The Official 2014 George Arliss Wall Calendar

Get your Official 2014 George Arliss Wall Calendar before supplies run out —
don’t wait until the last minute – or until 2015!

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In the image above, Dudley Digges, who was Mr. A’s stage manger in earlier days, plays the Royal Chamberlain to King Phillip (who else but Mr. A?) in the comedy, THE KING’S VACATION (1933)

Ordering your own Official 2014 George Arliss Wall Calendar is easy – just download and print. This artwork is really the Arliss Archives’ Christmas Gift to the world – you need only provide the printing.

If you prefer a larger size or higher quality than home printers can provide, let me suggest that you copy the calendar to a thumb drive and take it to Kinko’s or a similar digital printing retailer for more options.

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

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

George Arliss in 3D

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

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

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

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

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

Jack Benny Spoof of THE HOUSE OF ROTHSCHILD – 1934 Live!

A sure sign of a film’s popularity is when comedians start spoofing it. Jack Benny devoted many of his weekly radio broadcasts to satirizing hit films right from his earliest shows in 1932. Among the films to get the Benny treatment were I AM A FUGITIVE FROM THE CHAIN GANG, Mae West’s SHE DONE HIM WRONG, which Benny turned into “She Done Him Right,” LITTLE WOMEN recast as “Miniature Women,” and even the Charlie Chan films became “Charlie Chan in Radio City.”

One hot summer night long ago in August 1934, the Benny troupe (Mary Livingstone, announcer Don Wilson, Sam Hearn and singer Frank Parker) were broadcasting from New York City and tackled Mr. A’s hit film of the season, THE HOUSE OF ROTHSCHILD. Renamed “The House of Rawchild” for reasons never made clear, the skit is more corny than clever but Jack Benny’s trademark dry humor is well in evidence. At that time, recordings of live radio broadcasts were not usually made and this is why few shows from that era have survived. Fortunately, Jack Benny arranged with a private company to record this AM transmission off the air on to discs lasting about five minutes each. The side joins of each disc lost a bit of dialogue and static noise from the AM reception also can be heard. We have restored the sound by minimizing the surface noise from the discs as much as possible and improving the tonal quality somewhat, but allowances should be made considering that this broadcast should not even exist under the circumstances. Due to the sound quality, we have omitted Jack’s opening routine where he relates his trip to Atlantic City to cool off in those pre-air-conditioner days.

That said, just click on the arrow below and return to Friday night, August 24, 1934, just past 10:30 pm eastern time for apparently the only known spoof of a George Arliss film:

Jack Benny as he appeared at the time of this broadcast:

Jack Benny zeroed in on the family patriarch, Meyer Rothschild, for most of the humor. This is the first time that the following images have been published here on the Arliss Archives. Mr. A and Helen Westley in the film’s prologue where they raise their five sons in the Frankfurt ghetto:

Benny spoofs the “death bed” scene where Meyer instructs his sons to settle in various capitals of the world to establish their financial network:

Boris Karloff is mentioned by Benny but his character is not represented in the spoof:

Note the hat that Karloff is holding – about five years ago that hat was offered through an online auction with bidding starting at $50. The winning bid was $450 and, alas, it was not by the Arliss Archives.

THE HOUSE OF ROTHSCHILD was the new studio’s flagship production to show that after one year’s existence the company was firmly established and growing – an impressive accomplishment considering that other major studios such as Paramount had gone into bankruptcy due to the Depression’s effect on movie attendance. That’s Darryl Zanuck on the left:

A closeup of the signatures that span all the Hollywood studios of that time. Can you spot autographs by Charlie Chaplin, Mary Pickford, Douglas Fairbanks, Clark Gable, Delores Del Rio, Cary Grant, Ann Harding, Ronald Colman, Loretta Young – hey, she was in the film!

Cardinal Richelieu – Radio Broadcast and Original Lobby Cards

On January 23, 1939, George Arliss stepped before a live audience and a live microphone to broadcast a radio adaptation of his 1935 hit film, CARDINAL RICHELIEU. This prestigious event was one of the highlights of that season’s Lux Radio Theatre, hosted by none other than Cecil B. DeMille. Co-starring with Mr. A were some of the film’s stars including Caesar Romero and Douglas Dumbrille. The ingenue role of Lenore was played by Heather Angel, who replaced Maureen O’Sullivan from the film version. The key role of King Louis XIII was played by Montagu Love who last appeared with Mr. A in the 1931 film, ALEXANDER HAMILTON, where Love played Thomas Jefferson.

Best of all, members of the Arliss stock company were reunited: Ivan Simpson played Richelieu’s confident, Father Joseph (and stepped on some of Mr. A’s lines), Charles Evans played an innkeeper, Doris Lloyd played Queen Anne, wife of Louis, and best of all Florence Arliss played the Queen Mother Marie, who is an adversary of the Cardinal. It is interesting to hear Mr. and Mrs. A exchange harsh words in character rather than the romantic dialogue usually heard in their films. This broadcast was heard coast to coast and by shortwave around the world. As Mr. A says in his curtain speech at the end, a conservatively estimated 30 million people listened in. Today, a show with 5 million viewers is considered one for the record books.

If you weren’t around in 1939, that’s no problem here at the Arliss Archives. Just click (perhaps several times) on the play button below and you will be transported back in time to hear the complete hour-long broadcast:

While you are listening, Mr. A suggested you might want to review the original set of eight lobby cards that were issued in conjunction with the film. The 11×14 inch size of each card is too large for most scanners today so we have done our best to squeeze most of the contents into the image space. This is the first card, known as the title card for obvious reasons:

King Louis (Edward Arnold) and his retinue visit Richelieu where he meets the Cardinal’s ward Lenore (Maureen O’Sullivan) and is smitten by her. The villainous Baradas (Douglass Dumbrille on the right) smugly guesses the King’s plans for poor Lenore:

As Lenore is romanced by Andre dePons (Cesar Romero), the Cardinal realizes a way to thwart the King’s lustful intentions and instructs Father Joseph to bring the couple to the chapel so he can marry them:

The King is furious with Richelieu and Baradas sees his opportunity to dethrone Louis and place his weak brother Gaston as a puppet king. But first Andre must be persuaded to turn against Richelieu and join Baradas:

Andre is initially duped and almost murders the Cardinal but Richelieu has a way of explaining things and Andre reveals Baradas’ plot to overthrow Louis in league with Spain:

Richelieu must overtake Queens Marie and Anne on their way to the Spanish border to deliver the conspirators’ secret treaty. That’s Reginald Sheffield on the right, a member of the Arliss stock company. He would become better known as the father of Johnny Sheffield, who played “Boy” in Johnny Weissmuller’s TARZAN films:

The Cardinal manages to catch up to the Queens (Katherine Alexander and Violet Kemble-Cooper) and tricks them into disclosing the treaty by using a simple ruse – he lies!

Since everyone at court believes Richelieu to be murdered by Andre, the Cardinal causes quite a stir when he shows up with the secret treaty. Baradas and his colleagues are arrested for treason, Richelieu is restored to the King’s favor, and the Cardinal suggests to his Majesty that the best way to celebrate is to give thanks to God:

The End

A nice portrait of Mr. A in the title role, originally in b/w that we transferred into color:

Breaking 5,000 Visits!

“Ladies and gentlemen, please join me in a toast to celebrate our surpassing 5,000 visits, or ‘hits’ as the young people prefer to call it, to the Arliss Archives.”

Published in: on August 14, 2011 at 7:04 PM  Comments (1)  
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The Arliss Stock Company – Part One

One of the wonders of the old studio system was its roster of veteran actors and actresses who were under long-term contract and appeared together in numerous films over several years. While George Arliss had no formal stock company, by his own admission he would have cast the same players in every film he made if there were nobody to “control” him, as he put it. Just the same, several actors turned up frequently in the Arliss films but almost always playing vastly different characters than in previous films and having significantly different relationships with Mr. A’s character. This post will focus on the contrasting characters played by some supporting cast members.

Ivan Simpson had performed on stage with Mr. A and in two silent films. With the arrival of sound films in the late 1920s, Simpson enjoyed a long and successful film career in character parts. He was immediately tapped by Mr. A when he reported to Warner Bros. in 1929 to film his stage hit, THE GREEN GODDESS (1930). Simpson repeated his stage role as Watkins, the surly cockney valet to Mr. A’s Rajah of Rukh. We learn that Watkins is a deserter from the British Army, among other faults, and the Rajah delights in ridiculing Watkins for his inherent British “superiority” over other people. Mr. S seems to hold the record at nine appearances in the Arliss films, silent and sound:
Photo from the 1923 silent film

Simpson played financier Hugh Meyers, a character modeled after Lionel Rothschild, who privately financed British prime minister Benjamin Disraeli’s purchase of the Suez Canal in 1875:
Photo from the 1929 film

Ivan Simpson’s next appearance with Mr. A is as an octogenerian crony of Old Heythorp in OLD ENGLISH (1930):

Simpson’s final film appearance with Mr. A (they later performed together on radio) seemed to admit him to the pantheon class. In THE HOUSE OF ROTHSCHILD (1934) he and Mr. A are finally brothers, Nathan and Amschel:
Offscreen, Ivan Simpson was an accomplished sculptor. Here he spends his free time productively between filming scenes for DISRAELI during the summer of 1929:

Doris Kenyon became popular in films by 1917 and was a genuine star during the 1920s. After her marriage to fellow star Milton Sills, they appeared together in many films. In 1922, Mr. A and Kenyon played father and daughter in THE RULING PASSION, now a lost film but remade by Mr. A in sound as THE MILLIONAIRE (1931):

Nine years later, Mr. A and Kenyon are husband and wife in ALEXANDER HAMILTON (1931). Kenyon’s husband, Milton Sills, died suddenly in September 1930 (ending what appeared to be a successful transition from silent to sound films) and she intended to retire. But Mr. A persuaded her to return to work:

Then Kenyon plays courtesan Madame De Pompadour to Mr. A’s elderly philospher at the Court of Louis XV in VOLTAIRE (1933):

Dudley Digges worked on the production side of the theater and functioned as Mr. A’s stage manager in the 1910s. Digges directed the stage version of ALEXANDER HAMILTON in 1917 and played a role as well. Thus bitten by the acting bug, he became an actor but retained his considerable experience in staging. Here Digges plays the corrupt Senator Roberts, based on the real-life William B. Giles, to Mr. A’s ALEXANDER HAMILTON (1931):

A dignified Dudley Digges is the Lord Chamberlain to Mr. A’s reluctant monarch in THE KING’S VACATION (1933). Digges is best remembered today for two film roles: the police inspector who tracks down THE INVISIBLE MAN (1933), and the drunken ship’s doctor in MUTINY ON THE BOUNTY (1935):

Alan Mowbray is remembered mainly as a portly and comical character actor in the 1940s and 50s, including a fair amount of television work. But in his earlier (and slimmer years) he appeared in three Arliss films. Here a heavily made-up Mowbray as George Washington towers over Mr. A:

Mowbray is the villainous Count DeSarnac who devotes himself to seeing Voltaire sent to the Bastille. Here he seems to have the upper hand as King Louis XV (Reginald Owen) expresses his anger over Voltaire’s play:

Speaking of Reginald Owen, although he appeared in only two Arliss films, his majestic Louis XV of VOLTAIRE contrasted significantly with his somewhat obsequious role in THE HOUSE OF ROTHSCHILD. Playing Herries, the Chancellor of the Exchequer, Owen pleaded with Nathan Rothschild to loan more money to the Allies to battle Napoleon. Another member of the stock company here is Florence Arliss, who had a total of six appearances (she appeared in no other films except Mr. A’s). Unlike the other members of the stock company, Mrs. A unvarying role was to play Mr. A’s screen spouse in five films:

Doris Lloyd can been spotted playing maids or titled dowagers in numerous films from the 30s through THE SOUND OF MUSIC (1965). But earlier, Lloyd played substantial roles in the Arliss films. Here Lloyd is Mrs. Travers, the charming spy for Russia who ingratiates herself into Disraeli’s household:

Here Lloyd is the worrisome Mrs. Lorne, a struggling novelist who has two children “under the rose” (i.e., out of wedlock) by old Heythorp’s deceased son. Their respective characters between DISRAELI and OLD ENGLISH (1930) could not have been more different:

David Torrence was the first actor to play stuffy Lord Probert in the Montreal tryout for DISRAELI in 1910. Apparently, Torrence did not appear with the Arliss stock company until he resumed his role of Lord Probert in the 1929 sound film. Thereafter, he continued to play in Arliss films, adding a dignity to otherwise disagreeable characters:

How many members of the Arliss stock company can you find in this photo? While Mr. A gives advice to newcomer Margaret Lindsay, behind beards, veils and wigs are Ivan Simpson, Doris Lloyd, David Torrence, and Douglass Dumbrille (who will be discussed in Part 2):

A Special Tribute for the Fourth Of July – Alexander Hamilton (1931)

The best playwrights in the United States offered new works to George Arliss after his five-year run in DISRAELI. After a few false starts, Mr. A settled on a fledgling effort written by a housewife in upstate New York named Mary Hamlin. She wrote extensively about her collaboration with Mr. A, both on the 1917 play, HAMILTON, and later the 1931 film version retitled ALEXANDER HAMILTON. This post will focus on the Warner Bros. film and Hamlin’s contemporary letters from Hollywood to her NY home, and her later memoirs.

Hamlin participated in story conferences that producer Darryl Zanuck ran roughshod over with his non-stop talk and his haywire ideas, most of which he forgot about. One idea stuck – to open the film with Gen. George Washington making his Farewell Address to his troops at the end of the Revolutionary War in 1783:

Alan Mowbray was hired to play Washington, his first of three Arliss films. Hamlin recalled that Mowbray refused to rehearse his part in front of Mr. A and performed only for filming.

The studio had planned to film Mr. A’s first starring success, THE DEVIL, from 1908. But he disliked the play by 1931 and Warners went scurrying for another vehicle. Zanuck was unaware of the HAMILTON play that Arliss had co-authored with Hamlin, but when he learned of it insisted that it be filmed. Mr. A felt he was much too old for the role but Zanuck waved aside his objection.
Here Washington tells Hamilton he wants to return to Mount Vernon to live out his days in peace, but Hamilton tells him he has other plans.

Eight years later in 1791, the temporary capital of the U.S. is located in Philadelphia; Washington is the first President and Hamilton is the first Secretary of the Treasury. He is also married to Betsy, played by silent screen star Doris Kenyon:

But Hamilton has determined political opponents in James Monroe (Morgan Wallace) and Thomas Jefferson (Montagu Love), who adamantly oppose Hamilton’s plan to establish a strong central banking system fearing it will encroach on the sovereignty of the states:
Although Monroe and Jefferson could hardly be portrayed as villains, Mr. A cleverly cast Wallace and Love, two well-known supporting actors who specialized in playing bad guys, in the roles to subliminally influence the audience’s perception of these characters.

Jefferson and Monroe need Hamilton’s support to locate the Capitol in the South, believing that he will champion his home state of New York. Senator Roberts (Dudley Digges), seated in the middle, has a personal grudge against Hamilton who refused to support his nomination for ambassador to France:

Monroe, Jefferson and Roberts confer with Hamilton about his “Assumption” bill whereby the federal government would assume the states’ obligations to pay the Revolutionary War veterans their pensions, and also about Jefferson’s “Residency” bill to establish the U.S. Capitol:

Jefferson knows that without Hamilton’s support, the Capitol will not be located in the South. They agree to a compromise – the Capitol will be located on the Potomac by northern Virginia, in return for Monroe and Jefferson’s support of Hamilton’s “Assumption” bill to create a federal banking system that will pay the veterans’ pensions:

But Sen. Roberts incites a crowd against Hamilton, saying that he won’t help them. When Hamilton appears, one man throws a rock nearly hitting him:
Charles Middleton is the tall actor on the left who was apparently slated to play Chief Justice John Jay, but appeared only in this uncredited role.

Hamilton learns that his assailant was incited by Sen. Roberts. He also learns the man is a War veteran and jokes, “You must have been a sharpshooter because you nearly got me.” He orders the man released:
Hamlin said this unidentified actor had a wife who was dying in the hospital but he needed the job to pay the bills. Once his scene with Mr. A was completed, a studio car took him directly to the hospital.

The jeering crowd now has only cheers for Hamilton:

Betsy’s father, old Gen. Schuyler, arrives with news that her sister in England is seriously ill and is calling for her. Betsy sails for England leaving her beloved husband:
Veteran screen actor Lionel Belmore plays “old” Gen. Schuyler but Belmore was only a year older than Mr. A.

Ne’er-do-well Reynolds (Ralf Harolde) was fired by Hamilton from the Treasury for dishonesty. He is buying up the veterans “worthless” pensions for pennies on the dollar in the hope that the federal government will eventually redeem them at full value. Reynolds suggests to Sen. Roberts how Hamilton’s reputation can be destroyed and his political career ended:
Hamlin noted that Dudley Digges (Sen. Roberts) had directed the 1917 stage version of HAMILTON and also played the part of Reynolds on the stage.

Late one night during Betsy’s extended absence, a young woman (June Collyer) calls on Hamilton. She claims she is the widow of a War veteran and is impoverished. She asks if she can obtain a loan from the Treasury:

Hamilton takes pity on the lonely widow and makes her a personal loan. He walks her home but then…..

A reception is given to celebrate Betsy’s return home. Reynolds turns up as an uninvited guest to blackmail Hamilton – the lonely widow is in fact Reynolds’ wife!

Sen. Roberts springs the trap to ruin Hamilton – he claims that Hamilton made secret payments to Reynolds to act as his agent to buy up the veterans’ pensions knowing that when the Assumption bill passed Hamilton would enjoy a windfall:
Hamilton can defend himself only by explaining the real reason for paying Reynolds, as blackmail to hide his affair with Reynolds’ wife.

The conflicting stories become public and Hamilton faces the ruin of his marriage and of his career. But he and Betsy become reconciled to face an uncertain future:

Jefferson, Monroe and the leaders of both political parties assemble to tell Hamilton, or so he fears, of his dismissal from the Government and the defeat of his Assumption bill:

The meeting is interrupted by the arrival of President Washington who personally assures Hamilton of his confidence in him and the news that Congress has passed his Assumption bill.
Hamilton conveys his gratitude and observes that it doesn’t matter what happens to Alexander Hamilton the man. By passing the Assumption bill, Congress has established the credit of the United States and ensured the future prosperity of the nation. The End.

Production Photos:

Even outdoor filming does not interrupt Mr. A’s 4 pm tea break:

June Collyer and Mr. A had only one scene together, part of which was filmed outdoors at night. Here they seem to be standing by waiting for nightfall to film the scene:

Enlarging this photo shows that Mr. A is wearing his famous monocle, in other words he is posing as himself and not in character.

A rare photo with John Adolfi, director of seven of the ten Arliss Warner films. Mr. A shows Doris Kenyon and Adolfi a 200 year-old watch that he wears in the film:
Mary Hamlin was an expert on early American furniture and supervised the settings used and provided by W&L Sloane Co. Hamlin asked the Sloane manager how much Warner Bros. paid for the furniture and was told that it was being lent to the studio for free in return for a screen credit. When Hamlin asked why the company agreed to this arrangement for only one film, the manager said, “Because it’s a George Arliss film.”

Another rare photo of producer Darryl Zanuck with Mr. A on the set. Hamlin learned in time to share Mr. A’s high regard for Zanuck, that despite Zanuck’s verbosity he was something of a genius:

Hamlin and Mr. A corresponded until his death in 1946, and Hamlin later wrote that he was a gentleman in every sense of the word. He insisted that she be paid 75% of the royalties on the play even though he rewrote most of it. Her letters from the studio in 1931 give a fascinating glimpse of the work environment. She was surprised that John Barrymore looked so old and assumed he would no longer be playing leading man roles. She met Noah Beery, Sr., who appeared in the Arliss film, THE MILLIONAIRE (1931). Commenting on Mr. A, Beery said, “He’s such a nice man!” Hamlin’s writings confirm that George Arliss was the prime creative force in his films, but almost never taking credit for anything but his acting.

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