Al Jolson | ARLISS ARCHIVES

Arliss Alert! DISRAELI is Back!!! TCM on Sunday Feb 16 @ 4:00 AM ET

It’s the start of Academy Award Season so naturally Mr. A’s 1929 Oscar winner is one of the first films honored by Turner Classic Movies (TCM). DISRAELI is not yet available on DVD so be sure to set your tivo, vcr, or whatever you use for time-shifting so you don’t miss it. See George Arliss and the famous Arliss Stock Company including 19th century players such as Florence Arliss, Ivan Simpson, David Torrence, and Charles Evans. Youngsters include a 19 year old Joan Bennett.

Actor-sculptor Ivan Simpson puts the finishing touches on his bust of Mr. A as Disraeli. Mr. Simpson plays the financier Hugh Myers in the movie:

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Disraeli

on February 9, 2014 at 9:18 PM Leave a Comment
Tags: Al Jolson, Anthony Bushell, arliss, Disraeli, Doris Lloyd, Florence Arliss, George Arliss, hollywood, Ivan Simpson, Joan Bennett, John Barrymore, movies, old Hollywood, stage, talkies, theater

Relatively Speaking

George Arliss had one of the longest commutes to work in history. He routinely traveled from his home in London, crossed the Atlantic by ocean liner to New York, then trained across the American continent to Los Angeles. The entire trip in those pre-jet travel days took close to two weeks. Not surprisingly, such journeys themselves became social rituals and people wore their best clothes for travel, not including formal attire for events shipboard. Here Mr. A is on the S.S. Majestic leaving New York on May 29, 1931, bound for Southampton, England. He has just completed filming ALEXANDER HAMILTON at Warner Bros. in Hollywood:

Mr. A’s best known relative was his wife, actress Florence Arliss. She accompanied him on his theatrical tours, then on his trips to make films in Hollywood. They wintered in America and returned to Britain in the spring each year. Aboard the S.S. Mauretania in September 1922, Mr. and Mrs. A arrive in New York for the start of the new theatrical season:

Mr. A’s journeys were considered newsworthy and his progress was duly reported. The caption to this news photo states, “Arliss Passes Through Chicago,” and is dated June 18, 1930:

Celebrating the end of Prohibition with British actor Leslie Banks, the Arlisses visit the Vendome Cafe in Hollywood on November 7, 1933. The photo caption states, “Mr. Arliss is seldom photographed in the night spots of the film capital but Repeal brought him out.” Mrs. A appears less willing to be photographed:

Believe it or not, George Arliss had an OLDER brother, Charlie. Here Mr. A serves as best man at his brother’s wedding to Miss Violet Moutrie on July 11, 1938. They are standing outside the Hammersmith Register Office where the marriage took place. The photo caption states that Mr. A is 70, and the former Miss Moutrie is 50, but declines to reveal Charlie’s age:

Warner Bros. colleagues of Mr. A made news with their relatives too. Here Al Jolson and his movie star wife Ruby Keeler attend a testimonial dinner for Eddie Cantor at the Ambassador Hotel in Los Angeles on October 28, 1937. The kibitzer in the middle is Joe E. Brown:
A radio broadcast of the evening’s speakers exist but neither Keeler, Jolson nor Brown performed that night.

Here are Al Jolson’s parents, the Cantor and Mrs. Jolson, in an undated photo, circa the 1920s. Al was born in Lithuania but the family emigrated to Washington, D.C. where he grew up. Cantor Jolson lived to be 95 and was active almost to the end of his life. His son frequently told humorous stories about his father on radio during the 1930s. Once the Cantor declined to attend one of Jolson’s shows because he would miss an Amos ‘n’ Andy broadcast:

Another Warners colleague, Edward G. Robinson, celebrates his son Manny turning 6 years old on March 18, 1939, with a gala cowboy party with the children of many Hollywood notables as guests. Mrs. Robinson is the cowgirl:

Relatives of Mr. Robinson attend the New York premiere of one of his films on September 19,1933. Left to right, Mr. R’s mother, Mrs. Sarah Goldberg, his brother, Oscar Goldberg, and EGR’s wife. Eddie himself was in Hollywood working on another film:

It seems that every Warners star had a relative nearby. Here Rin-Tin-Tin, Warners “bread and butter” star of the 1920s, poses with his mate, Nanette. They co-starred in several films together and Rinty sometimes had to choose between rescuing the film’s heroine or Nanette. He tended to choose the heroine but Nanette did fine fending for herself:

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People

on May 22, 2011 at 11:22 AM Leave a Comment
Tags: Al Jolson, arliss, Edward G. Robinson, film, golden age, hollywood, Joe E. Brown, Leslie Banks, movies, Nanette, Rin-Tin-Tin, Ruby Keeler, stage, talkies, theater

Broadcasting to Millions

By the mid-1920s, the rising popularity of radio was cutting into movie theater attendance. While some film producers could only complain about it, the Warner Brothers acquired their own radio station, KFWB Los Angeles, and erected twin broadcasting towers to give it a powerful signal. Among other things, Warner film stars were expected to appear to build up public interest in their films. Young stars with limited stage experience were terrified to be performing “live” with millions of people listening. But veterans of the stage such as George Arliss who had performed “live” their entire careers were not intimidated by broadcasting.

Mr. A broadcasts his opposition to movie censorship in Medford, Massachusetts on April 3, 1922. Newspapers stated that this broadcast was heard “as far west as Wisconsin and as far south as the Carolinas.” That’s Maude Howell listening in on the headphones:
Arliss said, “The influences of the films were better for the young than the average methods of learning; that the conscience of boy or girl is a far better judge of right or wrong in the movies than the application of the censorship rod.”

George Arliss was President of the Episcopal Actors Guild of America from 1921 to 1938. Here he broadcasts a fundraising appeal on behalf of the unfinished Cathedral of St. John the Divine, over station WJZ in New York:

Station KWK in St. Louis, MO, was part of a national syndicated network on June 23, 1931, to broadcast another defense of Hollywood by Mr. A. The subject this time was the bad behavior of certain actors and actresses – some things never change:

Fellow Warners star John Barrymore said he “didn’t think much of this radio thing” when he first participated in a broadcast in 1928 over station KFI in Los Angeles:

By 1941, the Great Profile derived most of his income from radio, here with his brother Lionel on the right:

Warner colleague Al Jolson’s ebullient personality transmitted well and he starred in his own weekly show from 1932 on. Here he is rehearsing for an April 1935 Shell Chateau broadcast where his guests were Amelia Earhart and Babe Ruth:

Radio permitted another of Mr. A’s Warners colleagues, Edward G. Robinson, to tackle something he couldn’t do in movies – Shakespeare. Here he rehearses his role of Petruchio for an August 2, 1937 broadcast of THE TAMING OF THE SHREW:
Mr. Robinson was such a hit that by the Fall 1937 he began starring in his own weekly series, a newspaper drama, THE BIG TOWN, for the next six years.

At the age of 70, Mr. A made his dramatic broadcast debut on the Lux Radio Theater, hosted by Cecil B. DeMille, on January 17, 1938 in DISRAELI. He returned on March 21, 1938, in THE MAN WHO PLAYED GOD, and again on January 23, 1939, in CARDINAL RICHELIEU:
It was conservatively estimated that 30 million people heard each of Mr. A’s Lux broadcasts.

Greta Garbo was the only major film star never to perform on radio. Even Rin-Tin-Tin had his own weekly show in 1931:

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Radio

on May 1, 2011 at 12:14 AM Comments (2)
Tags: Al Jolson, arliss, Edward G. Robinson, film, golden age, hollywood, John Barrymore, Maude Howell, movies, radio broadcasting, Shakespeare, talkies

“I’m Ready for My Close-Up, Mr. DeMille”

Those memorable words spoken by Gloria Swanson at the climax of SUNSET BOULEVARD (1950) begs the question: how DOES one get ready for one’s close-up? Earlier, we explored the photographer’s art and the wizardry of lens and lighting. Here, we will explore the artistry of cosmetics, a subject more often associated with the ladies, but aging males were perhaps the more challenging subjects for the makeup artists.

George Arliss lived through revolutionary changes in this form of artistry from the exaggerated makeup required during the dimly-lit gaslight era of the 1880s stage to the massive light-drenched needs of Technicolor film by the 1930s. The public sees only the finished product but we’ll take a look at the “raw” material before our stars are ready for their close-up. Here is an original glass slide of Mr. A as the majestic French cardinal and his “look” seems so easy, doesn’t it?

Mr. A stated that he handled all of his own makeup chores through his first two sound films (DISRAELI and THE GREEN GODDESS) when he realized that film makeup was more complicated than for the stage. Mr. A as Old Heythorpe on the stage in OLD ENGLISH, circa 1925:

And here he is with Ivan Simpson in the motion picture version in 1930 – the differences are striking:

Having placed himself in the hands of the cosmetic experts at Warners, Mr. A initially must have had misgivings:

But soon Mr. A had a new look – although he seems to be wearing the same suit:

Mr. A on the stage in 1917 as ALEXANDER HAMILTON – he’s nearly 50 playing a 30 year old:

Here in 1931 at the age of 63, he’s asked to play Hamilton for the movies:

Mr A looks younger now than in 1917 – ALEXANDER HAMILTON (1931):

Results were sometimes achieved only through trial and error. Here’s an early makeup and costume test for CARDINAL RICHELIEU (1935):

Here’s the final result – how many changes can you find? Let’s start from the top: the eyebrows are no longer natural, the mustache has been lightened and the goatee reshaped, the cowl covers more of the neck, the shoulders are now padded, and the costume in the test was not used in the film:

Since we’re on the subject, let’s take a look at Mr. A’s colleagues at Warners. This is a relatively unadorned photo of John Barrymore circa 1928 making one of his first radio broadcasts in Los Angeles over station KFI:

The Great Profile ready for his close-up in DON JUAN (1926):

Makeup miracles were wrought on Al Jolson. This is a press photo taken during a 1935 broadcast rehearsal – not ready for his close-up:

And here is Al again in 1935 – ready for that close-up in a seamless blending of lens, lighting and makeup. GO INTO YOUR DANCE (1935):

Ever hear of a comedian who never told jokes? That’s Jack Benny and this is how he looked on radio in the mid-1930s:

And this is how Mr. Benny looked in movies in the mid-1930s:

Back to Mr. Barrymore now ten years after DON JUAN – even this retouched studio portrait of the actor as himself suggests the years have not been kind:

Ready for his close-up as Mercutio in ROMEO AND JULIET (1936):

Let’s conclude with one of the most handsome stars in all of American film history. First, this is how Tyrone Power looked when made ready for his close-up in SUEZ (1938):

A few years later, here is an unretouched news photo of Mr. Power reporting for duty to the U.S. Marines during World War II:

Not much work for a makeup artist to do, was there?

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People

on April 17, 2011 at 8:38 AM Leave a Comment
Tags: Al Jolson, Alexander Hamilton, arliss, film, golden age, hollywood, Ivan Simpson, John Barrymore, makeup artist, movies, stage, talkies, Tyrone Power

The Kings of Warners

The Arliss Archives include holdings indirectly related to George Arliss. In this post, we’ll take a look at some material highlighting Mr. A’s colleagues. When Warner Bros. signed George Arliss in the summer of 1928 to make three “talking pictures,” he joined the ranks of two other super stars of that studio – Al Jolson and John Barrymore.

No, this photo is not Mr. A arriving at Warners. I can’t place the occasion but it looks like a movie still. It was taken some time in the early to mid 1920s (judging by the automobile) but the original photo annotation suggests a candid shot. Florence Arliss was fond of little dogs, Mr. A apparently less so:

Al Jolson was the musical comedy sensation of Broadway and Warners had to pay dearly to acquire his talents. Jolson thought the Brothers were on to something with Vitaphone but they didn’t have much ready cash. Al agreed to take partial payment in studio shares of stock and became wealthy as a result:

Everybody knows that THE JAZZ SINGER (1927) was the first commercially successful sound film. Less well known is that the follow up, THE SINGING FOOL (1928), was an even bigger moneymaker:

John Barrymore had made four epic silent films for Warners in the mid 20s following his theater triumph in HAMLET, so the Brothers were eager to get him back when sound came in. In those days, it seems that no expense was spared in making a Barrymore film.

The composition of this photo from his first talkie, GENERAL CRACK (1930), seems inspired by late 18th century portraits:

Fans could even read the novel of GENERAL CRACK in movie magazines of the day, complete with an elaborately painted cover portrait of the Great Profile:

Kings usually help each other and the protocol was no different at Warners. Here Barrymore and Jolson lend their support to Mr. A’s first talkie:

Warners also acquired an upcoming dramatic star of the theater who had actually corresponded with George Arliss some 20 years earlier, then appeared in support of Mr. A on the stage in 1920. Here is an uncharacteristically dapper Edward G. Robinson:

This next photo might be called, “Kings in Exile.” Mr. A is in costume for OLD ENGLISH (1930) and the film’s director Alfred Green stands to his left. The other three gentlemen are all legendary stars of the theater: standing behind Mr. A is Otis Skinner; seated next to him is Wilton Lackaye; and the gentleman standing on the right is Winthrop Ames who produced all of the Arliss theatrical hits of the 1920s. The lady is the equally legendary Maude Howell, who was Mr. A’s stage manager, then associate director, associate producer, and contributing writer on the Arliss films:

Eventually, the Kings of Warners followed in Mr. A’s footsteps in making biopics (historical biographical films). Here Edward G. Robinson discovers the cure for syphilis in DR. EHRLICH’S MAGIC BULLET (1940) with Otto Kruger:

John Barrymore resumed wearing a powdered wig to portray King Louis XV in MARIE ANTOINETTE (1938):

Darryl Zanuck even persuaded Al Jolson to play 19th century minstrel E.P. Christy in the Technicolor SWANEE RIVER (1939) with Don Ameche and Andrea Leeds as Stephen Foster and his long-suffering wife. This is a b/w photo rendered into faux Technicolor:

And now for something completely different – these two gents could be the maternal and paternal grandfathers of the Marx Brothers (in an artistic sense, they were), but they’re actually the Broadway producer/comedy team of Joe Weber and Lew Fields. These fellows invented the dramatic parody in the 1890s that’s been a staple of American comedy ever since, right up to today’s skits on SATURDAY NIGHT LIVE, making them theater kings in their own right:

Beginning their act in 1877, here they are in 1940 still going strong. Arliss was a relative latecomer only beginning his career in 1887!

Out of costume, Joe and Lew looked more respectable when they moved to Hollywood in the late 1930s. There they spent many delightful evenings reminiscing about the old days with their friend, Mr. A (and it would be great to find a photo of the three of them together!):

Next week’s post will be very special in celebration of Mr. A’s birthday on April 10th. We’ll take a look at his masterwork – DISRAELI – the play, the silent film, the talkie, and the radio broadcast. With the exception of Shakespeare, I doubt there has been another dramatic work that has been adapted into so many different media as DISRAELI, and which starred the same actor.