George Arliss in Color in 3-D in HD (High Definition)

Whatever our global worries and concerns, living in the second decade of the 21st century has its advantages. The digitizing of motion pictures, to take just one example, has not only made vintage films from 80 to 100 years ago look new, in fact the process has made them look better than new. Of course, professional grade equipment and knowledgeable technicians will require hundreds of thousands of dollars to achieve these startling results. But happily, the consumer electronics market offers a number of user-friendly and affordable software so we ordinary folks – the fans – can achieve good results for our own enjoyment. Personally, I don’t think the home products equal the results obtained by the professionals, but they come close.

Consider the strides made in colorizing black-and-white photos. Ten years ago the resulting process was not especially good but today color transfers have improved to the point where some of the results are startlingly superb. While your blogmeister cannot claim to rank among the kings and queens colorizing, my work product is not disgracefully inferior either. Recently, software to convert standard two-dimensional images (2-D) into three dimensional (3-D) have likewise come a long way. These results are not the “hyper-reality” some of us rememeber from our Viewmaster slides, but they do suggest a bit of depth. Finally, the option to place images into very sharp focus, known as High Definition or simply “HD” is like the icing on the proverbial cake.

Your blogmeister has spent (or misspent) considerable time learning to master these new technologies and, herewith, I present the results for your approval (or otherwise). Actually, there is one more high tech step that you the viewer can take to enhance your viewing experience. And that is to watch the video below by attaching your cell phone to a VR (Virtual Reality) headgear. I can still get by using the old-fashioned “free viewing” method of training my right eye to focus only on the right image and the left eye on the left image. Our brain is tricked into seeing these in 3-D by merging the two images into a third one that gives the illusion of 3-D. I can’t think of a better subject to benefit from our 21st century ways than Mr. George Arliss. I hope you can enjoy the show!

Maude T. Howell – Mr. A’s Shadow

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Women executives were rare at American film studios during the 1930s. One exception was Maude T. Howell who worked as a screen writer, associate director and associate producer at Warner Bros. and Twentieth Century Pictures from 1929 to 1935. She then crossed the Atlantic to work at Gaumont-British Pictures in London through 1937. Maude’s assigned motion picture productions had one thing in common: they were all George Arliss films. A graduate of Stanford University (Class of 1911), Maude worked in high school and community dramatics in Los Angeles. She became an assistant stage manager for a Detroit stock company and later was hired in a similar position for the New York production of THE GREEN GODDESS in 1921, which starred Mr. A. When the stage manager suddenly became ill, Maude took his place and thereby became the first woman stage manager in New York theater history. Mr. A in his memoirs recalled her skill and efficiency in this very demanding job. Photographs of Ms. Howell are as scarce as the proverbial hen’s teeth so following are among the rarest images in the Arliss Archives.
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This backstage photo dates from March 1923 and is likely during the run of THE GREEN GODDESS.

When Mr. A went into making “talkies” he brought Maude Howell along to be his eyes and ears in the myriad details of film-making.
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Taking a break from filming OLD ENGLISH in 1930, Maude Howell joins Mr. A and theater legends Otis Skinner (standing behind Mr. A), and Wilton Lackaye, seated next to him. The man standing on the right is Winthrop Ames who produced Mr. A’s plays from 1920 through 1928. Standing on the left is film director Alfred E. Green.

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Maude Howell also contributed to the scripts of the Arliss films, often uncredited. So did Mr. A. Here they are on the set of ALEXANDER HAMILTON (1931) with director John Adolfi.

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The production crew of CARDINAL RICHELIEU (1935) with Maude Howell seated at extreme right. To her left is Maureen O’Sullivan while Mr. A looks on approvingly at the film’s director, Rowland V. Lee.

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The main credits of RICHELIEU prominently disclose who provided the script.

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On the set of the British film, HIS LORDSHIP (1937), a comedy of foreign intrigue where Mr. A plays twin brothers. Here he is costumed as the pompous one. Director Herbert Mason is on the left.

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Queen Mary attended the London premiere of DR. SYN (1937), which turned out to be Mr. A’s final film. However, he would consider offers to play Disraeli in SUEZ (1938) and to star in THE PIED PIPER (1942), among other proposals. Alan Whittaker is dressed identically to Mr. A because he is his stand-in.

Maude Howell evidently returned to America following the completion of DR. SYN. Presumably, she resumed her career in theater production. Little more seems to be known about her except that she died in 1964 in New Orleans at the age of 77. Please contact me if you have any info about this special lady.

New on DVD! THE MAN WHO PLAYED GOD (1932) with Bette Davis

I’m a little late on this but Warner Archive recently issued the sixth official studio DVD release of Classic Arliss. This time it’s Mr. A’s blockbuster, THE MAN WHO PLAYED GOD:
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Mr. A arranged for Warner Bros. to hire a young unknown actress named Bette Davis to play the role of his fiancee in the film. This proved to be Bette’s breakthrough film:
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George Arliss plays wealthy concert pianist Montgomery Royale who seems to have it all:
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Royale is in the wrong place at the wrong time and is injured by a bomb in a terrorist attack (yes, even then). The blast destroys his hearing and he can no longer hear his own music. His life ruined, he becomes so depressed that he attempts suicide:
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Royale learns lip-reading, which turns out to be a mixed blessing. He goes from believing that God has abandoned him to the realization that he has become God’s instrument to help the less fortunate:
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But through lip-reading he learns that his fiancee loves another man. Royale asks himself, “I wonder what God would do in a case like this?” This strangely inspiring film still moves viewers over 80 years later. A true classic:
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Mr A later performed a live radio broadcast of this story that was heard around the world. To hear this historic broadcast, please click on “Radio” in the right hand column, and then click on THE MAN WHO PLAYED GOD.
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Arliss Alert! THE HOUSE OF ROTHSCHILD on TCM 9/23 @ 8 PM Eastern Time

George Arliss returns to the air in prime time. This Tuesday, September 23, Turner Classic Movies (TCM) is showing THE HOUSE OF ROTHSCHILD at 8 PM, eastern time. Better yet, the finale is being shown in its original Technicolor glory! Better not miss this one.

Mr. A as Meyer Rothschild in the film’s prologue:
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Boris Karloff as the antisemitic Prussian Count Ledranz:
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Loretta Young as Julie and Mr. A as her father, Nathan Rothschild:
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A Technicolor frame capture with Loretta Young and Robert Young:
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Another frame cap from the Technicolor finale, Florence Arliss and Mr. A:
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THE DEVIL (1920) Returns!

THE DEVIL has the distinction of being two “Firsts” for George Arliss. In 1908, it became his first starring play, then twelve years later the story was his first motion picture. Mr. A’s six silent films collectively serve as a “dress rehearsal” for his later sound film successes but, alas, only two of the silents appeared to have survived: THE GREEN GODDESS (1923) and TWENTY DOLLARS A WEEK (1924). Then a sole 35mm print of THE DEVIL was found in Canada by a gentleman named Larry Smith, who generously donated the film to the Library of Congress (LOC) where it has been copied and preserved. Recently, Larry uploaded THE DEVIL to Youtube and thus returned this long-lost Arliss feature to general circulation for the first time in over 90 years!
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These images are screen caps from the Youtube upload of THE DEVIL, and as a result are low resolution. Your blogmeister has viewed a 35mm copy at the LOC and can assure you that the image quality is excellent.
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Mr. A as the “helpful” Dr. Muller adroitly plants all sorts of carnal temptations in the thoughts of his friends.
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A young Edmund Lowe seem skeptical of the good doctor’s advice. Lowe would become a popular silent screen star during the 1920s and successfully transitioned to talkies in the 1930s.
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Florence Arliss (Mrs. A) also played a role as the aunt of the heroine.
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Lucy Cotton and Edmund Lowe as the lovers
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Dr. Muller has his own plans for the lady and they’re not honorable.
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As powerful as the Devil is, there’s Someone who is stronger.
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The Devil goes to Hell-literally.
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Hopefully, by now you’d like to see THE DEVIL so here’s the Youtube link. Enjoy!

CARDINAL RICHELIEU (1935) – First Time on DVD!

Twentieth Century-Fox has just released on DVD the classic George Arliss costume film, CARDINAL RICHELIEU. This makes the fifth Arliss film to receive an official studio home video release:
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These are screen captures of the main titles – quite a line up of talent both in front of and behind the cameras:
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Filming a scene with Maureen O’Sullivan:
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CARDINAL RICHELIEU plays in the Middle East:
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The back cover of the DVD snap case:
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For more photos, info, and to hear the radio version of this terrific film, please click on the CARDINAL RICHELIEU link on the right-hand column.

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.
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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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New Arliss Film on DVD! THE WORKING MAN with Bette Davis

If your blogmeister had to name only one George Arliss film to somebody who had never seen any, unquestionably that film would be THE WORKING MAN (1933). Never before available on home video, Warners Archive just released this clever comedy on DVD and remastered the film to help make it look brand new!
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THE WORKING MAN was made at the height of the Great Depression when, under the circumstances, it was popular to attack Capitalism and America’s free market economy. But this film shows how Capitalism can be fun and how the free market creates new jobs:
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Mr. A plays a shoe manufacturing tycoon who sees his chance to take over a rival’s business. Complications ensue and Mr. A ends up competing with his own company.
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Romance also ensues as Bette teaches Mr. A’s stuffy young nephew a few lessons in love:
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The film’s back story is even better: Mr. A discovered Bette and launched her successful film career. See it all happen in THE WORKING MAN:
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Check out THE WORKING MAN at http://www.wbshop.com

George Arliss in 3D

The current interest in 3D movies has a long history dating back to the 19th century use of stereograms whereby two seemingly identical photos were placed side-by-side. When seen through a viewer, called a Stereoscope, these 2D images sprang to life by blending into one three-dimensional image that was more vivid than life itself. The secret to creating this 3D illusion was to take one of the two “identical” photos from a slightly different perspective than the other, about equal to the distance between our eyes.

The Age of Stereograms spanned the 1880s through the 1920s and offered mainly the sights of far-away places. Celebrity 3D photos were limited to political leaders and important military officers. For whatever reason, neither Broadway nor Hollywood celebrities seemed to have posed for these pictures. However, 21st century computer software can help us render a “simulated 3D” image that suggests what our favorites of yesteryear might have looked like in the third dimension. If you have access to an old Stereoscope or perhaps to a modern version made of cardboard found in books about old stereo cards, then you’re all set to enjoy seeing Mr. A as Shylock as he appeared on the stage in 1928 in Shakespeare’s THE MERCHANT OF VENICE:
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Don’t despair if you lack access to a viewer because you really don’t need one. With a bit of patience you can easily train your eyes in the knack of “free viewing,” where you can see the 3D effect without a viewer. If your Blogmeister can learn it, so can you. It helps at first if you hold your hand or a piece of cardboard in front of your face on edge so your right eye cannot see the picture on the left side and your left eye can’t see the picture on the right. Stare straight ahead as if you are are looking “through” the photos and soon you’ll notice the two photos move towards each other to become one. Try it with this image of Ivan Simpson and Mr. A from DISRAELI (1929):
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I find that smaller size photos work better than larger ones. Also, experiment with moving the images closer or further away from your eyes. A distance between 10 and 12 inches or so usually works but you’ll just have to use trial and error. Once you’ve experienced the 3D effect you will know what to look for and subsequent free viewing will be easy. Here is Ivan Simpson again without his makeup for DISRAELI, but practicing his skill as a sculptor by immortalizing Mr. A as Mr. Disraeli:
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You can enjoy the 3D effect right on your computer screen so there’s no need to print out the images. I’ve even managed to see the 3D effect with these photos on my iphone but I won’t recommend it for beginners. Not every photo is a candidate for 3D. This photo of Mr. A and June Collyer from ALEXANDER HAMILTON (1931) works well because it has a clearly defined foreground and background:
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If you’ve gotten this far with seeing the above photos in 3D, then you’re ready for the post-graduate course. Try this exquisite portrait of Mr. A, Loretta Young, and Robert Young from THE HOUSE OF ROTHSCHILD (1934). Not only is the foreground/background clearly distinguished, but the lighting effects seem to suggest a 3D effect as well:
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This photo is from the closing scene of THE HOUSE OF ROTHSCHILD that was originally photographed in color so I took my coloring cues directly from the film itself. I slightly altered the color of the carpet between the two images so you may notice a vivid quality as the colors combine. Florence Arliss, Mr. A, and Reginald Owen:
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Finally, here is a genuine 3D photo that your Blogmeister just made using an ordinary digital camera. The bust was sculpted by Ivan Simpson around 1923 and captures Mr. A as the Rajah of Rukh in THE GREEN GODDESS, a hit play that he made both as a silent film and later in sound in 1929 (release in 1930). Mr. A refers to this bust in the first volume of his memoirs:
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ARLISS ALERT! Mr. A’s Academy Award Winner DISRAELI on TCM on Friday, Feb. 1st at 7:30 AM Eastern Time

George Arliss received the Best Actor Academy Award for his 1929 film, DISRAELI, where he portrayed the legendary British prime minister of the 1870s. An early talkie, this story is surprisingly topical in that it focuses on Disraeli’s quest to purchase the Suez Canal for Britain. Opposed by other politicians and sabotaged by spies from Russia, the wily prime minister contrives to buy the Canal only to discover he lacks the money to pay for it! How’s George Arliss going to get out of this one? Tune in and see!

Disraeli (1929)“is playing on TCM on Fri, February 01, 2013 07:30 AM est.

Doris Lloyd plays the charming socialite Mrs. Travers, who is actually a Russian spy:
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Ivan Simpson plays financier Hugh Myers who promises to provide funding for the Canal purchase, but then goes bankrupt:
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Ivan Simpson was also a sculptor as he proves between filming scenes:
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The cover of the souvenir program from 1929:
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A 19 year-old Joan Bennett with Mr. A:
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Joan Bennett graciously provided your blogmeister with a few reminiscences of making DISRAELI:
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Florence Arliss, wife of Mr. A, played the wife of Disraeli, known as Lady Beaconsfield:
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A 1929 flyer containing memorable scenes:
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