George Arliss quotes Benjamin Disraeli – in AI

Mr. A regales us with a rare set of postcards published in conjunction with the play DISRAELI from 1911. This production became the first major hit of his career. In our video, Mr. A then resumes the character of Benjamin Disraeli to quote the lines.

Published in: on April 20, 2025 at 10:09 PM  Leave a Comment  
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Happy Birthday George Arliss – A 157th Year Anniversary 1868-2025

For this year’s observance, we are doing things a bit differently than in the past. We are literally presenting a George Arliss performance that nobody has ever seen. At least, nobody living today. I am referring to Mr. A’s appearance as Shylock in Shakespeare’s The Merchant of Venice.

He played it thanks to the wife of his producer, Winthrop Ames. It seems they had a wedding anniversary coming up and Mr. Ames asked Mrs. Ames to choose between one of two gifts. The first was a string of valuable pearls. The second was a theater production of The Merchant of Venice. Mrs. Ames chose the play and to nobody’s surprise Mr. Ames selected George Arliss to portray Shylock.

The play toured the United States throughout 1928 and apparently into 1929. This would prove to be Mr. A’s final appearance on the stage. When he toured with Merchant in Los Angeles, he was approached by Jack Warner and Darryl Zanuck of the Warner Bros. motion picture studio to star in their new fangled talking pictures. The idea was to film some of his hit plays. Alas, while Mr. A would go on to film a number of his popular plays, The Merchant of Venice was not among them.

Aside from several splendid photographs, there is no recording, visual or audio, of George Arliss as Shylock. But thanks to the advent of AI (Artificial Intelligence) we can now see and hear Mr. A in full costume and makeup reciting Shylock’s famous Act III soliloquy. I’d call this a very special Treat for this year’s April 10th Birthday Observance.

A Brief Word from George Arliss

This wonderfully detailed bust of Mr. A in his role as the Rajah of Rukh from THE GREEN GODDESS inspired me to try an AI program to animate it. Then, it was just a matter to synchronize the bust’s “movements” to an audio track that I created by cloning Mr. A’s voice from a soundtrack recording. Ah, but what might he say under these circumstances? Perhaps something about his role in the play, I thought?

George Arliss “speaks” about Acting in Silent Films

The “voice” is an AI generated clone copied from a recording of Mr. Arliss’s actual voice.

GA discusses the differences between acting in the theater and acting before the camera in silent films. The text has been adapted from an interview that GA gave titled, “Stars of Two Orbits” from the January 1922 issue of Filmplay Journal.

George Arliss “speaks” about his first film, THE DEVIL (1921), and the Future of Motion Pictures

Through magic of voice cloning we can hear Mr. A tell us about his very first film, THE DEVIL, and his thoughts on the future of motion pictures. To produce his voice, we used an Artificial Intelligence (AI) program that cloned an actual recording track of Mr. A’s voice. The text of his conversation is likewise authentic. It is taken from direct quotes of a magazine interview he gave to Shadowland magazine that appeared in its January 1921 issue. Your comments are welcome!

Happy 156th Birthday to George Arliss 1868 to 2024

On this day of April 10, we remember the birthday of George Arliss who was born during the Victorian Era (1837- 1901) and where he spent over thirty years of his life. When he made his theatrical debut in 1887 stage lighting was still by gaslight. Motion pictures were experimental with any commercial use not even dreamed of. Radio did not exist, nor did airplanes or telephones. This was the 19th century world where Mr. A grew up into his 30s and nobody, least of all himself, could have dreamed of the areas in the performing arts where he would conquer

Click on this video and enjoy:

New Color Portraits by Alexander Marani-Binks

The colorization of black and white photographs has come a long way since I first tried my hand at it over a decade ago. The software has improved quite a lot and the results are impressive. But make no mistake, the quality of the finished product depends in large part on the skill and judgment of the colorist.

Recently, I received a half dozen colorized portraits of George Arliss that were created by Alexander Marani-Binks. These are stunning and I promptly asked Mr. Marani-Binks for permission to post his work here on the Arliss Archives. Permission was graciously granted. Here more or less in chronological order are these splendidly eye-catching portraits of our beloved Mr. A.

This 1919 portrait is the earliest one of the group. Mr. A had made a name for himself by starring in DISRAELI for five consecutive years from 1911 to 1915, plus a revival in 1917. By 1919 he was appearing regularly in New York and toured extensively throughout the United States. But, alas, a play as long-running as DISRAELI eluded him.

In those years, before and after the First World War, Mr. A plied the Atlantic each year from London to New York to earn his living. Unsurprisingly, there are many photos of him shipboard during his trans-Atlantic journeys. This one dates from about 1923 where he traveled to London to star in the hit play, THE GREEN GODDESS, from September 1923 to September 1924.

During this time Mr. A also made a half-dozen silent films that were all critical and financial successes. By the end of the 1920s, a major breakthrough occurred with the sudden popularity of sound films, i.e., talking pictures. Mr. A made his talkie debut with his reliable old warhorse that never failed him, DISRAELI. The Motion Picture Academy of Arts and Science expressed its appreciation of his work in the film by presenting Mr. A with the Academy Award for Best Actor.

This film’s financial and critical success led to a series of ten feature films that Mr. A made for Warner Bros. One of his humorous stories was called A SUCCESSFUL CALAMITY released in 1932. Mr. A played the father of a family much in the way that Robert Young would play a similar role later in the long running television show, FATHER KNOWS BEST.

Though he was nearing 70, Mr. A decided to tackle network radio broadcasting in addition to filmmaking. In the 1930s network shows were performed “live” and the process could be nerve-racking for movie stars who were used to working in the privacy of a closed studio set. But since Mr. A had been performing “live” before audiences since the 1880s, broadcasting held no fear for him.

In this photo from January 17, 1938, Mr. A appears with fellow actor Edward Arnold on the hour-long “Lux Radio Theater” where he reenacted his famous role as British prime minister Benjamin Disraeli. In fact. most the 1929 film’s cast were reunited for this radio presentation including Mr. A’s wife, Florence, who had played the role of Mrs. Disraeli since 1911.

Finally, our review of some highlights in Mr. A’s professional life ends with this characteristic portrait of him with his beloved monocle. He admitted that early in his career the use of a monocle was merely to attract attention and was not needed for vision. But in later life, he realized that wearing his monocle had become a necessity that had a real purpose. Somehow, when anybody mentions George Arliss, this is the image that most people think of:

Once again, I want to thank Alexander Marani-Binks for allowing me to post his work here and also to assure him that any time he wishes to creates addition Arliss color portraits, they will always be welcomed here!

Published in: on October 21, 2023 at 4:18 PM  Leave a Comment  
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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 (4)  
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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.