of Miss Kittridge in William Gillette’s new play, Secret Service (1895). After that show closed, she was offered and played other roles on the London circuit. By the turn of the 20th century, a vibrant and talented Ethel Barrymore gained the especial attentions of several male admirers that included dukes, actors, writers and politicians.
Winston Churchill in 1900. A public domain photograph in the Imperial War Museum.
One such admirer of Ethel Barrymore was eligible bachelor, enthusiastic theater hound, and nascent politician Winston Churchill (1874-1965). Though Ethel had many propositions and proposals in this period—she was even briefly engaged to a man until Ethel broke it off—any marriage proposal made to her by Churchill was refused. Churchill and Barrymore, however, became lifelong friends.
Poster for William Hooker Gillette’s 1895 play, Secret Service, on the London stage which featured young American actress Ethel Barrymore in its cast. The poster promotion depicts the play as a royal entertainment which attracts princes and princesses, dukes and duchesses. William Gillette (1853-1937) wrote melodramas and spy plays that were very popular with audiences. In 1899, Gillette first created the role of Sherlock Holmes for the stage, a role which he himself played for over 30 years.
Ethel Barrymore at 19 years old in 1898.
Young Ethel Barrymore. From a famous American acting family, she was was devoted to the stage at an early age.
At 20 years old Ethel Barrymore gained the attention of many male admirers, including dukes, actors, writers and politicians. Though briefly engaged around the turn of the century, Ethel broke it off. Ethel finally married in 1909. She met her husband, Russell Griswold Colt (1882–1960), at Sherry’s restaurant at 44th Street and Fifth Avenue in New York City while having lunch with her uncle, John Drew, Jr. The marriage produced three children, though it ended in divorce in 1923.
When Ethel returned to the United States, she began to appear in various stage productions. It was in 1901 when the 22-year-old actress was cast in the role of Mrs. Trentoni in Clyde Fitch’s Captain Jinks of the Horse Marines on Broadway that Ethel Barrymore became a star.
Ethel Barrymore dressed in one of the Edwardian costumes as Madame Trentoni in the 1901 Broadway play, Captain Jinks of the Horse Marines.
Act 1.
Clyde Fitch’s Captain Jinks of the Horse Marines introduces Robert Carrolton Jinks and his friends who form a club to boost the presidential campaign for General U.S. Grant in 1868. Calling themselves “Captain Jinks of the Horse Marines,” they think to try out their marching abilities by greeting the arrival of a steamer carrying Madame Trentoni, a famous opera singer. Though sight unseen, Jinks bets money that he can make Madame Trentoni fall in love with him. The boat is late and everyone leaves the dock except for a gaggle of reporters who wait to greet the opera singer. When Jinks returns, after he lays eyes on Madame Trentoni (played by Ethel Barrymore) he falls in love with her. After Captain Jinks sees she is having trouble at customs, he pulls out money which the customs official mistakes for a bribe and Jinks is promptly arrested.
When Jinks is released on bail he calls on Madame Trentoni who has stopped to visit her foster father. She is as much in love with him as he is with her and their courtship progresses rapidly. When Jinks tries to call off the bet he made with his friends, they refuse until he finally agrees to pay off the bet with an I.O.U.
Jinks’ friends are also smitten with Madame Trentoni but she is totally uninterested in them. This gets them angry and they decide to ruin it for Jinks. They tell Madame Trentoni’s foster father that jinks intends to marry Madame Trentoni solely for her money — and as proof pull out the signed I.O.U. that says “I.O.U. $1,000 for the bet regarding Madame Trentoni.” The foster father flies into a rage, tells Madame Trentoni about the I.O.U, and she decides to never see Jinks again.
ACT 2.
Jinks has no idea why Madame Trentoni is so angry at him. When he finally discovers what his friends have falsely told her, he tries to gain admittance to her apartment to tell her the truth. When she learns the real facts of the matter, Madame Trentoni throws her arms around her Captain Jinks.
In that intimate position, a detective suddenly bursts into the room to arrest Jinks. In all the tumult surrounding the loss of his love interest, Jinks forgot to appear in court for his bribery case. It appeared Jinks had skipped bail. Madame Trentoni tells the detective that she and her sweetheart have had a misunderstanding and only now are having the chance to make up. Her plea and the promise that Captain Jinks will appear in court tomorrow for his case is approved by the detective, who departs. Captain Jinks and Madame Trentoni embrace, and the curtain goes down on the couple living happily ever after.
Act 3.
The public domain photographs above are in the archive of the Museum of the City of New York.
Color promotional poster for Captain Jinks and the Horse Marines starring Elizabeth Kennedy. After the Broadway show starring Ethel Barrymore closed in July 1901 after 168 performances, a new production and cast appeared in 1902. The theatrical poster highlights New York’s Garrick Theatre run. (Library of Congress collection)
Ethel Barrymore as Madame Trentoni in 1901.
Ethel Barrymore on the cover of The Theatre in August 1901 following the close of the successful Captain Jinks of the Horse Marines which ran on Broadway for 168 performances from February to July 1901 and made 22 year old Ethel Barrymore a star.
Captain Jinks of the Horse Marines was produced in 1901 at the Garrick Theatre. The 910-seat theatre was built in 1890 by Francis Hatch Kimball (1845-1919) and located at 67 W. 35th Street in New York City.
The Garrick opened as Harrigan’s Theatre and became the Garrick in 1895. It was sold to the Schubert brothers in 1916 and leased to Otto Kahn who renamed it the Théâtre du Vieux-Colombier in 1917.
Management reverted to the Schuberts in 1925 when the theatre featured popular burlesque until the onset of the Great Depression. The building was demolished in 1932.
Screenshot, October 2019, site of GARRICK THEATRE (1890-1932), 67 W. 35th Street, New York City. The Garrick Theatre was where Ethel Barrymore starred as Madame Trentoni in Clyde Fitch’s Captain Jinks of the Horse Marines. A smash hit, the Broadway production made Ethel Barrymore one of the 20th century’s major theatrical and film stars. In 2006 the site had a multi-level parking garage which was later replaced by a hotel devlopment. The brownstone building in the middle distance appears to have survived from the late 19th-century period.
Both photographs above, Ethel Barrymore in 1901. As a new theatrical celebrity Barrymore’s image, style, and fashion were in demand by the public.
Ethel Barrymore in 1901.
Barrymore with a fur muf and feather hat in a hairstyle à la mode. The demand by the public for images of theatrical celebrities was insatiable.
In the 20th century’s first decade, Ethel Barrymore became a theatrical celebrity. Her image was in demand in photographs and picture post cards of the time. Throughout the first third of the twentieth century, Barrymore continually appeared in popular stage productions. Following the success of Captain Jinks of the Horse Marines, Barrymore appeared in the next years in many top-rated popular Broadway productions.
A few highlights included in 1903 Barrymore appearing for 60 performances in the title role in Cousin Kate at the brand-new Hudson Theatre at 139–141 West 44th Street. In 1905 Barrymore played Norma Helmer in Henrik Ibsen’s A Doll House for 23 performances at The Lyceum Theatre at 149 West 45th Street. Also in 1905 Barrymore appeared in Alice Sit-by-the-Fire at the Empire Theatre. In 1908 Barrymore played the title role in Lady Frederick for 96 performances, again at the Hudson Theatre. There were a dozen more productions Barrymore was involved in before 1910.
Another side of Ethel Barrymore, at the piano in 1903. Before she took to a career on the stage, Ethel Barrymore aspired to be a concert pianist as a youth.
Ethel Barrymore, 1904, by photographer Arnold Genthe. The actress was starring in several plays that year including in the title role of Kate Curtis in My Cousin Kate at the Empire Theatre. Barrymore would reprise the role briefly in 1907.
Ethel Barrymore in a photograph by William Morrison of Chicago in 1907. In the 1900’s Ethel Barrymore was a theatrical celebrity whose image displayed the latest fashion, make-up, and hairstyles that helped express the style of the times.
Ethel Barrymore in 1908. She was starring in the title role of Lady Frederick at the Hudson Theatre that year. The Broadway play ran for 96 performances.
With her film debut in 1914 in The Nightingale, a film written especially for her by playwright Augustus Thomas (1857-1934), Ethel Barrymore began in the new silent flickering medium of cinema in the footsteps of her brothers Lionel and John, who made their film debuts a couple of years earlier.
While Ethel made at least 14 films between 1914 and 1919 (some films are lost) she continued with her stage work and appeared in a dozen more Broadway productions throughout the 1910’s. When she decided to interrupt her film work in 1920 –and did not return to the movies until 1932 in the M-G-M film Rasputin and the Empress starring with her brothers (Ethel played Czarina Alexandra) – she appeared in a dozen more plays in the 1920’s, all in prominent Broadway theatres.
In 1922 she starred as Juliet in Shakespeare’s Romeo and Juliet for 23 performances at the Longacre Theatre at 220 West 48th Street as well as her celebrated role as Constance Middleton in Somerset Maugham’s new comedy play, The Constant Wife, in 1927. It ran for 296 performances at Maxime Elliot’s Theatre at 109 West 39th Street (it was demolished in 1960). The play had previewed in Cleveland, Ohio, at the Ohio Theatre in early November 1926 with Ethel Barrymore in the title role. It opened on Broadway at the end of November 1926 and ran until August 1927. After the Broadway show closed, Ethel Barrymore toured the production. Maugham dedicated his play to Ethel Barrymore and later said her performance was by far the best of any he had seen given for any of his plays.
Barrymore’s extensive stage work in this period also included, in 1928, appearing in the role of Sister Gracia in The Kingdom of God. The play was selected by Ethel Barrymore herself as the premier production in the Schubert Theatre chain’s newly-built 1,058-seat venue at 243 W. 47th Street in New York City. The new Broadway venue was named the Ethel Barrymore Theatre. Since its opening on December 20, 1928, the Ethel Barrymore Theatre has, without exception, presented legitimate Broadway productions continuously from that time to the present day.
The Ethel Barrymore Theatre on West 47th street in New York City is named for the legendary stage actress. Opened on December 20, 1928, the 1,058 seat theatre has been in continuous operation as a legitimate theatre since Barrymore first starred there in The Kingdom of God, a play she selected for the theatre’s first production. (Photo Credit: “Barrymore Theatre” by ensign_beedrill is licensed under CC BY-NC-ND 2.0).
Three famous actors, Philadelphia-born, in 1904. They were the third generation of the Royal Family of the American stage. From left: John (1882–1942), Ethel (1879–1959), and Lionel (1878–1954) BARRYMORE, performed on stage, screen, and radio. Their grandparents, the Drews, managed the Arch St. Theatre in Philadelphia.
