A Successful Calamity (Warner Bros.) (1932)

4CURRE Screen Work Gives Arliss First Chance for Leisure Since that time more than three years ago when George Arliss, now at the. . Theatre in his newest Warner Bros. picture, “A Successful Calamity,” practically if not actually abandoned his stage career to become a leading figure on the talking screen, he has found time to enjoy life as an English country gentleman for almost the first time in his long and illustrious career. A few months in Hollywood each year suffice to make the two or three Arliss productions which Warner Bros. release during the twelve month perid. When they are finished Arliss retreats to England and, after a short stay in his London house, generally retires to “The Cottage” at St. Margaret’s at Cliffe, in Kent, a comfortable country place a quarter of a mile inland, which he built for himself not quite twenty years ago, but which he has had scant time to enjoy until recently. “The Cottage” ‘is a modest place of eight or nine rooms, built of brick and stene, centering a five acre tract of lawns and gardens. St. Margaret is a quiet village on the north coast of Kent, whose principal yearly excitement is a “Garden Show,” in which Mr. Arliss frequently displays the produce of his garden and for which Mrs. Arliss sometimes acts as patroness, awarding the prizes. Before their marriage, more than thirty years ago, Mrs. Arliss lived much of the time at St. Margaret and had a cottage there. She has never lost her early affection for the place and Mr. Arliss shares her enthusiasm for the location. During the latter’s long stage engagements they were able to spend only short summer vacations in England and the cottage stood empty for many months at a time. Prefers Village Life Talking pictures, however, are less seasonal than the stage and _ the Arlisses find themselves in England in all seasons. They have also found that London is more uncomfortable for them than it used to be due to the fact that a larger proportion of the public recognizes Mr. Arliss as a screen star than ever knew him as a stage celebrity. This subjects him to -~almost_ constant attention and fre quent annoyance on the streets, so _ that he is glad to escape from the city into the comparative seclusion of the Kent village life. So for the past three years, since their life has been so altered by the amazing success of the Arliss pictures, they have been developing the country place into more and more of a permanent home. Two years ago “The Cottage” was wired for elec ~been ei tricity, after two decades of using oil lamps. During the past winter the country house has been piped for gas heating —originally intended as a summer cottage, the Kent house has no central heating plant. ‘The Kent coast winters are reasonably severe and to be comfortable the year around some heat in addition to the open fireplaces had to be provided. Likes Truck Farming The five acres provide room enough for wide lawns, extensive flower gardening and for the full development of one of the Arliss hobbies, vegetable growing. ‘lhe actor takes more pride in his display of fine vegetables for the vilage Garden Show than he does in the Arliss flower display. The North Sea is only a five minute walk away. The English countryside offers. pleasant walks, the favorite Arliss exercise, and life there is altogether simple, unaffected and restful. ‘here Arliss has brought most of his extensive and valuable library and there he does most of the considerable writing which has partly occupied his time for many years. “The Cottage” has not recently been photographed. The unhappy discoyery by the London public when the Arliss home there was publicized on a picture post card, has caused no little inconvenience to the family, with sightseers and autograph hunters haunting the neighborhood daily, waiting for the actor to appear. As a consequence, the Kent cottage has been kept unpublicized as far as possible. ‘The villagers know, of course, that George Arliss and his wife live in their midst, but they accept the fact without any undue display of interest. After all, the Arlisses have for twenty years: Sir Johnston Forbes-Robertson lives not far away. Other celebrities are known in the village. It is nothing for them to be excited about. And they aren’t. It is to Kent that the Arlisses retired for a three-month vacation shortly after the completion of “A Successful Calamity,” returning to Hollywood the early part of September, to make his next Warner picture, “The Adopted Father.” Shooting a Polo Scene in **A Successful Calamity” They were making the polo scenes for George Arliss’s new Warner Bros. picture, “A Successful Calamity, -now-at..the....... Theatre. William Janney had just fallen off his horse. The horse had fallen first, being a trick horse, trained to fall on any given spot at a certain signal. Janney, being practically without training in the business of falling off horses, had merely reached for earth as near to the camera angle and as close to the waiting microphone as possible. And now he lay there, breathing heavily, his eyes closed, his right hand gripping his left shoulder. Other players rode their ponies into an anxious circle about him while Randolph Scott dismounted and knelt beside the injured boy. Across the polo field from the stands a lone figure came on the run, concern already registered on his face. But he said nothing until he, too, was within the range of the camera and under the microphone. He _ spoke anxiously. “ “Hello, Eddie. Are you hurt?” And William Janney opened his eyes and grinned. “Hello, Dad,’ he answered, course I’m not hurt.” “No good,” said John Adolfi, director. “That isn’t the place you were supposed to fall, anyhow. And what’s the matter with that trick horse. He didn’t fall. He just lay down. We'll do it again.” “Your hat doesn’t look right, Mr. Arliss,’ suggested Maud Howell, his personal advisor on pictures. “It’s pushed back too far and sits on your ears. It ought to be jaunty, but not— not—too low comedy.” As he walked back toward the stands George Arliss adjusted his hat. Janney crawled to his feet, dusted himself off and said resignedly: “Bring back that horse.” Again Janney thundered down the a field toward the camera on the back of the horse which is trained to fall down. Again at a given signal the animal skidded toward the little group of technicians. Again Janney reached for ground and again Arliss, his hat tipped a bit rakishly over his left ear, came speeding across the field. There was Janney again, his eyes closed, his right hand gripping his left shoulder, other riders circling about him, Randolph Scott dismounting to learn how badly the boy was hurt. “Hello, Eddie,” bellowed Arliss. “Are you hurt?” “How’s that for sound?” Adolfi. “Cameras oke,” reported Van Trees, who has been cameraman on every Arliss talking picture save one. “Was the hat better, Maude?” asked Arliss. “TY don’t like the way the horse falls down,” complained Adolfi. “It looks premeditated. Like sitting down in a rocking chair. Let’s do it just once more. “Try letting the horse stay on its feet. Let Bill just fall off as he goes by the camera.” “Say listen,” began Janney. “We'll get it this time, son,” Adolfi hastened to assure him. “We'll get it or else.” “Or else we'll do it again,” suggested the assistant director. Two hundred odd people had gathered at the Uplifters Club polo field, between Hollywood and the Pacific Ocean, to help William Janney fall off that horse. The scene is only an incidental one in the new George Arliss picture for Warner Bros., “A Successful Calamity,” but even incidental scenes in Arliss pictures must be convincing. And a fall from a horse is not a simple thing to film, even with a tumble-down horse. It isn’t at all difficult to fall off a horse, but it is a trick to fall off a horse directly in front of a camera and exactly below a sensitive microphone. Try it some time on your own polo field, with your own camera. called George Arliss’ Rehearsal System Praised by Cast Each succeeding George Arliss picture sends a new group of enthusiasts into the ranks of Hollywood’s actors and actresses, sounding the praises of the rehearsal system which George Arliss has introduced and made a feature of his productions. Arliss, who appears in “A Successful Calamity,” his latest Warner Bros. hit, at the .... Theatre, rehearses for ten days with the complete cast and the director, before a camera turns or a microphone is spotted on the set. The cast does not even occupy the sets, but gathers in a large assembly room, which is turned into a miniature stage. Here they first read the script, then memorize the lines. After every member of the cast is thoroughly familiar with the entire play and every part in it, as well as with his own part, the individual scenes between two or more players are rehearsed individually. The result is that when the company assembles finally to begin the picture, everyone knows what it is all about and any member can step instantly into any scene of the picture with a full understanding of the requirements of the scene. “It is the finest method of making pictures ever devised,” David ‘Torrence declared as he said his farewell to the cast and to Mr. Arliss, his friend and stage and screen associate of long standing, at the close of the filming of the new Arliss picture, “A Successful Calamity,” in which Torrence plays an important role. “I am sure it accounts, in a measure,” he added, “for the uniformly high quality of the Arliss pictures. Eventually it will be the system generally adopted—you wait and see.” NT FEATURES Although the younger players associated with Mr. Arliss in these productions are the ones who profit most by the rehearsal periods, which give them the benefit of the Arliss training in screen technique, the older players and those whose screen experience is equal or greater than the star’s own, are always equally enthusiastic for the rehearsal plan. An Arliss picture invariably finishes on schedule, often ahead of time, despite the fact that Mr. Arliss does not work nights or Sundays. In fact, the working day on an Arliss production is notoriously short and fabulously snappy. It starts at 9:30 and it ends at 4:30 but the hours between are used to good avantage. Retakes are seldom necessary and long scenes are made smoothly and accurately, due to the fact that every member of the cast has already been thoroughly schooled in his part, both as to lines and action. _eeeaqLqLqLqL]j]j—jSSSSEEEEEeEeEeEeEeqeEqc«~>qE=qayyy_——————— eee George Arliss Sports a New Cane With a History George Arliss, now playing at the .... Theatre, in his newest Warner Bros. picture, “A Successful Calamity,’ is the proud owner of a new stick, a very old new stick, shortened by a century and a half’s wear on the unferruled end, but still capable of helping celebrities over the rough places in their careers. Several months ago an actor showed Mr. Arliss the cane, while the star was resting between scenes on a Warner Bros. sound stage. thong was once strung. Just below the head is a wide gold band engraved | as follows: : Joseph Jefferson from Henry Irving 7 May 1896 This cane belonged to Thomas King, the original Sir Peter Teazle, and was used by him in that character. Drury Lane Theater 8 May 1777 Mr. Arliss was much interested. “I don’t suppose you care to dispose of it?” he asked. : The owner smiled and shook head. “Not for his any amount of It is a plain stick, with a blue and| money,” he confessed. white china head and a gold eyelet piercing its middle where a carrying Recently, however, Mr. Arliss received a letter from the actor. He told of unexpected reverses and remembered Mr. Arliss’ interest in the cane. He asked if Mr. Arliss still wished to purchase the stick and offered it for a price. Arliss accepted the offer and now has the curious old stick among his choice possessions. The event commemorated by the cane is one of the most memorable in English theatrical _ history. The Sheridan comedy, “The School for Scandal,” opened in the Drury Lane Theatre in London for the first time on May 8, 1777. Mrs. Abington played Lady Teazle. Mr. Arliss himself walks with the Sir Peter Teazle stick only upon very special occasions. Mary Astor plays opposite Mr. Arliss in “A Successful Calamity” and John Adolfi directed. ¢ CURRENT SHORTS Grant Mitchell Plays Butler Role With Arliss Grant Mitchell, who appears as his butler in George Arliss’ latest Warner Bros. picture, “A Successful Calamity,” at the... . aya was once a star on the legitimate stage. His conversion to motion pictures came late in life, after a long | Stage career which took him all over the United States and many parts of Europe. However, since he turned to pictures, he has been in great demand by Hollywood producers. “A Successful Calamity,” George Arliss’ seventh talking picture, has in the supporting cast such famous screen personalities as Mary Astor, Evalyn Knapp, William Janney, Hardie Albright, David Torrence, Randolph Scott, Leon Waycoff and Murray Kinnell. John Adolfi directed. Arliss Spends Leisure Time Away From Studios George Arliss, now at the.... Theatre in his latest Warner Bros. hit, “A Successful Calamity,” has a favorite resort in California. It is Arrowhead Lake, ninety miles from Hollywood in the San Bernardino Mountains. He spends much of his time there between pictures, working on stories and tramping through the pine woods. Arliss’ favorite recreation is hiking, and he finds little chance in Hollywood, because too many motorists, recognizing him, stop and ask him to ride in order to talk to the famous screen star. ee Cut No. 3 heatre...., Mary Astor, George Arliss and Evalyn Cut 30c Barbara Leonard’s French Won Her Role With Arliss Barbara Leonard, who appears in George Arliss’ current Warner Bros. starring vehicle, “A Successful ECaolamite 99 tha . a = yo a > earned the role of. a French maid through her ability to speak French. Miss Leonard had just completed one of the leading roles in the French version of “Local Boy Makes Good,” starring Douglas Fairbanks, Jr., when she was selected for the much coveted -honor of appearing with George Arliss. She was educated in France and Switzerland and speaks eaey five languages besides Engish. Fearful of Crowd, Star Makes Stage Via Cellar George Arliss, now playing at the .... Theatre in “A Successful Calamity,” his newest Warner Bros. picture, dislikes crowds and will go to any sort of trouble to avoid them. When “The Man Who Played God” had its world premiere at the Western Theatre in Los Angeles, Arliss agreed to be present as guest of honor, He reached the theatre at nine-thirty, after the show had started, and spent the evening in the office of the manager. When it came time to go back stage and be introduced he found that he had to walk through the auditorium to reach the stage. So he went into the basement and found the engineer, who took him back through the dark recesses of the basement. Mat 10c LS eeeeesessaeensnesnee| Grant Mitchell Perfect Butler in Latest Role Another “perfect butler,” nonexistent in these days except in mo wood. He is Grant Mitchell, well known character actor of stage and screen, who has the important role of “Connors,” the impeccable Wilton butler, in the new George Arliss picture, “A Successful Calamity,’ the Warner Bros. triumph now at the... . Theatre. Mitchell has played many leading roles in his time, but he is practically a newcomer to the ranks of the screen butlers, which he plays in a distinctly different way. George Arliss Honored by College Dramatic Society George Arliss, now starring at the -... Theatre in his latest Warner Bros. hit, “A Successful Calamity,” recently became an honorary member of the Masquers, the varsity dramatic organization of the University of Minnesota. A telegram was received by Mr. Arliss from Richard Carlson, president of the Masquers, inviting him to accept honorary membership, which Mr. Arliss accepted by telegram. “A Successful Calamity” was directed by John Adolfi. The cast includes Mary Astor, Hardie Albright, Grant Mitchell, David Torrence, Hale Hamilton, Fortunio Bonanova and William Janney. “A Successful Calamity,” which is a comedy-drama, was originally written by Clare Kummer as a stage vehicle for William Gillette. “A Successful Calamity” Mr. Arliss’ 7th Talkie “A Successful Calamity,” now at the . Theatre, is Mr. George Arliss’ seventh talking picture. The others have been “Disraeli,” “The Green Goddess,” “Old English,” “The Millionaire,” “Alexander Hamilton” and “The Man Who Played God.” This “‘Best Friend” of Dumb Animals Doesn’t Own a Pet George Arliss is one of the best known humanitarians in America. He is a “first friend” of dumb animals, and contributes generously to shelters, canine hospitals, etc, but he has no pets, not even a dog. Mr. Arliss is starring at the vs 5» Pheatre=, .-.3, inc “A Sues cessful Calamity, ’a Warner Bros, production. Page Eleven