EAST MEETS WEST (1936) – A Surprisingly Rare Film these Days!

We understand that a pristine 35mm print of EAST MEETS WEST is held by the British Film Institute. Unfortunately for us, the only source material in circulation at the moment is derived from an old VHS tape, but as they say, ’tis better than nothing:

EAST MEETS WEST is Mr. A’s third British-made film that was produced in London from January to April 1936. Its production was halted for Mr. A to attend the funeral of King George V in January. A humorous tale of international intrigue, Mr. A seems to be channeling his Rajah of Rukh from THE GREEN GODDESS, although his Sultan here is whimsical, not lecherous.

Cover of Press Book for EAST MEETS WEST:

Full Page Woodcut Design from Press Book:

Press Book Pages showing advertising materials available to theaters:

Mr. A’s brother, Fred Andrews, was in the British diplomatic corps and was hired by the studio as a technical advisor for the film:

The film had a strong supporting cast including (left to right) Norma Varden, Ballard Berkekley (later of “Faulty Towers” fame), Mr. A of course, and Godfrey Tearle:

In the center Godfrey Tearle and Lucie Mannheim:

DR. SYN (1937) – The Complete Film in a Fine Print

DR. SYN is the final British film and the last film made by Mr. A – we prefer to think of it as Mr. A’s most recent film. Indeed, it is among his best. The reviewer for the New York Times praised it by saying the he found it superior to the MGM blockbuster TREASURE ISLAND (1934), a film with a similar story involving smuggling in the late 18th century.

The chief thing your blogmeister noticed about this particular Arliss film is that Mr. A heads an ensemble cast rather than carrying the entire story on his back as he had with so many of his earlier films. He had little to say in his memoirs about making Dr. SYN other than noting that the story took place in his beloved Kent. He said it had no “plus value,” that is, an element that people would think about after the movie was over. Mr. A singled out for praise the director, Roy William Neill, who would later work in Hollywood directing a number of the Sherlock Holmes films starring Basil Rathbone and Nigel Bruce. Mr. A also praised producer Edward Black much more enthusiastically than the faint praise he gave Michael Balcon, the producer of his previous four UK films.

The London premiere of DR. SYN was graced by no less a person than Queen Mary herself. Margaret Lockwood recalled in her memoirs how nervous she was as she was waited for Her Royal Majesty with co-stars Mr. A and John Loder.

George Arliss made a grand total of eighteen sound feature films from 1929 to 1937, an enormous output (plus an elusive short UK film he made in 1931 where he recites Disraeli’s speeches), and another six silent films from 1921 to 1924. Whereas Mr. A’s hit plays ran between two and five years, his most successful films would run in movie theaters for only a week or two. Had Mr. A’s movies ran on the average as long as his plays before he appeared in a new one, it would have taken him over forty years to complete his eighteen films!

At any rate, enjoy Mr. A in DR SYN:

Published in: on July 10, 2017 at 10:04 PM  Comments (1)  
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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!

Merry Christmas and Best Wishes for 2015!

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Color Transfer by Des Riordan

Published in: on December 21, 2014 at 4:06 PM  Comments (1)  
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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:
DVD Cover Front

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.

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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Mr. A on the Air Live in THE MAN WHO PLAYED GOD

By 1938, George Arliss had distinguished himself in three very successful careers of the performing arts: on the stage, in silent films, and in sound films winning the Best Actor Academy Award for DISRAELI. Now at the age of 70, which in 1938 was regarded as the equivalent of 80 or even 90, Mr. A decided to tackle live network radio broadcasting. In those years before television, just about everybody listened to the radio and given the effects of the Great Depression, this form of free home entertainment was most popular. Although the U.S. population was smaller then, more people tuned in to a popular broadcast than people today who watch TV. One of the most popular radio shows in the late 1930s was the Lux Radio Theater, hosted by no less a film eminence than Cecil B. DeMille. A typical Monday night broadcast of Lux was heard by 30 million to 50 million people, and that was not counting shortwave broadcasting that was beamed around the world and to all ships at sea.

Performing under these circumstances tended to be more of a nerve-wracking ordeal to younger film actors, but to thespians of Mr. A’s vintage performing before live audiences was business as usual. Even the fact that more people would hear him perform on one broadcast than ever saw him during his half-century career was a mere detail. Please click below to travel back in time to Monday, March 21, 1938, to hear C.B. DeMille, Mr. and Mrs A, Ivan Simpson, and Dolores Costello in the radio adaptation of Mr. A’s Warner Bros. hit film of 1932, THE MAN WHO PLAYED GOD:

While we’re listening, let’s check out some photos and artwork from the movie version. An unknown Bette Davis played the feminine lead, Grace, solely on Mr. A’s recommendation. It proved to be her breakout film and the public wanted to see more Bette Davis in movies:

On radio the role of Grace was played by Dolores Costello who ironically had been a big star at Warners before either Mr. A or Bette Davis arrived at the studio. Dolores was married to John Barrymore for a few years (they are shown below in WHEN A MAN LOVES from 1927) and by 1938 she was restarting her career. Today Ms. Costello is known mainly as the paternal grandmother of Drew Barrymore:

THE MAN WHO PLAYED GOD tells the story of wealthy concert pianist Montgomery Royle who, at the age of 50, is at the pinnacle of his career. Monty also has a beautiful young protege Grace, who convinces Royle to marry her in six months:

But while he is in Paris, Monty gives an impromptu recital for a visiting monarch that abruptly ends in an assassination attempt against the king. No one is injured except Royle – the bomb blast has destroyed his hearing:

Violet Heming, Bette Davis, Mr. A, Louise Closser Hale, and Andre Luguet as the king

Back in New York City, Monty learns lipreading but becomes increasingly despondent and despises the piano. His longtime servant, Battle (played by longtime Arliss player Ivan Simpson in both the movie and radio broadcast), senses that Royle may attempt to harm himself:

Monty’s sister Florence (played in the film by Louise Closser Hale) is unable to console him or deal with his increasing outbursts:

Sending Battle out of the room on a pretext, Monty attempts to leap to his death:

Monty tries out his lipreading abilities with a pair of binoculars, and “eavesdrops” on the people across the street in Central Park. He cynically observes a young man’s plight of lacking a $1,000 for a medical treatment that would save his life. Since God doesn’t seem to want to help the young man, Royle decides that he will by anonymously sending Battle down to give him the needed money. But Monty soon realizes that God may be having the last laugh because without his affliction, Monty would not have been in a position to save the man’s life.

An original color lobby card from the lost 1922 version that Mr. A made during the silent film era:

This sudden burst of cynical philanthropy soon develops into a “business” as Royle searches for new “customers” in need so that he can continue to “play God.” But one day he spys his fiance Grace in the park telling a young man that she feels duty-bound to go through with her marriage to Royle and so they must never see each other again. Monty is stunned and quietly asks himself, “I wonder what God would do in a case like this.”

The story’s resolution is both touching and believable as Royle learns that it’s not so easy to behave like God. Having abandoned performing because he can no longer enjoy the music, he decides to play again because other people can enjoy it, including The King:

Montgomery Royle rages against God – a glass slide from the 1922 silent version:

Poster art for the 1932 talkie version:

A night out at the local movie house:

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