Picturegoer (1934)

PICTUREGOER Weekly January 20, 1934 d^iTTLE Women — J\bw and The March family in the talkie version. Katharine Hepburn (Jo) and Franca Dee (Meg) in foreground. Left to right at bach: Spring Byington (Mrs. March), Jean Parker (Beth). Sam Hinds (Mr. March) and Joan Bennett (Amy). THE author of this intriguing article, which takes you back to the glamorous days of the silent film, was the director of the original screen version of Louisa M. Alcott's classic story. HA VE just celebrated the hundred and €m first anniversary of the birth of Louisa — . m M. Alcott by seeing the talking picture of her world-famous book "Little Women." This is the finest picture that has yet been seen on the screen. This was part of a talk by Mr. S. P. B. Mais, a modern Columbus, relayed over four thousand miles from Minneapolis, and as I sat here in London listening, such a flood of memories swept over me 'that I am afraid I heard little of the remaining broadcast. It is just fifteen years since the silent version of Little Women had its world premiere at the Strand Theatre, New York. Produced and financed by William A. Brady, released on the Art Craft programme by Adolph Zukor, sales controlled by Al Lichtman and Sidney Kent, first presentation by Joseph Plunkett, cut and edited by Josef von Sternberg and directed by myself. . Brady was the most colourful showman in America — what C. B. Cochran is to the English stage Brady was for many years to the American stage and screen, only more so ; and, by the way, they are great friends, Cochran and Brady — a friendship which dates back many years before Cochran was known to London theatrical circles. Forty years ago Brady managed and seconded Jim Corbet* when he fought and beat John L. Sullivan ior a world HeavyWeight Championship, and then with uncanny judgment be sought out. George Cukar, the director of the talkie version, discusses thi script aith Katharine Hepburn and Douglass Montgome*} (I. auric). became manager to, and seconded Jim Jeffries when he, in turn, beat Jim Corbett in one of the most spectacular fights in the history of the ring; and yet this simple story of American home-life — Little Women — with its pathos, sacrifice and tragedy, appealed greatly to Brady. He it was who bad this story dramatised and then produced it on the stage, revived it on several occasion!:, on one of which his daughter Alice, who looks like earning greater laurels as a talkie star than she ever achieved in the silent days, played Meg. Brady, who had been in full charge of the film activity of the United States Government, under the Wilson regime during the war, had completed his mission. He had also resigned his part-time position as Director-Genera] of Productions of the WorldBrad y-Selznick at a salary of £100,000 a year. I had been associated with him for three years and had just received from him a special bonus of £1,500 over and above my salary for doing twelve feature pictures in one year at a cost of less than £6,000 per picture. Brady wanted to sponsor a picture himself and his choice fell on the story he had always been keenly interested in — Little Women. Conrad Nagel, who was under Brady's management, had just become established as a leading stage juvenile on Broadway and he was Brady's choice to play Laurie. This, by the way, was Nagel's first picture, and the commencement of a screen career which must have netted him nearly a million dollars. The part of Marmee was played by that dear person, Kate Lester. What a perfect Marmee ! — beautiful, digni fied, sympathetic and lovable. She was just as perfect off the screen as she was on, and her tragic death by fire in Hollywood a few years ago v/as the cause of great sorrow among her host of friends. Jo was played by Dorothy Bernard, wellknown in Fox silent pictures as leading woman opposite William Farnum. The rest of the cast was chosen for their likeness to and fitness for the various characters rather than for their experience. I had spent many years in America and had been in every State in the Union. I had read Little Women many times and knew the book from cover to cover. I had spent much time in the locality where the story was laid, and was proud and happy when Brady nominated me, as an Englishman, to direct this picture; the epic story of American home-life. I wonder how many people who have read the IO