A Pilgrimage to the George Arliss Grave

This year we are celebrating Mr. A’s birthday anniversary today (April 10, 1868) in a more significant way. Recently, Tim Beech, a fellow Arlissian (my term, not Tim’s) made a wonderful visit to Mr. A’s gravesite at Harrow Weald Cemetery outside of London. He was representing in a very real sense all of us who have longed to visit the site ourselves and I must say we were well represented. Rather than me blather on, here is Tim’s first-hand account of his pilgrimage.

A Visit to the George Arliss Grave by Tim Beech

I had cause recently to take my wife to London’s Heathrow Airport for a Transatlantic crossing. It’s a journey taken countless times by George and Florence Arliss, though of course by steamship rather than by Boeing.

It also occurred to me that, while Heathrow is more than 140 miles from our home in the Midlands, it’s a distance of only around 10 miles from Harrow Weald. It was there that George and Florence were buried in 1946 and 1950 respectively and, thanks to the sterling efforts of Bob Fells, their previously neglected grave had been restored a few years ago.

This seemed too good an opportunity to miss.

I had never visited the site and was a little anxious I might struggle to find the right spot. Harrow Weald is a very large cemetery next to All Saints Church, a mid-nineteenth century structure where Mr and Mrs A were married on September 16, 1899. As GA noted: “We were married in the prettiest church on the prettiest day that ever was seen.” They now lie only a few yards from where they exchanged vows almost 125 years ago.

Looking towards the Arliss grave located next to the hedge

To make sure I didn’t make the pilgrimage in vain I did an extraordinary amount of preparation. I viewed the approaching roads on Google Street View, worked out where I might park, examined the layout via Google Earth, looked at pictures of the gravesite (it is next to a hedge) and checked in with Bob Fells, who gave me further instructions supplied by GA’s great grandnephew. Armed with such a volume and quality of information I felt confident as I passed the church entrance on the left and then turned into the cemetery off the Uxbridge Road.

A bit closer – can you see it now?

I had dropped my wife at Heathrow before 6 but the cemetery was closed until 9am, so I spent the intervening time making the trip from the Airport (which takes around 45 minutes, despite the relatively short distance), having a quick breakfast at a café and exercising our dog Chase at a local park. Perhaps it was the time I’d spent waiting, or perhaps it was the amount of planning, but I felt a sudden unexpected sense of nervousness as I drove into the cemetery itself.

It wasn’t as if I were there to meet anyone. But it felt that way. Someone I had seen repeatedly on screen, read a great deal about and was now about to “encounter” in a sense. I also admit that I felt a responsibility to represent Bob Fells, who has done so much to preserve GA’s memory but has never had the chance to visit the gravesite. He had asked me to lay a rose on his behalf as well as take some pictures, and I had a few thoughts already in my mind.

There it is to the left of the cross

There is also something deeply personal about visiting the gravesite – the fact it is so little visited makes it more special, and it’s therefore a very different experience in a way that visiting the graves of many other famous people is not.

So there was certainly some nervousness, and a degree of anticipation.

As I drove the very short distance from the Uxbridge Road the cemetery opened out into a wider expanse, with the church mostly hidden to the left. I saw a semi-circular addition to the driveway, which is really only wide enough for a single car, so I turned 180 degrees and parked.

I knew the gravesite must be to my right and not far from the church, but I couldn’t drive any closer to it. The route to the site is via a path clearly intended for pedestrians only. But even from a distance I was confident that I could see the grave around 100 yards away at around “2 o’clock” to my right, and took a couple of initial pictures.

I made my way over towards the grave, which is very close to a hedge that forms the boundary for this part of the cemetery. It was around 25 feet or so off the path to the left and, although it was a beautiful sunny morning, it was October in England and the fairly thick grass was damp under my feet. It was also in shadow, because the hedge runs north-west to south-east, and shielded the site from the morning sun.

I had brought with me some towels and cleaning detergent in the expectation that the grave might need some sprucing up, but it was in very good condition – I later learned from Bob that it is, for the moment, still under a maintenance contract. There was a small scattering of fallen leaves over the grave itself, but it was otherwise clear. However, stepping past the gravestone my toe-end caught the edge of a plastic bottle which went skittering across the grass. It turned out to be a whisky bottle and was accompanied by a few plastic bags lying randomly in the morning dew. Although the cemetery is well maintained and not at all overgrown it seems likely that it may be an attractive and secluded spot for off-hours visitors.

I returned from the car with a large cardboard box I had brought for the purpose of elevating the camera to take pictures; my iPad on which I intended to display some appropriate images; two books (Bob’s biography of GA and GA’s first autobiography); a bucket of water containing some roses I had clipped from our garden at home the night before; a pair of secateurs to trim the stems; and some silver foil in which to wrap them. I also found an abandoned vase lying on its side next to the hedge which I used to display the roses when I left.

The view from the opposite direction taken from behind the Arliss headstone (lower right)

The site is sufficiently far from the Uxbridge Road for most of the sound of the traffic to be muffled. There is a real sense of peace in the location – I could mostly only hear the sound of birds signing and a slight rustle in the hedge from an occasional breeze. There were no other people in sight in this corner of the cemetery, although a workman later arrived and started trimming the grass at the farthest distance opposite. Even though he was perhaps 400 yards or more away, the sound of his machine cut through the air because there was little else with which it had to compete.

I took around five dozen photographs and videos from every angle I could think of, although it was a little difficult at times because of the sunlight. I captured images with the books; with the photograph Bob had digitally made alongside GA; with the roses; and I also played an extract from the House of Rothschild. It’s the sequence where GA, playing Nathan Rothschild, is excluded from a Government bond issue on the grounds that he is Jewish, but then executes a plan to run the market down by selling bonds that force the financiers to pass the entire issue over to him.

It was quite emotional to watch the sequence, hear the voices of Mr and Mrs Arliss, and at that time be at the very spot where they now lie. It was a moment when I felt particularly connected with them, even though both had passed away almost two decades before I was born.

I trimmed the rose stems, wrapped them in silver foil and left them in the vase below the gravestone. I checked I had the photos stored and then took a few more for good measure as I returned to my car. The last view I had as I passed the hedge to my right was the gravestone, standing bright and tall despite the shade, and feeling I’d done everything I came to do.

Even the weather had been perfect. It was a pilgrimage completed.

**************

Thanks very much Tim for the time and effort you put into your visit. I have read of instances where biographers at times sense a personal presence of the individual they are chronicling. I once asked a well-known biographer privately if she ever had such an incident. We were at a ‘meet and greet’ and she told me she was glad I didn’t ask this during the Q&A session. She said she indeed had such experiences but didn’t want to admit that publicly. So perhaps this photo I constructed below may not be all that far-fetched.

I don’t know how I can sufficiently thank Tim Beech for making this visit but perhaps in a small (and corny) way I thought I’d use my dubious photoshop skills to create this little token of my appreciation:

Published in: on April 10, 2023 at 10:06 AM  Comments (1)  
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Arliss Alert! April TCM (US) Screenings: DISRAELI (1929) April 1 at 8:30AM EDT and ALEXANDER HAMILTON (1931) April 7 at 4:15 PM EDT

Check your listings to watch these two George Arliss Classics during the first week of April.

On April 1st is GA’s Best Actor Academy Award winning film, DISRAELI . An early talkie filmed during the stifling summer of 1929, and based on GA’s amazing 5-year theater run of the play, DISRAELI is told through a delightful series of intimate conversations that lead to a spellbinding climax.

The plot involves the British prime minister’s efforts to purchase the Suez Canal from Egypt before Russia can get its hands on it. This sounds, well, esoteric, doesn’t it? But therein lies the power of this film (and why the play ran for five years, plus two revivals, a 1921 silent film version, and also a 1938 radio adaptation that was heard live around the world).

Tune in on April 1st to discover what all the excitement was about.

Next on Friday, April 7 at 4:15 PM EDT is the “first version” of the recent hit Broadway musical, HAMILTON. GA co-wrote the play – no musical numbers in this version – that tells the story of the first Secretary of the Treasury’s extramarital affair. When this film was made in the Spring of 1931 it was decided to rename it ALEXANDER HAMILTION, perhaps to avoid confusion with the British Lord Hamilton and his extramarital affair. Is this movie dry stuff? We think not. Check it out yourself.

It’s Here At Last! The Official 2023 George Arliss Calendar

Want a copy? Just download and print. Legal-sized paper will provide the best results.

George Arliss – The Hidden Years: Letters from World War II

I am pleased to announce the publication of our new book. This is an entirely new work of research where we can now share Mr. A’s daily accounts of living in World War II London through his letters that he wrote to friends. These letters have never been published before and offer a personal account of his daily life that at times are amusing and sometimes sad. In addition to sheltering from the nightly bombing attacks by the German Luftwaffe, Mr. A also was the caregiver to his wife, Florence, who had lost her eyesight and was coping with a variety of other ailments.

Arliss decided to spend the war years in London, literally Ground-Zero for German bombers, when he could have joined his friends in sunny California. If he regretted this decision, he never even hinted at this in his many letters. His daily life included nightly aerial assaults from Nazi planes, V-1 and V-2 rockets flying over his home. Throughout these bombardments, Arliss maintained a lively correspondence with his American friends who were safely located in the states, as well as British friends who were safely out of harms’ way in other parts of Britain.

Mr. A had written two volumes of memoirs, the second being published just as the war broke out. Far from being antique writings that reflect a bygone age, this new work is a third volume of his memoirs that vividly describe perhaps the worst time in his life. The George Arliss wartime letters vividly echo the 21st century trauma endured by the COVID lockdowns and the devastation of the Russo-Ukraine War. The book is extensively illustrated with rare photographs, maps of the London bombing attacks, and appendices documenting his stage and film work.

This book is available in three formats: hardcover, paperback, and Kindle ebook, all through Amazon. Members of Kindle Unlimited can read the book for free. https://www.amazon.com/George-Arliss-Hidden-Years-Letters/dp/B0BGFHRBD3/ref=sr_1_2?crid=7FV15STWNYIW&keywords=george+arliss+letters&qid=1670003077&s=books&sprefix=Arliss%2Cstripbooks%2C97&sr=1-2

Excerpts from the Kirkus review: “… (Arliss) was, as Fells observes, a ‘prolific letter writer,’ one who managed, no matter who the correspondent was, to combine great generosity and candor with a lighthearted wit. The author collects here a trove of
communications that date from 1909 to 1945, the year before Arliss’ death, the most intriguing of which were written in
England during World War II. With astonishing composure, Arliss relates the ‘harrowing times’ he lived through, especially
the daily air raids mercilessly waged by German fighter planes, a dangerous threat that made the ‘blackness of the night
rather terrifying.’ Moreover, in addition to the perils and deprivations the war delivered, Arliss had to contend with an ill wife
who was losing her sight: ‘My life is violently changed from the days that were all too short for my liking. Now, I am with Flo
all day and every day; in addition to her nervous condition, her eyes are so bad that they do not allow her to either read or
write; so we are cut off from the theatre and the cinema; it is more than a year since I visited either.’ Fells supplies readers
with astutely informative commentaries regarding the circumstances of each letter, including Arliss’ interlocutor, and
adorns the book with marvelous pictures of the artist, his friends, and various miscellany like playbills….”

Published in: on December 2, 2022 at 2:00 PM  Leave a Comment  
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On the Set with George Arliss

Photos on movie sets give us some impression of what it was like to actually be there. Many of these stills were posed of course, but some were taken in the midst of discussions or show cast members merely sitting by waiting to be called to the set. Throughout the history of filmmaking, actors’ most vivid memories of the process are the long waits to be called to enact a few minutes of a scene. Some spent the time answering fan mail, reading a book, or even knitting. Will Rogers would write his newspaper column between shots.

Here are a variety of images showing Mr. A and his colleagues “on the set” that span the years 1919 to 1943. His second volume of memoirs was called MY TEN YEARS IN THE STUDIOS (US title) but his presence on film sets spanned from 1916 to at least 1943. Most importantly, he enjoyed making films and sought to understand every aspect of them. He viewed them all and made uncredited contributions to the scripts. He had a producer’s understanding of budgets and deadlines, never losing sight of the fact that movies cost a lot of money to make and must make a profit.

Circa 1919-1920, George and Florence visit the legendary director D.W. Griffith on the set of one of his films:

Given the assumed date, this location may have been the Griffith studio at Mamaroneck, NY, just north of New York City in Westchester County. (Please pardon the fuzzy quality)

In the summer of 1923, Mr. A filmed his current hit play, THE GREEN GODDESS, as a silent film. He was preparing to take it to London where it would run at the West End’s St. James Theater for a solid year. As these two production stills suggest, the filming of the mythical Himalayan kingdom of Rukh took place in the middle of a residential neighborhood:

Sidney Olcott directs Alice Joyce and David Powell as Mr. A’s Rajah watches them in a final scene. The nearby house was no doubt kept out of camera range.

Another shot from the beginning of the story where the British flyers have the good luck to survive a crash landing but have the bad luck to land in the Rajah’s small kingdom of Rukh:

That’s perennial Arliss cast member Ivan Simpson in the derby playing the Rajah’s valet, Watkins. Alice Joyce and Harry T. Morey play an unhappily married couple whose lives are about to get much worse with their arrival.

Outdoors on the set of ALEXANDER HAMILTON (1931). Mr. A in costume seems to be amusing assistant Maude T. Howell and director John Adolfi:

This film was based on a 1917 play that Mr. A co-wrote with Mary Hamlin. He arranged to have her hired for the film and she later wrote a detailed and often humorous account of the mass confusion that was called “filmmaking.”

No matter what, Mr. A always paused for a 4 PM tea break during filming. Hollywood publicists used it to promote the films, but British producer Michael Balcon later found it annoying:

Doris Kenyon was a silent film star who made a smooth transition to talkies and who appeared with Mr. A in both silent and sound films. She played his daughter in THE RULING PASSION (1922) and his wife in HAMILTON. She also played Madame de Pompadour in his VOLTAIRE (1933):

Not a movie set, Mr. A visits Doris Kenyon backstage during one of her operatic recitals circa 1932.

Mr. A made his first British feature in 1934 titled THE IRON DUKE. The screenplay adroitly cobbled together various episodes in the Duke of Wellington’s life and made a coherent story out of the pastiche:

Mr. A in makeup and costume for THE IRON DUKE (1934) and the film’s director Victor Saville to his left join director Eugene Forde (on the right) and the cast of FOREVER ENGLAND for a lunch break.

Mr. A spent January-February 1935 filming CARDINAL RICHELIEU in Hollywood. It turned out to be his last American film although he would decline a number of offers right through World War II:

Director Rowland V. Lee and Maude T. Howell listen as Mr. A seems to be discussing the ring he is wearing. Maude Howell was literally the first woman stage manager in American theater history. Arliss was so impressed with her during the run of THE GREEN GODDESS that he later hired her to work on all of his films in several capacities as a screenwriter, associate producer and associate director. In fact, she was one of the few woman film executives anywhere at that time.

Maureen O’Sullivan and Mr. A in a touching scene from CARDINAL RICHELIEU. Watching the film itself, they seem to be in an ornate palace room, but this production shot shows a very sparse suggestion of a palace designed entirely for the little the camera would catch:

Maureen O’Sullivan was borrowed from MGM for this Twentieth Century (later -Fox) film. She must have enjoyed the break from the Tarzan films. Decades later she would appear in Woody Allen movies. From Arliss to Allen, now that’s a long career!

It can get cold in Hollywood in January as this still from some location work on CARDINAL RICHELIEU suggests:

Maude Howell is bundled up awaiting the crew to finish setting up the equipment. To her right is Mr. A and Douglas Dumbrille as Baradas, the villain. Edward Arnold has his back to the camera as Louis XIII.

A group pose of the principals and crew for a scene that presumably involved only Mr. A and Maureen O’Sullivan:

Seated from bottom right to left: Maude T. Howell, Maureen O’Sullivan, Mr. A, and director Rowland V. Lee. The young lady standing just above Lee seems to be auditioning for something!

After RICHELIEU, Mr. A could walk to the studio from his London home for the next two years because he worked for Gaumont-British at Sheperd’s Bush. His memoirs tactfully suggest that he missed the amenities of California and unfortunately his working relationship with Michael Balcon was not as cordial as it was with Darryl Zanuck. But the G-B films were enjoyable, did well at the box-office, and the studio kept offering him new contracts:

Mr. A seems to be rehearsing his lines with Maude Howell on the set of EAST MEETS WEST (1936)

Another production still from EAST MEETS WEST makes Mr. A seem almost lost among the massive equipment:

Director Herbert Mason on the left and Godfrey Tearle on the right. Maude Howell keeps an eye on things in the foreground.

Later in 1936, Mr. A filmed the comedy-mystery HIS LORDSHIP where he plays twin brothers. One is a stuffy old member of the diplomatic corps and the other one is quite urbane. Towards the end of filming, Mr. A came down with the flu. Production halted until he felt better and could return to complete filming. The incident apparently made studio heads aware that their star was approaching 70 in those days before antibiotics:

Director Herbert Mason, Mr. A, and Maude Howell. Here he is playing the fussbudget brother or perhaps, depending on where they are in the plot, he is playing the Americanized brother who is taking his brother’s place to stop an international calamity from taking place. HIS LORDSHIP (US title A MAN OF AFFAIRS) is a good film that deserves a proper restoration to be appreciated.

Gaumont-British went out of business at the end of 1936 and Mr. A’s one remaining film under the contract was transferred to Gainsborough Pictures where Edward Black was in charge of production. It turned out to be a harmonious development and the film, DR. SYN (1937), is arguably the best of the British Five in Mr. A’s filmography.

The multi-talented Allan Whittaker served as Mr. A’s stand-in for DR. SYN while Maude Howell completed her oversight position on the Arliss films. She apparently returned to the theater although I have never found any information about her post-Arliss years. She lived until 1964 in New Orleans and is buried in California.

George and Flo chose to remain in London during the Second World War. They built their own bomb shelter and occasionally stayed out of town when the bombing raids grew intense. His letters from the war years relate how the windows of his house rattled as the bombs fell. Their cottage at St. Margaret’s Bay near Dover was destroyed by a direct hit from a German shell in September 1942. Fortunately, the cottage was not occupied at the time.

Despite the war, Mr. A found time to visit London film studios that were still very much in operation. Here he visits his cousin, director Leslie Arliss (not his son as is often claimed), in 1943 on the set of THE MAN IN GREY with Phyllis Calvert:

Mr. A with his cousin director Leslie Arliss and Phyllis Calvert in 1943 on the set of THE MAN IN GREY.

I hope you enjoyed our little tour with George Arliss on the set.

My homemade coffee cup

Published in: on February 27, 2022 at 2:45 PM  Comments (2)  
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Happy New Year and Here’s Your Choice of 2022 George Arliss Calendars and Bookmarks

This year we offer you a choice of TWO souvenir wall calendars with George Arliss adorning them in one form or another. For the literal-minded, we have a rare candid photograph of Mr. A visiting the Universal studios in Hollywood circa 1927 and chatting with comedy star Reginald Denny. Like Mr. A, Denny was a British actor who found success in America. He played in support of Mr. A in the 1921 silent film version of DISRAELI, which is now apparently lost.

I should mention that the term “Silent Films Today” at the top of the calendar refers to my Facebook group by that name. Lots of things to see there including more vintage calendars like this one. That group is private, but you can simply ask to join to be admitted.

Our second official 2022 George Arliss Calendar is more figurative in that it offers two engraved images of Mr. A in the character of Voltaire. At the top is a cameo that was made by a doctor as one of his hobbies. He sent this cameo to Mr. A and I’d say the Arliss Archives is lucky to have acquired it. Below the cameo is a souvenir coin issued by Warner Bros. to promote Mr. A’s 1933 film, VOLTAIRE. Similar to the cameo, the coin provides a beautifully detailed rendering of Mr. A.

Since we’re on the subject of the cameo, here is Mr. A’s Thank You letter to Dr. Osher for his efforts and expense to create the cameo. The letter was written In January 1935 when Mr. A was filming CARDINAL RICHELIEU at the Twentieth Century Pictures studios in Hollywood. As you can tell, the letter was water-damaged at some point – after all it did go through WWII – and I’ve done my best to make it legible.

The photo referred to by Mr. A was taken while he and Florence were filming THE KING’S VACATION in 1933. The Archives has an excellent original of this portrait that was autographed by both Mr. and Mrs. A. Here is the actual photo that Mr. A sent to Dr. Osher, which is also jointly autographed:

You may wonder how to obtain a copy of either or both of these calendars. I don’t sell them but instead I encourage people to print them out, preferably on glossy photo paper. At full size they make neat looking wall calendars. Printed in smaller sizes they also make stylish (and unique) bookmarks.

Finally, let me share with you two authentic 3-D stereoscopic photographs that I made of the Voltaire cameo and also of the bronze bust from THE GREEN GODDESS that actor Ivan Simpson made for Mr. A:

Again, let me wish you the very best in this New Year of 2022!

The Silent Film Comedies of George Arliss

When we think of memorable silent film comedians our thoughts go to Chaplin, Keaton, Lloyd, Langdon, – and Arliss. Who? Well then, this is still one of the better kept secrets of film history and it’s high time we put a spotlight on it. In recent years, the comedies of Raymond Griffith, Reginald Denny, and Douglas McLean have returned to circulation after 90+ years absence from the screen, and of course they were never part of home video. And these rediscoveries have proven quite enjoyable. We also realized what we were missing all this time. My purpose here is to add George Arliss, actor, author, playwright, and filmmaker, to this growing list of rediscovered film comedians.

Having published six books on Mr. A (as I call him) since 2004, I am more or less regarded as his official biographer. Not that this effort was a chore. It was and still is a delightful journey of discovery. He was known as one of the great dramatic actors of his era and racked up popular and critical successes in all the media of his time from the stage, silent films, sound films, even radio. Mr. A was also known as an authentic gentleman and a most kind one at that. I tried to dig up “dirt” on the man but I couldn’t even find unsubstantiated rumors.

An early experience in mass media occurred with his broadcasting in 1922(!) and was not what we would expect of a fellow who spent 32 years of his life in the Victorian Era of the 19th century. Arliss devoted that first broadcast to denouncing censorship in films. This was before Will H. Hays was hired by the studios to be their moral watchdog.

arl-radio3 copy_edited-3

The Arliss Comedy Plays

Arliss began his career primarily in drama and in his early career he played in support of two pillars of theatre: Mrs. Patrick Campbell and Mrs. Minnie Maddern Fiske. But there was always a second string to the Arliss bow: his comedy plays and later his films. George Arliss’s roots in comedy were long and deep even before he made films. His first brush with comedy was not as an actor, but as a playwright. He wrote a three-act farce called THE WILD RABBIT in 1898. I thought the title was takeoff on Ibsen’s THE WILD DUCK but apparently there was no tie in. The plot involves a case of mistaken identity between a nobleman and his hairdresser. The latter is lavishly treated like, well, a nobleman by the ladies, while the former is bashed about as the tradesman he isn’t.

Following an out-of-town tryout in Wolverhampton (UK) in January 1899, THE WILD RABBITT opened at the Criterion Theatre in London in July. One critic was not amused but admitted that “the simple minded playgoer roared with laughter.” Mr. A’s first effort at comedy closed after three weeks but not because of a lack of public support. It was a very hot summer and air-conditioning hadn’t been invented yet. With temperatures in the 80s the last place the public wanted to spend two hours was in a stifling theatre.

In 1903 Mr. A wrote another comedy, THERE AND BACK, the plot of which sounds a lot like the Laurel and Hardy film, SONS OF THE DESERT, made thirty years later in 1934. The Arliss story was a variation of a staple of French farce. Two wives want to get away for a holiday without their husbands so they make up a story about going to visit a sick friend. The husbands are a bit suspicious but accept the explanation. While the wives are away the husbands run into their “sick” friend who is fine and has not seen the wives lately. Like Ricky Ricardo would say, the wives have a lot of “s’plainin” to do.

Arliss Play Prog

Mr. A did not appear in THERE AND BACK but his wife Florence did. The play was a hit on Broadway and Charles Evans, who played the lead as one of the husbands, would tour in it for many years. Arliss regarded Evans as his “good luck charm” and found parts for him later in his Hollywood films. But the theatre world was not finished with THERE AND BACK. It was adapted into a musical called I LOVED A LASSIE and went on to even greater popularity in the UK.

As an actor, Arliss managed to work his way up from playing in the provinces (i.e., the sticks) and arrived at the West End (the London equivalent of Broadway) by 1900. In 1901 he accepted an offer from Mrs. Patrick Campbell’s troupe to play a season in America although he was limited to supporting roles. The tour was a success and when the Campbell troupe returned to Britain, Mr. A decided to stay on for a bit in the states. His stay lasted for over 20 years. Ambitious for a starring role, he would eventually find his vehicle in a new play by Hungarian playwright Ferenc Molnar called THE DEVIL. This was a dramatic comedy that had been a smash hit in Budapest. Perhaps because the title suggested a warm climate, the play had its American debut on the sultry evening of August 18, 1908, at the Belasco Theatre. This opening night was jumping ahead of the traditional Broadway season by three weeks but there was a reason for this.

Arl The Devil 1_edited-3 copy_edited-1

There was no reciprocal copyright law between the U.S. and Hungary at that time so anybody who could get their hands on a copy of the Molnar play could publicly produce it. And they did. Moving the opening night from September to August 18 seemed like a smart move until another DEVIL production followed. Playgoers were treated to two competing DEVILs that night and Broadway had never seen anything like it. The publicity helped both shows but the critics judged the Arliss version the better of the two. A New York Times reviewer proclaimed, “George Arliss at his best” and “Mr. Arliss’s performance is developed in the vein of brilliant comedy….” among other praises.

The Dramatic Comedy Films

THE DEVIL

Fast forward 12 years from 1908 and THE DEVIL is pressed into service again to become Mr. A’s very first film in 1921. Although he had evolved into a fine dramatic actor, it seemed that no role of his could completely escape the one-liner or the sarcastic deadpan reply. According to information in the AFI Catalogue, the film version of THE DEVIL was photographed at studios in Ft. Lee, NJ during the day while Arliss returned to the city to star in his latest hit play, THE GREEN GODDESS by William Archer, in the evening. The October 30, 1920 issue of Moving Picture World confirmed that filming had been underway for a month. The conclusion of filming was announced in the November 11, 1920 Wid’s Daily and the November 13, 1920 Moving Picture World. The sets included “a magnificent old-world ballroom” and “a reproduction of the Paris Art Salon.” Sculptor Frederick E. Triebel, a member of the Royal Academy, provided his artwork for free, according to Moving Picture World.

Arliss in devil

Editing and titling was finished by December 1920.  George Arliss sat in on the assembling of the picture, as stated in a November 20, 1920 Motion Picture News brief. Mr. A had reportedly bonded with director James Young, the ex-husband of Clara Kimble Young, and they shared a ride to the studio each morning. Arliss also earned praise from cinematographer Harry A. Fischbeck, who was quoted in a February 5, 1921 Motion Picture News item, stating that the first-time film star “realized fully the importance of good photography and acted upon every suggestion. He made a camera-man feel like a most important personage.” Fischbeck also noted the difficulty of the shoot, specifically the constraints of shooting many interior scenes on “a four-walls-and-ceiling set.”

The Devil003 copy_edited-Final

There were of course newspaper and magazine interviews regarding his film debut. Mr. A was well aware of the snobbery by actors from “the legitimate stage” who condescended to appear in movies. They liked the money but often took the opportunity of saying they had not seen their films and never would. Helen Hayes enjoyed a successful film career in the early 1930s, even winning an Academy Award. But she later admitted not having seen her films until they turned up on late night television decades later. This attitude was rather typical. An interviewer confronted Arliss with this mindset in the runup to the THE DEVIL’s premiere in January 1921. Asked “Do you take the screen seriously?” The actor deadpanned, “I do now that I’m on it.” The interviewer admitted to bursting out laughing at this reply.

Devil 2

THE DEVIL premiered at the Mark Strand Theatre on January 16, 1921, in New York City. The AFI Catalogue states that the film was a critical and commercial success, according to items in the February 5, 1921, February 12, 1921, and the February 16, 1921 Motion Picture News. The film set a record for Pathé, the distributor, for the “highest bookings in advance of release.” After successful pre-release runs at the Strand theaters in Manhattan, Brooklyn, and Albany, NY; Shea’s Hippodrome in Buffalo, NY; and the Rialto Theatre in Lawrence, MA, the Mastbaum circuit of Pennsylvania and Gordon circuit of New England signed on to release the film. By that point the only question that filmmakers had for Mr. A was when could he be available to make his next film.

The comedy in the film, as in the play before it, generated from the fact that the audience knows that the kind philanthropist Dr. Muller is the Devil incarnate while the other characters are in ignorance. Viewers find themselves being pulled into the plot as a sort of “partner” with the devil as he lays his traps for the unsuspecting young lovers. In the play, Arliss spoke directly to the audience about his next steps to ensnare the innocents into eternal damnation. On the screen, Arliss communicates his schemes by writing in a gigantic diary that the viewer reads.

Arliss The Devil New Photo Color 4 Poster 2

There are many sly touches throughout. For example, at a reception a group of important businessmen are only too eager to meet Dr. Muller. He plants seeds of jealousy in the characters’ minds by “assuring” them that their beloved could never be unfaithful – a thought that never occurred to the person until Muller brought it up! He manipulates them ever so subtly to arouse their jealousy, their anger, and perhaps violence.

Muller hosts a masquerade party at his mansion that shows every sign of turning into an orgy before the evening is over. There are indications of a censor’s scissors being used during some shots as scantily clad dancers seem to be enjoying themselves. It has been said that an unknown Frederic March is one of the partygoers but I found that impossible to determine.

Arliss DEVIL coffee mug

The supporting cast performs well with future star Edmund Lowe as the artist/lover who can’t decide between his model or his best friend’s fiancé. Two up and coming actresses, Sylvia Breamer and Lucy Cotton, play these roles, respectively. Lucy’s aunt is played by Florence Arliss, George’s wife of 22 years then, who is billed simply as “Mrs. Arliss.” The opening credits do not acknowledge the Molnar play and the plot elements could be regarded as common story elements. The story is credited to Edmund Goulding who would become a major director within the next few years.

The fact that THE DEVIL exists at all today is a story in itself. A sole surviving 35mm print was found in the wilds of Saskatchewan, Canada, a number of years ago by Larry Smith, who is a Nitrate Film Specialist with the Library of Congress. Larry acquired this print and generously donated it to the LOC and then posted a video of it on Youtube. Eventually, I downloaded it and arranged to give it a 4k scan. Then a retired professional film editor, Lewis Schoenbrun, volunteered to further enhance the image quality. On January 16 of this year, we held an online “re-premiere” of THE DEVIL on the anniversary of its Centennial. Responses from friends have all been positive as Mr. A proves to be the master of droll humor in his very first film. I would very much like to screen this film before an audience someday.

DISRAELI

Now that the actor-playwright was “movie box office” he found himself with several offers for a second film. He preferred dealing with individuals rather than a big corporation, an experience he learned the hard way. In 1916, Arliss signed an agreement with director-producer Herbert Brenon to make what would have been his first film. But Brenon became seriously ill and the executives of Brenon’s company stepped in and cancelled the Arliss contract. Mr. A felt, not unreasonably, that he had been badly treated and sued the Brenon company in New York State court for breach of contract. He won his lawsuit at trial but lost on appeal. Brenon returned to good health but Arliss realized that the man did not have full authority to make contracts and chalked up the bad episode to a learning experience.

Disraeli 2 copy_edited-1

Selecting a second film after THE DEVIL’s success must have seemed like a no-brainer. By 1921, Mr. Arliss had long since established his stardom with one play that managed to run five years. The success of DISRAELI – called “the play with the funny name” – made the names of Benjamin Disraeli and George Arliss almost synonymous. The play was commissioned especially for Mr. A and was written by a well-known British playwright of the day, circa 1910, Louis Napoleon Parker. DISRAELI became Arliss’s most resounding hit up to that time and was all the more remarkable because of the esoteric story it told. The plot involved the great British prime minister’s effort to purchase the Suez Canal for Britain in 1874. Sounds exciting, doesn’t it? Well, not really. But by the sheer power of the Arliss wit, deadpan expressions, and his unique way with words, he starred in this play for five consecutive seasons, from 1911 to 1915, first on Broadway, then by traveling to every town and hamlet in the U.S. even if it was only for one performance. Arliss returned to Broadway with it for a 1917 revival.

Now in 1921, the play was everybody’s choice for the second Arliss film. This apparent “epilogue” for the play turned out to be more of a prologue. Mr. A would later film it for the talking screen in 1929 where he was honored with the Academy Award for Best Actor. The competition were no pushovers with Ronald Colman, Maurice Chevalier, Wallace Beery, and opera singer Lawrence Tibbett also nominated.  Mr. A even faced competition from an unlikely source – himself. In a quirk of the Academy rules at that time, Mr. A was nominated for two films but won for only one, DISRAELI. Nobody ever repeated that sleight of hand again. He was also the first British actor to win the Best Actor Award.

Ad Philly Dec 31 21_edited-1

I’ve held screenings of the ‘29 DISRAELI with college audiences and I can tell you that Arliss held them in the palm of his hand. When he was being dramatic, they were impressed. When he was being funny, they laughed. Perhaps it should not be surprising that when Arliss performed a one-hour radio broadcast of DISRAELI in 1938, over 50 million people worldwide listened in. After a successful theater career for over 40 years (he made his debut in 1887), the 1929 DISRAELI spearheaded a series of Arliss “biopics” on the screen with ALEXANDER HAMILTON (1931), VOLTAIRE (1933), THE HOUSE OF ROTHSCHILD (1934), THE IRON DUKE (1934), and CARDINAL RICHELIEU (1935). And he gave Bette Davis her first big break in films by casting her in his drama, THE MAN WHO PLAYED GOD (1932). She continued to publicly thank him right up to the end of her life.

Returning to 1921, early reports that DISRAELI would be Mr. A’s next film were confirmed in the May 2, 1921 issue of Wid’s Daily, and that Henry Kolker, a well known actor himself, would be directing. Once again, the cinematographer was Harry A. Fischbeck. The May 6, 1921 Variety and May 7, 1921 Moving Picture World noted that Arliss would henceforth release his films through United Artists. The deal was brokered between the studio and Arliss’s producers, Distinctive Productions, Inc., a company that was specifically founded to produce Arliss films. Clearly, Mr. A was avoiding corporate bigwigs in the studios that had marred his dealings with Herbert Brenon.

The May 13, 1921 Wid’s Daily noted that the picture would be shot at the Whitman Bennett studio in Yonkers, NY, and that outdoor location filming was done at the sumptuous 1,000-acre estate of George D. Pratt in Glen Cove, Long Island, NY, according to the June 11, 1921 Wid’s Daily and June 18, 1921 Moving Picture World. It was also noted that through the efforts of George Arliss, Pratt allowed his residence to be filmed in association with the Society for the Relief of Devastated France, which secured famous homes for movie productions to raise funds.

Dis 1921 slide 1

The silent version of DISRAELI used some key members of the 1911 Broadway cast including Florence Arliss as Lady Beaconsfield, Disraeli’s wife, and Margaret Dale as Mrs. Travers, the spy working for Russia. The film premiered at the Mark Strand Theatre in New York City (as did THE DEVIL some nine months earlier) on August 28, 1921, according to the August 27, 1921 Motion Picture News. A general release date of September 3, 1921 was cited in the December 10, 1921 Exhibitors Trade Review. Critical reception was positive, with George Arliss receiving consistent praise for his performance, as noted in the September 3, 1921 Exhibitors Trade Review. Ticket sales reportedly broke a box-office record at the Mark Strand Theatre in Albany, NY, where only $40 was spent on promotions, including simple window displays and “a specially prepared letter” sent to 5,000 Albany residents.

The historical Benjamin Disraeli was also a successful novelist whose writings were brimming with wit. Many of his bon mots were used in the play and film versions while others were invented but were in his distinctive style. Arliss himself was noted for his unique style of delivery and made excellent use of his early experiences as a fledgling playwright. Back in 1910 the first out-of-town tryouts of DISRAELI were dogged by the lack of a powerful climax. Dozens of writers had been called in to create more punch for the finale but nothing worked. Finally, “somebody” – Arliss always denied that the person was himself – came up with a line for DISRAELI that brought the curtain down to thunderous applause. Of course, the line was pure comedy and was repeated in every incarnation of the play thereafter.

1921 Disraeli LC 3

Judging the silent DISRAELI today is not possible. It is apparently a “lost” film although the Library of Congress states that a print is held in the Russian state film archive, Gosfilmofond. This writer contacted the archive with an inquiry and was promptly told that it held no material on DISRAELI. There is word that the Belgian Cinémathèque royale de Belgique film archive holds the first four reels of the film (out of seven) but reportedly the material is too fragile to be copied. The George Eastman Museum in Rochester, NY, once held a complete print that it screened at the institution’s 25th anniversary in 1947. Today it reports that only a few fragments remain totaling about one reel.

However, by reading the play script, watching the 1929 film, and listening to the 1938 radio broadcast, we can get a good idea of the silent film’s impact. Among the cast, an unknown Reginald Denny played the nominal hero, Lord Deeford. Within a few years Denny would be starring in a successful series of comedies for Universal, the most memorable of which is SKINNER’S DRESS SUIT (1926). The popular screen actress Louise Huff played the ingenue role of Lady Clarissa, and shortly after retired from the screen. A few years ago, this writer published a photo reconstruction of the 1921 DISRAELI using stills that I had collected over many years. The photos followed the play script fairly well so I was pleased with the way the book turned out. More recently, I returned to the silent DISRAELI in the form of a graphic novel that I also felt turned out reasonably well. Members of Kindle Unlimited can read both books digitally for free.

The Comedies

THE RULING PASSION (1922)

The first outright comedy film made by Mr. A was THE RULING PASSION in 1922. The director was Harmon Weight, who must have worked well with Arliss because they made two more silent films together, the drama THE MAN WHO PLAYED GOD (1922) and his final silent, the comedy $20 A WEEK (1924). The cinematographer once again was Harry A. Fischbeck. The plot was based on a short story, “Idle Hands,” recently published in the Saturday Evening Post by Earl Derr Biggers, a well-known author of the time. Biggers would become more famous over the next few years when he began his series of “Charlie Chan” novels that were later made into a successful and long-running film series.

THE RULING PASSION marked Mr. A’s third film but was the first he had not previously performed on the stage. Arliss plays John Alden, a wealthy automobile manufacturer in this modern dress comedy, who is forced into retirement by his doctor. Bored with being retired, he decides to invest in a gas station using an assumed name and partners with a young man named Bill Merrick. The two are swindled by the seller of the gas station and they strike back by engaging in a price war with the crook who runs a competing gas station. Alden’s wife and daughter know nothing of his secret life until his daughter, Angie, pulls into her father’s gas station. She also meets Bill Merrick and a romance blossoms. Angie agrees to keep her father’s secret under the circumstances.

Ruling Passion 2 copy_edited-1

Alden’s ruse is eventually discovered by his wife but all ends well when the crooked seller begs to buy back his old gas station at a much higher price than what Alden and Merrick paid for it. Merrick goes to see Angie’s father having no idea that he is his partner. Alden feels invigorated by the little adventure and his doctor agrees that he can return to his work.

George Arliss recalled in his memoirs that some location filming was done where an unplanned comedy scene took place. A “make believe” gas station was built there and during a lunch break a driver pulled in thinking the set was a real gas station. He ordered several gallons from the property man who happened to be standing by and he went through the motions of filling up the gas tank. The property man refused payment telling the driver that since it was John D. Rockefeller’s “birthday” all gasoline was free that day. The man drove off oblivious to the prank.

Arliss Ruling Passion 1922

THE RULING PASSION premiered in New York City on January 22, 1922. Among the cast, the role of Angie Alden was played by Doris Kenyon, a popular screen actress who was married to film star Milton Sills. Almost a decade later, Kenyon would play Arliss’s wife, Betsy Hamilton, in the film, ALEXANDER HAMILTON (1931) and Madame de Pompadour in his VOLTAIRE (1933). The reviews of PASSION were uniformly positive and many critics said they enjoyed Mr. A’s refreshing change of pace in a situation comedy.

Rul Passion Ad

Unfortunately, THE RULING PASSION is another “lost” film although unsubstantiated claims have been made of its existence. The film did so well that Arliss later decided to remake it in sound in 1931 as THE MILLIONAIRE where it again was well-received. Similar to his silent films, the talkie version became his third film of the sound era and his first comedy of that time.

$20 DOLLARS A WEEK (1924)

Mr. A’s movie box office appeal continued to grow after PASSION, and he felt it was time to turn to a drama. A story about a concert pianist who goes deaf left little room for humor. But THE MAN WHO PLAYED GOD (1922) succeeded as an inspirational story that Arliss remade to equal acclaim ten years later in 1932 for the sound screen. Alas, the silent version is a “lost” film now.

By 1923 Arliss had been appearing in only one play for the previous three seasons, THE GREEN GODDESS. As he prepared to take it to his native London for a run that lasted a full year, he made a film version in the states. He played the wily Rajah of Rukh who toys with his three British visitors who had the bad luck to crash land their plane in his tiny kingdom. Eventually, his guests, two men and a woman, realize the Rajah intends to execute them in revenge for the execution of his three brothers in England. Arliss has many deliciously ironic lines that arouses laughter from audiences but he ultimately shoots one of the male “guests,” tortures the other, and tries to abduct the woman. Therefore, I will resist the temptation to classify THE GREEN GODDESS as a dramatic comedy despite its large comedy content.

20 A Week 1

Before he left for London, Mr. A arranged to film another comedy called $20 A WEEK, sometimes listed as TWENTY DOLLARS A WEEK. This was based on a short story by Edgar Franklin called “The Adopted Father.” Arliss plays another wealthy businessman, John Reeves, who bets his son, Chester, that they should both find jobs paying $20 a week to see which of them could live on that amount and no more. The role of Chester was played by Ronald Colman shortly before he achieved film stardom in his own right. Colman played the High Priest in the original cast of THE GREEN GODDESS when the play opened late in 1920. Years later in 1947 Colman played the Arliss role of the Rajah in a radio version of GODDESS where he reminisced about his part in the original play.

The March 9, 1924 Film Daily and March 22, 1924 Exhibitors Trade Review reported that Henry M. Hobart of Distinctive Pictures had recently signed an agreement with the Selznick Distributing Corporation for a series of features starring Arliss. The first of these was $20 A WEEK scheduled for release in April. We know that Mr. A opened in London in THE GREEN GODDESS in September 1923. This suggests that $20 A WEEK must have been filmed at some point during the summer of 1923. The July 1924 Motion Picture magazine noted that while Arliss began work on the film in the U.S., his final scenes had to be completed in England due to his play commitment.

The film was directed by Harmon Weight and the cinematographer was Harry A. Fischbeck. It premiered in New York at the Mark Strand Theatre during the week of June 9, 1924, according to Film Daily. The reviews were mixed although Mr. A’s facility with comedy was duly noted by the critics. The June 21, 1924 Moving Picture World complained that the plot relied too heavily on coincidence and improbable characters. A positive review in the May 4, 1924 Film Daily noted a close thematic resemblance between $20 A WEEK and THE RULING PASSION.

$20 A Week 1924 Final

Indeed, both stories had the Arliss character hiding his identity and, in WEEK, he disguises himself by wearing glasses and a wig. The Reeves character takes a job as a bookkeeper in a steel plant run by William Hart who, with his sister Muriel, inherited the business from their father. But neither takes an interest in the company and they just live off the income. Reeves learns that the business manager is secretly arranging a takeover of the plant to cut the Harts out of ownership. When Muriel decides to adopt a small boy, her brother William “adopts” Reeves as their “new father.” Chester visits the company and he and Muriel fall in love. Reeves manages to thwart the takeover scheme, save the business, and becomes a partner with the Harts.

Happily, $20 A WEEK survives and has been restored by the Library of Congress and presented at film conferences in recent years. The distribution deal with Selznick quickly came to an end when Lewis J. Selznick, owner of the company, filed for bankruptcy. His son, David O. Selznick, later became a successful film executive and produced many top films such as GONE WITH THE WIND (1939).  Despite its convoluted plot, Arliss liked the premise of $20 A WEEK and would rework the vehicle nine years later with much better results. Retitled THE WORKING MAN (1933), the sound version co-starred Bette Davis as the sister and is considered one of the very best of the Arliss films.

When George Arliss returned from his London engagement in late 1924 he quickly became involved with another new play, OLD ENGLISH by John Galsworthy, that occupied him for the next three seasons. He made no further silent films but Hollywood would soon be transitioning to sound films. In July 1928, Mr. A signed a three-film agreement with Warner Bros. to make talkies. He ultimately made ten films for the studio at a substantial increase in compensation each year during that time.

In recent years, a few Arliss sound films have received official studio releases on DVD and in at least one case, in the streaming format. However, this writer is yearning for a video release of the three surviving Arliss silent films. These are the 35mm prints of THE DEVIL and $20 A WEEK at the Library of Congress, and the restored version of THE GREEN GODDESS at the UCLA Film Archive.  FINIS.

Copyright 2021 by Robert M. Fells

Mr. A Sails the High Seas

Back before the age of jet liners linked America and Europe in a matter of hours, transatlantic travel meant spending several days at sea and, hopefully, in good weather. Mere acquaintances on land would form onboard friendships during the voyage, though most of these tended to fizzle out once they were back on terra firma.

Mr. A was no exception to this social ritual as many candid photographs attest. Here’s a collection of moments from long ago voyages during the 1920s and 30s when Mr. and Mrs. A shuttled between Southampton, England, and New York City, then cross-country by train to Los Angeles.

Here the caption informs us that Florence and George have arrived in New York onboard the S.S. Mauretania in September 1922 after a visit home to England :

George Arliss is considered a “notable” onboard the S.S. Berengaria as he returns to New York after a two month vacation in Europe on November 22, 1924:

The Arlisses leave New York on the S.S.Leviathan on May 21,1927. The ship had been converted from a luxury liner to a troop ship during World War I and was then transformed back to a liner. The “slug” or photo caption adds some details:

The slug states that Mr. and Mrs. A are leaving New York on the S.S. Majestic on May 29, 1931, for a combined vacation and search for new film material. Color by Moi:

Mr. A chats with a fellow passenger in this undated photo, circa mid-1930s:

Another undated photo but Mr. A’s stiff collar suggests the late 20s or early 30s. By the mid-1930s, Florence’s eyesight had worsened and she rarely appeared on deck:

Mr. A seems happy to share the attentions of the paparazzi with a fellow thespian, Edith Evans, or so I believe. The back of this news photo indicates that it was taken onboard the R.M.S. Majestic in Southampton in 1934:

Having just completed CARDINAL RICHELIEU (1935) in Hollywood, Mr. A has his stateroom invaded as he and Flo leave from New York aboard the S.S. Olympic, sister ship of Titanic, on what I believe is the ship’s final voyage before it was retired:

After an absence of two years while making films in Britain, Mr. A returns to New York on November 9, 1937 via the S.S. Aquitania. He seems to be waiting to go through customs:

Another photo of Mr. A still waiting to go through customs on Nov. 9, 1937. He seems to be saying to the photographer,”Haven’t you taken enough?”

A familiar shipboard pose on the ship S.S. Aquitania as it arrives in Southampton from New York on April 26, 1938:

Finally, a view from the other side of the cameras aboard the S.S. Aquitania on Mr. A’s return to America on Nov.9, 1937:

 

The Official 2020 George Arliss Calendar

Here it is – our official 2020 George Arliss Calendar. This year we offer Mr. A with a distinctly “cowboy” look. The colorization is, as usual, by myself. Get your calendar today, and that’s easy. Just print it out. Looks great in 8×10!

THE RULING PASSION – A Review of Mr. A’s 1922 Silent Film Comedy

Typically listed as a “lost” film, Mr. A’s 1922 silent film comedy, THE RULING PASSION, may exist after all. Hope is kindled by news that one or more foreign film archives may own a print. These include the Russian Gosfilmofond, the Cinémathèque Française, and the Belgian CINEMATEK. Also on your blogmeister’s “hopeful list” is the Dutch EYE Film Institute that has led the way by posting so many of its vintage holdings online.

THE RULING PASSION was based on a short story by Earl Derr Biggers, who later became famous as the creator of the “Charlie Chan” novels. Mr. A plays John Alden, an automobile tycoon who is forced into retirement by his doctor’s orders. Bored, he decides to invest in a business deal – a gas station – in partnership with a young man, Bill Merrick. Of course, Alden uses an alias so his young partner doesn’t know his colleague is practically Henry Ford. Alden and Merrick are swindled in the sale by the seller, Peterson, who competes against them with his new gas station.

Complications develop when Alden’s daughter, Angie, drives in and discovers her father pumping gas. She and Merrick meet and romance blossoms. Angie agrees to keep her Dad’s secret life from her mother but Mrs. Alden eventually stops by for a fill-up and discovers the truth. Alden and Merrick plan a successful marketing campaign, taking so much business away from their rival that Peterson offers to buy them out at a huge profit on their original purchase.

Bill asks Angie to marry him and he goes to her home seeking her father’s permission, unaware that his partner is Angie’s father. The ruse is happily revealed and Alden’s doctor has to admit that the adventure was healthful for Alden who can now return to work again.

The film had its New York City premiere on January 22, 1922, and received mostly excellent reviews. Released through United Artists, THE RULING PASSION was independently produced through a company, Distinctive Pictures, that was formed specifically to make George Arliss films. PASSION became the third Arliss film, following THE DEVIL (1920) and DISRAELI (1921). The success of the earlier two led to making the third, which in turn led to three more films being made.

A trade press story of the day:

Another story for the exhibitors:

Box Office tells the tale:

Doris Kenyon plays the role of Mr. A’s daughter, Angie. A popular screen actress she would play Mr. A’s wife nine years later in ALEXANDER HAMILTON (1931):

While THE RULING PASSION is still considered among the missing Arliss films, we are fortunate that he decided to remake the story as a talkie in 1931 renamed THE MILLIONAIRE. However, lettering on studio photos indicate that the talkie version’s working title continued to be THE RULING PASSION.

An original color half-sheet (22×28 inches) for THE RULING PASSION:

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