Hollywood Motion Picture Review (1937-1940)

Page 8 HOLLYWOOD MOTION PICTURE REVIEW July 31, 1937 Frank Lloyd By JOE PEARSON To chronicle the achievements of so famed and distinguished a personality as Frank Lloyd in such a short biography Is practically an impossibility, for Lloyd has directed some of the finest, most spectacular and outstanding motion pictures ever filmed. As the only three-time winner of the Motion Picture Academy awards, he has perhaps done more toward the advancement of motion pictures, both as an art and as entertainment form, than any one individual. That he has not only kept abreast of the times, but away ahead, is attested by the fact that today, after twentyfive years, he stands at the head of the film Industry as a creator of both spectacle and romance. I The son of a mechanical engineer, Lloyd was born in Glasgow, Scotland, in February, 1889, and was educated in the public schools of England. The theatre was an attraction for him since childhood. hfe became identified with the English theatre when only 15 years old, and except for a brief period spent in Canada the dramatic world has been Lloyd's whole life. The future director of spectacles interrupted his theatrical work for a time to become wire man for the Canadian government telephone company but he soon tired of this, and in 1913 he came to Hollywood. At the time of Lloyd's arrival in Hollywood the future film capital was little more than a sagebrush-covered subdivision dotted with orange, grapefruit and avocado trees, and the film industry was in its swaddling clothes. "In those days," says Lloyd reminiscently, "a dire'ctor had to be a writer, a cameraman, a property man, a set dresser, and in his spare moments oftentimes had to get in front of the camera and be his own star, for actors didn't think much of pictures in those days. They referred to them as chasers for they were usually shown at the end of a vaudeville show to chase the patrons out of the house." Lloyd was as adept at acting and writing as he was at directing, and between the three, not to mention such trivialities as dressing sets, grinding cameras, etc., he managed to keep fairly busy. He entered screen production by writing, directing and acting in a series of one-reel pictures for Universal, and as his talents became known he graduated to the direction of features for MoroscoPallas, Fox, Goldwyn, Joseph M. Schenck, Sol Lesser and First National. Concentrating his knowledge and preference for stories with powerful dramatics, Lloyd directed many of Hollywood's most famous early day successes. It was those same successes that did much toward developing and elevating the film industry to its present day position of fourth place among the major industries of the world. Wider recognition came to him in 1922 when "Oliver Twist," which he directed, was named as one of the year's ten best pictures. He won this distinction again in 1924 with "The Sea Hawk," and in 1933 with "Cavalcade," in 1934 with "Berkeley Square," and, of course, "Mutiny On the Bounty" In 1935. Other notable productions to his credit include "Adoration," "Dark Streets," "Weary River," "Drag," "Young Nowheres," "Son of the Gods, Sin Flood," "The Lash, " "Age for Love," "East Lynne, " " Hoopla,"" " Servants Entrance,"" " Passport to Hell"" and ""Maid of Salem."" From all appearances, his current assignment, ""Wells Fargo,"" a historical romance of the old west, featuring Joel McCrea, Frances Dee, Bob Burns and others, will be a likely candidate for an Academy Award of 1938. Among his numerous accomplishments Lloyd holds the distinction for having discovered, helped and elevated to stardom such famed screen personalities as the late Milton Sills, Corrinne Griffith, Richard Barthelmess, Ann Harding, Leslie Howard and many other stars of today and yesterday. Lloyd has a very lovely daughter, Alma, who recently began what looks like a very promising career as an actress. The Lloyds live quietly in Beverly Hills and have a ranch near Whittier, a picturesque suburb near Los Angeles. The ranch is Lloyd"s hobby and is the last word In heavenly perfection. "'There"s no money to be made in the venture,"" Lloyd confesses honestly. ""In fact, I don"t want to make money on it. I have it for the fun there is in it and for a hobby."" He also raises blooded Irish terriers. He reads detective storied and is quite a student of philosophy, and is superstitious about whistling. He has a distinct aversion to the song "Home Sweet Home,"" although he doesn"t know why. Intensely fond of the sea, his early ambition was to become a sailor, much as other boys have wanted to become engineers, but the theatre soon superseded this desire. Editor's Note: Fictioniied biographies is a new feature for Hollywood Review. Exhibitor-subscribers are granted permission to use these articles in house organs and in their local newspapers in connection with picture showings. PREVIEWS (Continued from Page 7) SHE'S NO LADY Paramount A MEANINGLESS AND CENSORABLE TITLE TACKED ON TO SPOTTY STORY IS ONLY FAIR ENTERTAINMENT. Produced by B. P. Schulberg. Directed by Charles Vidor. Screenplay by George Bruce and Frank Partos. Story by James Edward Grant. Photographer George Clemens, A.S.C. Sound by Jack Goodrich. Release date Aug. 20, 1937. Run ning time at preview 61 minutes. THE CAST Jerry , . ... ANN DVORAK Alden Carter JOHN TRENT Uncle John HARRY BERESFORD Jeff GUINN WILLIAMS Mrs. Douglas AILEEN PRINGLE Mr. Douglas ARTHUR HOYT The Story: Trent strikes up a daring flirtation with Ann Dvorak. Both have an Invitation to a party at the home of Aileen Pringle and Hoyt. When some diamonds are stolen, Trent, believing Ann has the jewels, relieves her of her purse, but finds he is mistaken. Going to her apartment, he saves himself and Ann from cold-blooded killing by attracting the police. At headquarters, Ann is disclosed as an Insurance Investigator and Trent, a detective, both on the trail of a former coup pulled by Aileen and Hoyt. Rating: C. E. H. L. O. a. COMMENT: Excellent sets and heaiitifnl photography by George Clemens, adds prestige to this programmer, hut the story is so absurd and mystifying, it becomes impossible to figure it out. or even care. It gets off to a slow start and on the wrong foot, together with too much dialogue, smart talk, and not enough action. There is a “pick-up” romance which was supposed also to furnish the comedy. Ann Dvorak. John Trent and Guinn \lilliams turn in comparatively satisfactory portrayals. due to the seasoned direction by Charles Vidor. Advertising: Play down the title as it suggests something that the story does not contain. Better to advertise it as a light, sophisticated comedy. Fashion editors and merchants for style shows. Also modern house furnishings. Bakeries for a French pastry tie-up. Jewelry concerns for a diamond display as these jewels figure largely in story. — A. B. Facts and Gossip The back slapping and encore handclapping of title credits at previews Is again manifesting itself as a distasteful menace. Generally speaking 50% of the previews are attended by secretaries, assistant directors and studio employees and each one seems bent upon trying to out do the other in hand clapping the title credits as they appear on the screen. Not so long ago, this undue ballyho resulted in rowdies breaking out with hand clapping whenever any new player came on the screen even down to a butler or maid role, much to the discomfort of patrons. There is a noted playboy actor whose romances are always good for the front pages, who has been building up somewhat of a reputation as a bad boy on the set owing to his habit of not remembering his lines. However, the recent return of his latest girl-friend has changed everything. It is said that he Is now a model trouper and everyone on the set exclaims that it Is wonderful what love can do. Lee Zahler, musical director has completed the musical scoring of the Frank Buck serial which is released by Columbia. '"The Female of the Species,'" an original story, has been purchased by S. J. Briskin, vice-president in charge of production at RKO Radio, and will be adapted to the screen as a starring medium for Miriam Hopkins. The picture will be produced by P. J. Wolfson, with Leigh Jason directing. Written by Allan Scott and Charles Norman, the film will cast Miss Hopkins in the role of a rich girl who falls In love with a youthful oddjobs man in Greenwich Village. Miss Hopkins' la*t picture for RKO was "The Woman I Love," in which she was co-starred with Paul Muni.