Back in the day many new film releases had tie-in novels to publicize the movie. But book sales suffered during the Great Depression, so instead the studios used film fan magazines and newspapers to build interest in the plot. This weekly British newspaper, The Isling-Holloway Press, had been published since 1872 and was keeping up with the times by printing this concise story of THE HOUSE OF ROTHSCHILD with dialogue taken directly from the script. The story appeared in two parts in the October 13 and 20, 1934 editions, respectively. One photo from the film accompanied the first part (see below) and I have added a few more to give a sense of the action.
Actor, author, playwright, and filmmaker George Arliss was born in the Bloomsbury section of London on Good Friday, April 10, 1868. He made his professional stage debut in 1887, a time when theaters were lit by gaslight. Crossing the Atlantic in 1901 as a member of the Mrs. Patrick Campbell Company, George and his wife Florence eventually established themselves in the U.S. theater world. What was planned as six months stay turned into 20 years. Turning 60 in 1928, retirement seemed to be calling Mr. A, but so were talking pictures. Thus, he suddenly embarked on ten years in the studios (a phrase he used for the title of his second volume of memoirs) winning the Academy Award for Best Actor in the process. Today, at least seven of his films can be viewed on DVD and streaming video.
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.
What will they think of next! (He said in jest). Those ingenious little movie flip books are fondly remembered for their low-tech way of providing a brief movie clip by printing the frames of motion picture film, one frame per page at a time, then “animated” by simply using your thumb to flip the little pages. And voila! – you’ve got yourself a movie. But until now there has never been a George Arliss Flip Book.
Since the 100th anniversary of Mr. A’s very first film, THE DEVIL, is coming this January 2021, I thought it was most appropriate to create an Arliss flip book. I decided on using the final moments of this film where Mr. A’s character is consumed by flames and sent back to the netherworld. I’ve never made a flip book in my life – next week I turn 70 – but there’s no time like the present to try. So I taxed my ingenuity to copy almost a hundred frame grabs from the video I have of the film. At 24 frames per second I had my choice of material so I decided to copy one frame per half second or so.
Next I had to size the frames to measure about 2.5 x 4.5 inches in order to fit on each page of the flip book. The most time consuming part of the project after printing out the frames was to cut out each frame and paste it on a page of the flip book – strictly in chronological order. This was tedious – but worth the effort.
Finally, the time came to flip the pages and it worked perfectly. Of course, I wanted to share this creation with all Arlissians. So I decided to make a video of the flip book in operation and let it loop so could all enjoy the show. A simple thing but one that has fascinated many generations. Without further ado, here is a unique addition (truly one of a kind) to film history lore: a George Arliss Moving Picture Flip Book. Enjoy!
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:
TCM aka Turner Classic Movies – is showing Mr. A’s first two talkies this Tuesday, February 18th, starting at 6 AM eastern time (THE GREEN GODDESS) and then at 7:15 AM his Academy Award winning performance in DISRAELI (1929).
Not to be missed!
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!
Here’s a short “morphing” video I just created using a portrait of Mr. A as Benjamin Disraeli from the 1921 silent version of DISRAELI, a film that is now apparently lost. The musical accompaniment I added is especially complimentary (I think):
Souvenir programs from vintage films are highly collectible and one in mint condition can be quite expensive to acquire. Let’s take a video tour of this 1929 DISRAELI program from my collection. I’ve interspersed the set of color lobby cards released by the studio to enhance the tour.
Here we have a complete copy of another Arliss-DISRAELI souvenir program. But this one is from the stage version and dates from 1912!
Mr. A’s family comedy, I call it a proto-type of “Father Knows Best,” is being broadcast tomorrow as part of TCM’s salute to Mary Astor. Long before Mary co-starred with Humphrey Bogart or Walter Huston, she played Mr. A’s wife in this May-September relationship. The age difference was not glossed over and, indeed, becomes an important story point as the plot develops.
Mr. A wondered in his autobiography, MY TEN YEARS IN THE STUDIOS, whether A SUCCESSFUL CALAMITY made any money for Warner Bros. but he needn’t have worried. Studio records show that this little film made a tidy profit during the depths of the Great Depression. Get your DVRs ready for this one although your blogmeister is happy to report that Warner Archive has offered this film on DVD for several years now!
ARLISS ARCHIVES 
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