Hollywood Filmograph (Jun-Aug 1929)

HOLLYWOOD FILMO GRAPH 11 Clarence Brown a* seen By bert levy Impressions of Director Who Really Is Different In these days of unblushing selfexploitation it is refreshing to come across a film director who does not claim to be divinely appointed as a great leader in the industry. Clarence Brown has never been guilty of posing as a miracle worker, nor has he imagined himself a veritable Svengali holding in his hands the destiny of some feminine star. He has never secluded himself, like some rare hothouse plant, in an elaborate studio bungalow, nor has he, within the memory of the oldest studio-worker attired himself in conspicuous hunting togs when he goes shooting film. It is said of Brown that he is never "in an important story conference" when old friends or acquaintances call to say "Hello!" and he is yet to be heard humiliating a star, featured player or even the humblest extra on his set. Unlike many important directors, he refuses to surround himself with secrecy and sycophants and is never too self-important to be courteous to studio visitors who might accidently venture into one of his sets. I might as well have dispensed with these preliminaries for the facts are too well known to everybody connected with the game — so let's get down to business. Brown's personal press-sheets are absolutely devoid of heart-throb stuff. There is no reference to bitter hardships he suffered as a small boy, nor is there any mention that he ran away from an unhappy home and walked thousands of miles (through blizzards and sandstorms) to reach Hollywood and the films in order that he might procure work to support a sick mother or a dying stepfather. Clarence is not the sort of man to hand out this kind of bunk. Press him for some information about his film career, and he will, in a ■ casual matter-of-fact sort of way, say — "I was born in Knoxville, Tennessee, and there is not a statue or drinking fountain in my home town to commemorate the event. Educated at the University of Tennessee, and though I graduated with honors there is not a tablet set in the walls of the university to perpetuate the fact. My folks were mighty proud of me when I left the university with the degrees, Bachelor of Science in Electrical Engineering and Bachelor of Science in Mechanical Engineering," here Brown paused and then added with a twinkle in his eye, "and now I have disgraced them by becoming a film director. I started in the film game as assistant to Maurice Tourneur, the French director, and kept my eyes open till I found an opportunity to direct myself. My first production was 'The Great Redeemer.' The World War broke out shortly after I finished this picture. Mind you, I do not say that my first picture caused the war, but the coincidence is somewhat suspicious — anyway I enlisted in the aviation branch of the service and received my ground school training at Princeton Uni-* versity and flying instruction at Scott Field, Bellville, 111. "Shortly after, I was commissioned an officer and appointed flying instructor at the same field, and even now — what with the silent versus the talkie arguments I am still up in the air. After I helped to win the war and the Armistice was declared, I returned to the films and — well! Fritz will tell you the rest." Fritz is Brown's loyal man Friday. After Brown, Fritz loves but one thing in life — whippets. If ever Clarence fires Fritz he will go straight to the dogs. Brown discreetly "ducked" and so I had to listen to Fritz rave about his beloved boss. "Out of the 'Ten Best Pictures of the Year' chosen by film critics throughout the country during past seasons, four have been of Mr. Brown's making," volunteered Fritz, as he handed me documentary evidence to this effect. "They are, 'The Signal Tower,' 'Smouldering Fires,' 'The Goose Woman' and 'Flesh and the Devil,' and wait till you see 'Wonder of Women,' which the boss has just finished — it's a corker. "Mr. Brown," continued Fritz, "is now preparing to shoot Eugene O'Neill's 'Anna Christie' with Gerta Garbo and — " "That's enough, Fritz," I interrupted, "I'll finish this myself." It is hardly necessary to dwell upon Clarence Brown's unforgettable touches in what most people consider one of his best achievements — "Flesh and the Devil." It was plainly the work of the accomplished director, helped, of course, by the fine performances of the principal players, that made this film an outstanding box-office attraction. It was hardly to be expected that Greta Garbo, without a knowledge of our language, could have given such a magnificent characterization minus Brown's human understanding and unselfish help — but — enough of this. In appearance, Clarence might be mistaken for an accountant or a hotel manager. As he sits quietly A Silent Man — Who Prefers Plenty of Action and Few Words on the sound stage by the cameraman's "ice box" in the attitude of Rodin's "Thinker" one would, at first glance, thing him to be forbidding of mien. Speak to him and the thought is completely dissipated by his boyish grin. He never gets excited and never raises his voice above the ordinary conversational tone. And he has never been known, when directing a "silent" to shout "Kamerah" through a megaphone. At the time I made the drawing of him which is printed herewith, he was working on "Trail of '98" and it is the only occasion upon which I have seen him directing in anything but an ordinary business suit. Brown has never considered himself too sacred to come in contact with his fellow workers and has been often seen in the commissary with a bunch of players, in make-up, at his table. Always by his side is his faithful mascot, Fritz, and it has been rumored that he (Fritz) is armed to the teeth to prevent aspiring writers and dramatists from reading scenarios to the boss at the meal table. Brown has the rare gift of silence. Try to draw him out and he will fill awkward pauses with the aforesaid boyish grin. I asked him if he thought that the silent picture was doomed, and he answered — '"Hoover should have a wonderful four years in the White House, and I would not be surprised if he is re-elected." "What is your real, private opinion of the 'talkies,' Clarence?" I persisted. He thought deeply for a moment, then exacting my promise to keep his reply strictly confidential, answered in a whisper, "I have come to the conclusion that the beauty of California has never been sufficiently exploited." What can one do with a guy like that. I have said before in these columns that I feel grateful that I have the privilege of mingling among the real fellows of Filmdom. Clarence Brown is one of the men who inspired the statement. i 1 1 Empire Starts Shorts Production in East NEW YORK, June 12.— Empire Productions, Inc., have concluded arrangements for an eastern production unit under the management and direction of Boris L. Maicon, stage director, it is reported. The company is franchising a series of twenty-six single reel all-dialogue comedies and Maicon is now casting for one of the comedies to be made here. Temporary title is "The Wishbone," with story and dialogue by Barnett M. Warren. i i 1 T-S Signs Hartford David Hartford, engaged by Tiffany-Stahl for the direction of dialogue iri their pictures, is a recruit from the New York stage, who has directed many stars of the stage. He directed Laurette Taylor in the first ■version of "Peg o' My Heart," made famous by the actress.