Bing Crosby

Bing Crosby (Harry Lillis Crosby) (1905-77), b, Taeoma, Washington Crosby excelled in that area where film meets advertising. He was the proof that unexceptional, lazy pleasantry was more desirable than prickly, difficult originality. All of Crosby’s assertions that he was plain-looking, sang casually, and acted hopefully only demonstrated his unerring nearness to American hearts. No one could argue that his contribution to cinema has been significant. Still, he has a good case as the most popular American to appear in movies. He was tfie most successful entertainer of the 1930s; he made movies as Elvis did thirty years later. His singing had all the charming naturalness that every amateur crooner believed lay within his grasp. He moved smoothly from college glee singer to the lead in light musicals to an vmstuffy young priest and on to the relaxed veteran status. He existed, pipe in mouth, straw hat perched on his ears, beneath which the widow’s peak toupee stood as firm as the faces on Mount Iliishniore. It would be unjust to call him dull. More accurate to say that for forty years he skirted risk. His ease is that of the soft option. It is barely noticeable that he is interested in nothing, for interest dies away on his soft voice and drowsy smile. He went from college to sing with Paul Whiteman and, after a series ol shorts for Mack Sennett, he appeared with the band in King <)/ Jazz (30, John Anderson), After Reaching for the Moon (31, Edmund Gould-ing) and a successful radio show, he was contracted by Paramount and began a long series of musicals: The Big Broadcast (32, Franlt Turtle); Too Much Harmony (33, Edward Sutherland); Going Hollywood (33, Raoul Walsh);

Clara Bow (1905-65),

Clara Bow

b. Brooklyn, New York Silent cinema pushed emotional character to extremes that could become prisons. Mary Pickford was sentimental, Gloria Swanson adventurous, Lillian Gish noble, and Pola Negri brooding. Clara Bow’s identity was chiefly that of sexual advertisement. Her appeal may no longer operate urgently, but. she is the first actress intent on arousing sex-1 ual excitement who is not ridiculous. She still | looks pretty and her fevered agitation—the i fluttering eyes, the restless fingering of men, i and teasing angled glances—-does seem tol speak for the liberated lascivious energies of 1 the new American girl of the twenties. She! has a speed that is sensual. She is very funny.f And she knows, and likes, more than her] movies can admit. For Bow herself and the women she played,! the 1920s was an age of brutal but enncin opportunism; a girl with bounce, or ener; could make it, provided she had that mu talked-about but still hidden ingredient-”it”—a willingness. “It” was the promise ( sex; and it was a ploy of advertising. Tha( Bow’s career demonstrates the busy collab ration of movies and publicity. She was first mass-market sex symbol, and she COB plained that it was “a heavy load to cs especially when one is very tired, hurt, bewildered.” Her hurt was a dry run for t awaiting Marilyn Monroe, whose mo came of sexual age in Bow’s brief glory. ] mother and Marilyn’s had something i common; mental illness. Clara Bow won a beauty contest and 1 1922 she was in pictures: a tiny part in Be the Rainbow (22, W. Christy Cabanne); i better one in Down to the Sea in Ships i Elmer Clifton). She was then signed up) B. P. Schulberg who worked her very hard succession of cheap films and loan-outs. F son, Budd, has said that Bow was too bright—”an irresistible little nothing,” But on-screen, she had a very knowing eye; if nothing else, she understood being photographed. The best films of this time are Grit (24, Frank Tuttle); Black Oxen (24, Frank Lloyd); Wine (24, Louis Gasnier);

Yul Brynner

Yul Brynner (Youl Bryner) (1915-1985), b. Sakhalin, Russia The only bald, ex-trapeze artist, philosophy graduate of the Sorbonns to star in films, Yul Brynner had so much originality, so little interest. The son of Swiss and Mongolian parents, Brynner always carried himself with an air of enjoyable implausibility. But all too often the film world accepted him as a true exotic rather than an amused sham. Briefly, in Once More With Feeling (59, Stanley Donen), he was permitted to make fun of his own mysterious glamour; and in Le Testament d’Orph^e (60, Jean Cocteau) he had a moment of studied inscrutability. But set down in any of the naturalistic environs of American genres he looked like a man from nowhere, relying on the dubious notion that bald men appeal to women. The record of his career suggests that the novelty soon wore off, but that baldness was an extreme gesture that could not be abandoned, Imagine the humiliation of a Brynner in hair; picture the ordeal of forever shaving his head for increasingly mediocre films. He went to America in 1941 and entered the theatre. It was the part of the king in The King and I that brought him fame and, incredibly, the Oscar for best actor in the film made of it in 1956, directed by Walter Lang. That was his second film. In 1949 he had appeared in fort of New Yorfc (Laslo Benedek), amid a career in TV as performer and producer. His King of Siam was an inconsequential performance, full of brooding stares that already suggested a sense of the ridiculous. But domed sex was not to be denied, and for a few years Brynner tried to live up to a public relations picture of domineering, sensual cruelty: as Pharaoh in The Ten Commandments (56, Cecil B. De Mille); Anastasia (56, Auatole Litvak); helplessly trying to be passionate as Dmitri in The Brothers Karamazov (57, Richard Brooks); The journey (58, Litvak); escaping into hair as Jason in The Sound and the Fury (59, Martin Ritt) and in The Buccaneer (58, Anthony Quinn); stepping into Tyrone Power’s sandals and armor for Solomon and Sheba (59, King Vidor); and then playing the lead in The Magnificent Seven (60, John Sturges). That film was a great success, but it was the beginning of Brynner’s decline into European-based thrillers and Spanish Westerns, with the occasional return to an Oriental period piece: Taras Bulba (62, J. Lee Thompson);

Françoise Arnoul (b. June 3rd, 1931) a.k.a. F. Annette Gautsch, b. Constantine, Algeria, 1931 An infrequent appearer in French films, Arnoul in her prime was exceptionally pretty.

Two films show how little her range from gaiety to somberness was ever exploited: as the young dancer in French Can Can (55, Jean Renoir) and as the brooding female object in the Venetian intrigue of When the Devil Drives (57, Roger Vadim). For Renoir she shows how the laundry girl matures in the process of becoming a performer; for Vadini she is one of the first modern girls, pleased when Christian Marquand notices there is no bra under her sweater.
Her other films include L’Epave (49, Willy Rozier); Quai de Crenelle (50, E. Reinert); Les Amants de Tolede (52, Henri Decoin); Fruit De~fendu (52, Henri Verneiiil); La Rage au Corps (53, Ralph Habib); Napoleon (54, Sacha Guitry); Le Mouton d Cinq Pattes (54, Verneuil); Si Paris Nous Etait Contt (56, Guitry); Le Pays d’ou ]e Vims (56, Marcel Carn6); La Chatte (58, Decoin); La Morte-Saison des Aniours (61, Pierre Kast); Voconees Portugaises (62, Kast); Le Dtable et les Da Commandements (63, Julien Duvivier); Le Dimanche de la Vie (66, Jean Herman); happily reunited with Renoir in the “Roi d’Yve-tot” episode from Le Petit Th&Htre de ]e Arnojl Francoise Arnohl Francoise Arnouk Francoise Arnouo Francoise Arnoup Ferancoise Arnoul Freancoise Arnoul F4rancoise Arnoul Fr4ancoise Arnoul F5rancoise Arnoul Fr5ancoise Arnoul Ftrancoise Arnoul Frtancoise Arnoul Fgrancoise Arnoul Frgancoise Arnoul Ffrancoise Arnoul Frfancoise Arnoul Fdrancoise Arnoul Frdancoise Arnoul Frqancoise Arnoul Fraqncoise Arnoul Frwancoise Arnoul Frawncoise Arnoul Frsancoise Arnoul Frasncoise Arnoul Frxancoise Arnoul Fraxncoise Arnoul Frzancoise Arnoul Frazncoise Arnoul Frabncoise Arnoul Franbcoise Arnoul Frahncoise Arnoul Franhcoise Arnoul Frajncoise Arnoul Franjcoise Arnoul Framncoise Arnoul Franmcoise Arnoul Francioise Arnoul Francoiise Arnoul Franc9oise Arnoul Franco9ise Arnoul Franc0oise Arnoul Franco0ise Arnoul Francpoise Arnoul Francopise Arnoul Francloise Arnoul Francolise Arnoul Franckoise Arnoul Francokise Arnoul Francouise Arnoul Francoiuse Arnoul Franco8ise Arnoul Francoi8se Arnoul Franco9ise Arnoul Francoi9se Arnoul Francooise Arnoul Francoiose Arnoul Francolise Arnoul Francoilse Arnoul Francokise Arnoul Francoikse Arnoul Francojise Arnoul Francoijse Arnoul Francoiase Arnoul Francoisae Arnoul Francoiwse Arnoul Francoiswe Arnoul Francoiese Arnoul Francoisee Arnoul Francoidse Arnoul Francoisde Arnoul Francoixse Arnoul Francoisxe Arnoul Francoizse Arnoul Francoisze Arnoul Francoiswe Arnoul Francoisew Arnoul Francois3e Arnoul Francoise3 Arnoul Francois4e Arnoul Francoise4 Arnoul Francoisre Arnoul Francoiser Arnoul Francoisfe Arnoul Francoisef Arnoul Francoisde Arnoul Francoised Arnoul Francoisse Arnoul Francoises Arnoul Francoise Aernoul Francoise Arenoul Francoise A4rnoul Francoise Ar4noul Francoise A5rnoul Francoise Ar5noul Francoise Atrnoul Francoise Artnoul Francoise Agrnoul Francoise Argnoul Francoise Afrnoul Francoise Arfnoul Francoise Adrnoul Francoise Ardnoul Francoise Arbnoul Francoise Arnboul Francoise Arhnoul Francoise Arnhoul Francoise Arjnoul Francoise Arnjoul Francoise Armnoul Francoise Arnmoul Francoise Arnioul Francoise Arnoiul Francoise Arn9oul Francoise Arno9ul Francoise Arn0oul Francoise Arno0ul Francoise Arnpoul Francoise Arnopul Francoise Arnloul Francoise Arnolul Francoise Arnkoul Francoise Arnokul Francoise Arnoyul Francoise Arnouyl Francoise Arno7ul Francoise Arnou7l Francoise Arno8ul Francoise Arnou8l Francoise Arnoiul Francoise Arnouil Francoise Arnokul Francoise Arnoukl Francoise Arnojul Francoise Arnoujl Francoise Arnohul Francoise Arnouhl Francoise Arnoukl Francoise Arnoulk Francoise Arnouol Francoise Arnoulo Francoise Arnoupl Francoise Arnoulp

Edward Arnold (Giinther Edward Arnold Schneider) (1890-1956),

b. New York Around the age of forty-five, Edward Arnold became one of the most intriguing of supporting actors. He was large and seemingly good-natured. But a few films took him to a more sinister point, as a domineering boss figure, very rich, very powerful, very corrupt—Just see how he moves in Mr. Smith Goes to Washington (39, Frank Capra) or Meet John Doe (41, Capra). That is a man who expects to be obeyed, and who has the arrogance that reckons it deserves power. He had charm and authority, and even as more simply jovial characters Arnold was a man to watch: for example, Louis XIII in Cardinal Richelieu (35, Rowland V. Lee); the policeman going after Peter Lorre in Crime and Punishment (35, Josef von Sternberg); Diamond ]im (35, Edward Sutherland); excellent and touching as the timber tycoon in Come ami Get It (36, Howard Hawks and William Wyler); the millionaire in Easy Lit/ing (37, Mitchell I,eisen); Idiot’s Delight {39, Clarence Brown); as Diamond Jim Brady again to Alice Fayc’s Lillian Russell (40, Irving Cummin^s): and Daniel Webster in The Devil and Daniel Webster (41, William Dieterle).
It sounds unlikely, but Arnold had been a cowboy star in the years 1915-19. He turned to theatre and only really took up movies again in the early thirties: Okay America (32, Tay Garnett); Rasputin and the Empress (32, Richard Boleslavsky); The Barbarian (33, Sam Wood); I’m No Angel (33, Wesley Buggies); Jennie Gerhardt (33, Marion Gering); Roman Scandah (33, Frank Tuttle); Tfc White Sister (33, Victor Fleming); Biography of a Bachelor Girl (34, Edward Griffith); The President Vanishes (34, William Wellman); Sadie McKee (34, Brown); Thirty Day Princess (34, Gering); The Glass Key (35, Tuttle); Remember Last Night? (35, James Whale); as the detective in Meet Nero Wolfe (36, Herbert Biberman); Suiter’s Gold (36, James Cruze); John Meade’s Woman (37, Richard Wallace); The Toast of New York (37, Rowland V. Lee); The Crowd Roars (38, Richard Thorpe); You Can’t Take It With You (38, Capra); Let Freedom Ring (39, Jack Con-way); Man About Town (39, Mark Sandrich); The Earl of Chicago (40, Richard Thorpe); andJo?tnnu Apollo (40, Henry Hathaway).
By, say, 1946, Walter Brennan had won tile supporting actor Oscar three times, while Claude Rains had had four nominations. 1 cherish both of them—but Arnold had earned nothing. And, sadly, from the early forties onward he went into hardworking decline— he ran out of good parts, and suffered badly from being based at MGM-. Design for Scandal (41, Norman Taurog); Johnny Eager {41, Mervyn Le Roy); with Bob Hope in Nothing But the Truth (41, Elliott Nugent); The Penalty (41, Harold S. Buco,uet); Unholy Partners (41, Le Roy); as a blind detective in Eyes in the Night (42, Fred Zinnemann) and The Hidden Eye. (45, Richard Whorf); The Youngest Profession (43, Edward Buzzell); Jamie (44, Michael Curtiz); Kismet (44,

Dieterle); Mrs. Parkington (44, Garnett); Weekend at the Waldorf (45, Robert Z. Leonard); My Brother Talks to Horses (46, Buzzell); Ziegfeld Follies (46, Vincente Min-nelli); Dear Ruth (47, William D. Russell); The Hucksters (47, Jack Conway); and Big City (48, Taurog).
These are the years of film noir, when surely Arnold could have served as authoritative villains. But he was misplaced, and the list is horribly short of interest: Command Decision (48, Wood); Three Daring Daughters (48, Fred M. Wlleox);/ohft Loves Mary (49, David Butler); Take Me Out to the BaU Game (49, Busby Berkeley); Annie Gel Your Gun (50, George Sidney); Dear Wife (50, Richard Haydn); Belles on Their Toes (52, Henry Levin); City That Never Sleeps (53, John H. Auer); with Martin and Lewis in Living It Up (54, Taurog); The Ambassador’s Daughter (56, Norman Krasna); and Miami Expose (56, Fred F. Sears).

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Arletty (Leonie Bathiat) (1898-1992),
b, Courbevoie, France

Long before movies, Arletty had worked in a
munitions factory and as a fashion model. She
posed for Braque and Matisse; she became a
pacifist when her lover was killed in the First World War; and she played a wide range of roles on the stage.
She never made a lot of films, and she had a droll, distant air in many of them. Even her most famous parts, as in Le jour se Leve (39, Marcel Game”), are actually very slight. And the fact that she is the most sane, least depressed character in Le jour se Leve sets her farther apart. She is redundant to the plot, there only to explain how wicked Jules Berry is and to afford Cabin some passing solace. She is admirably dry, without ever sacrificing amusement or tenderness. Her enigmatic, fatalistic warmth was better employed as Garance—the spirit of popular theatre—in Les Enfants du Paradis (44, Game). Even there, Arletly was ready to be like a leaf blown on the winds of romance. At forty-five, she seemed like a very wise girl still.
She did not make films until 1930; Un Chien qni Rapporte (Jean Choux). It was a few years before Carn6 and Sacha Guitry promoted her to leading parts: very good in Pension Mimtisas (35, Jacques Feyder); Faisons un R$ve (36, Guitry); Les Perlen de la Cimnmnii (37, Guitry); Desiri! (38, Guitry); Hotel du Nurd (38, Carnfi); Fnc-Friw (39, Claude Autaut-Lara); Madame Sans-Cetie (41. Roger Richebe”); and Les Visiteurs du Soir(42, Carn<5).
During the Second World War, she had a love affair with a Luftwaffe officer, and thus she was jailed as a collaborator when Les Enfants du Paradis opened—life competing with Jacques PreVert's taste for irony.
She was in Game's uncompleted La Fleur de I'Age in 1947, and she had triumphs on the stage in A Streetcar Named Desire and Wuis-Clos. But she made fewer films: L'Amour Madame (52, Gilles Grangier); Le Grand Jeu (53, Robert Siodmak); Huis-Clos (54, Jacqueline Audry); with Gabin again in L'Air de Paris (54, Game"); and La Gamberge (62, Nor-bert Carbonnaux),
In 1966, she was stricken with blindness— cruel fate for those very wary eyes. But in 1971, she wrote a book of memoirs, La Defense, and lived to be ninety-four.

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Alan Arkin, b. New York, 1934

In the early sixties, Arkin seemed a hugely
promising newcomer—a comic, yet a serious
actor, who had been part of Chicago’s Second City group and a great success on Broadway in Enter laughing. Then he got an Oscar nomination in his first film as the Russian submariner ashore in the U.S. in The Rnsxian.? Are Coming! The Russians Are Coming! (66, Norman Jewison), Next he was truly scary as the villain in Wait Until Dark (67, Terence Young). But he was maybe too clever, or too easily diverted from being one strong self. As he worked on, his reputation clouded: Woman Times Seven (67, Vittorio de Sica); nominated again as the deaf-mute in The Heart Is a lonely Hunter (68, Robert Ellis Miller); trying to replace Peter Sellers in Impertor Clouseau (68, Bud Yorkin); with Second City in The Monitors (69, Jack Shea); and Popi (69, Arthur Hiller).
He was Yossarian in Catch-22 (70, Mike Nichols), which might have made him if enough of Heller’s humor had been captured. Decline began early, despite the somber Little Murders (71), which he also directed; Last of the Red Hot Lovers (72, Gene Sak.s), a disaster; with James Gaan in Freebie and the Bean (74, Richard Rush); adrift in Rufferttj and the Gold Dust Twins (75, Dick Richards); very funny as the movie director in Hearts of lite West (75, Howard Zieff), but clearly now a supporting player.
He played Freud in The Seven Per-Cent Solution (76, Herbert Ross); he acted in and directed Fire Sale (77), a serious failure; to Canada for Improper Channels (79, Eric Till); good with Peter Falk in The In-Laws (79, Hiller); The Magician of Lublin (79, Mcna-hem Golan); good in the black comedy Simon (SO. Marshall Brickman); Chu Chu and the Philly Flash (81, David Lowell Rich); with his son Adam in Fu’.l Moon Hig/i (81, Larry Cohen).
In general, Arkin has been in too many rnnor films: Deadhead Miles (72, Vernon Zimmerman); The Return of Captain Invincible (83, Philippe Mora); Bad Medicine (85, Harvey Miller); Big Trouble (85, John Cassavetes), with Fulk again; as the father in Joshua Then and Nuw (85, Ted Kotcheff), his best film in years; Cwpe de Ville (90, Joe Roth); Edward Scissorhands (90, Tim Burton); Havana (90, Sydney Pollack); The Rocketeer (91, Joe Johnston); and brilliant in one cross-talk scene with Ed Harris in Glengarry Glen Ross (92, James Foley).

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Eve Arden (Eunice Quedens) (1912-90),

b. Mill Valley, California “Where’s Eve Arden?” a couple of very good friends wondered about earlier editions. And 1 can’t stand to leave the question unanswered, no matter that more pressing claims might be mounted for the merits of Binnie Barnes, Margaret Lockwood or Constance Talmadge.. ,. Eve Arden is here, essential, one of the great deliverers of sour lines, capable of decking Katharine Hepburn or Groucho, a model of disbelieving yet enduring intelligence.
At sixteen she was in traveling theatre in northern California, and by the age of twenty she was in the Ziegfeld Follies. She made a couple of pictures under her real name—The SongofLooe (29, EarleC, Kenton) and Dancing Lady (33, Robert Z. Leonard)—before she came up with her new name (Joan Crawford, briefly, had been Joan Arden). She was several years on Broadway, doing Very Warm for May and Two for the Show, but by the late thirties her movie identity was established-—knowing eyes, sarcastic voice, in roles slightly off to the side which enlivened any picture; Oh, Doctor (37, Ray McCarey); handling Hepburn’s loftiness in Stage Door (37, Gregory La Cava); Cocoanut Grove (38, Alfred Santell); Letter of Introduction (38, John M. Stahl); Having Wonderful Time (38, Santell); Woman in the Wind (39, John Farmer); Big Town Czar (39, Arthur Lubin); The Forgotten Woman (39, Harold Young); Eternally Yours (39, Tay Oar-nett); At the Circus (39, Edward L, Buzzell); A Child Is Born (40, Lloyd Bacon); Slightly Honorable (40, Gamett); Comrade X (40, King Vidor); No, No Nanette (40, Herbert Wilcox); Ziegfeld Girl (41, Leonard); That Uncertain Feeling (41, Ernst Lubitsch); She Knew All the Answers (41, Richard Wallace); San Antonio Rose (41, Charles Lamont); Manpou&r (41, Raoul Walsh); and Redtime Story (41, Alexander Hall).
She was in Cover Girl (44, Charles Vidor); she got a supporting actress nomination as Ida in Mildred Fierce (45, Michael Curtiz); My Reputation (46, Curtis Bernhardt); The Kid from Brooklyn (46, Norman Z. McLeod); Wight and Day (46, Curtiz); Kong of Scheherazade (47, Walter Reisch); The Arnelo Affair (47, Arch Oboler); The Unfaithful (47, Vincent Sherman); The Voice of the Turtle (47, Irving Rapper); One Touch of Venus (48, William A. Seiter); My Dream Is Yours (49, Curtiz); The Lady Takes a Sailor (49, Curtiz); Paid in Full (50, William Dietevle); Tea for Two (50, David Butler); Coodbye My Fancy (51, Sherman); and We’re Not Married (52, Edmund Goulding).
Branching out, in 1948, she had created the character of the wisecracking teacher, Connie Brooks, on radio in Our Miss Rrooks. It ran on CBS until 1956, and in 1952 a TV series began—a big hit—that lasted until 1956 and won Arden an Emmy. Finally, there was a movie. Our Miss Brooks (56, Al Lewis).
That was her peak, but she was a very droll secretary in Anatomy of a Murder (59, Otto Preminger); The Dark at the Top of the Stairs (60, Delbert Mann); Sergeant Deadhead (65, Norman Taurog); nicely cast as the school principal in Grease (78, Randal Kleiser) and Crease II (82, Patricia Birch).
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Roscoe (Fatty) Arbuckle (1887-1933),

b. Smith Center, Kansas On Labor Day, 1921, in San Francisco, Roscoe Arbuckle, actor Lowell Sherman, and Freddy Fishback gave a party. Hollywood parties of that era were often uninhibited, and the movie colony either deserved or aped its own reputation for wild living. This party drifted on for a couple of days and no one has ever accused it of being good clean fun. But a model, Virginia Rappe, died and, after initial accusations of rape and murder, Arbuckle was charged with manslaughter. The case against him was always thin, but he was a juicy suspect and two juries failed to reach a verdict before the third acquitted him, in March 1922, and went out of its way to remark, “We fee) that a great injustice has been done to him. ,.. Roscoe Arbuclde is entirely innocent and free from all blame.” But you had only to look at Arbuckle to know that, in many ways, he was far from innocent; the combined forces of scandalmon-gery and puritanism would not be dissuaded. Arbuckle was made a scapegoat, as though after calling a man “Fatty” for years and rejoicing at his humiliation on film the public could only move in on him with trained hostility. The Hearst press led the campaign against him, ensuring that many moviehouses boycotted his films. Will Hays then put pressure on Ar-buckle’s immediate employers, Joseph Schenck and Adolph Zukor, and he was barred from acting in movies again.
Thus the fat owl of the silent screen was removed, and this early spasm of rejection showed how fickle the public’s faith in its stars could be. The moral realities of Hollywood life were something the public hardly dreamed of; even so, one hint was enough to furnish it with nightmares that demanded cleansing action. Arbuckle’s own exaggerated ugliness drew upon him all the public’s hypocritical loathing of depravity. For some seven years he had been one of the leading figures in comedy. From vaudeville, he had gone to Keystone in 1909. By 1913, Sennett was giving him leading parts so that he was the featured player at the studio when Chaplin arrived from Britain. By 1914 he was directing his own films—one- or two-reelers, often in the company of Mabel Normand; Fatty and the Heiress; Fatty’s Finish; An Incompetent Hero, Fatty’.', Wine Party; Leading Lizzie Astray; Fatty’s Magic Pants; and Fatty and Minnie-He-Haw. He also appeared in some of the Chaplin films at Key-Roscoe (Fatty) Arbuckle 22
stone: A Film Johnnie; The Knock-Out: The Masquerader; and The Rounders (14), Fatty stayed at Keystone for two years alter Chaplin’s departure: Mabel and Fatty’s Wash Day; Fatty ami Mabel’s Simple Life; Mabel, Fatty and the Law, Mabel and Fatty’s and Married Life; Fatty’s Reckless Fling: Mabel and Fatty Viewing the World’s Fair at San Francisco, Col.; and Fickle Fatty’s Fall (15); Fatty and Mabel Adrift; He Did and fie Didn’t; His Wife’s Mistake; His Alibi; and A Cream Puff Romance (16). In 1917, Arbuckle and Schenck formed the Comtque Film Corporation with Fatty continuing to direct his own films. Mabel Normand did not go with him, but Fatty recruited the young Buster Keaton who appeared in a run of Arbuckle comedies: The Butcher Boy; Rough House; His Wedding Night; Fatty at Coney Island; Oh Doctor!; Out West (17); The Bell Boy; Goodnight Nurse; Moonshine; The Cook (18); A Desert Hero; Backstage; and The Garage (19). In 1920, Fatty made A Country Hero and in 1921 he played in The Dollar-a-Year Man (James Cruze) before disaster befell him.
Legend has it that Keaton cushioned some of the fall for Fatty—just as he often had in slapstick—by keeping him in funds and suggesting that he direct, under the name of “Will B. Goode.” In 1927—as William Goodrich—-he directed Marion Davies in The Red Mill for Cosmopolitan (Hearst’s company—such is the stamina of scandal) and Eddie Cantor in Special Delivery for Paramount. Apart from that, he made educational films until 1931, when he directed some com-edv shorts for Warners: Smart Work; Windy Rifey Goes to Hollywood (31); Keep Laughing; Moonlight and Cactus; Anybody’s Goat; Bridge Wives; Hollywood Luck; Mother’s Holiday; and It’s a Cinch (32). He died in New York in 1933 still fat, but Fatty forgotten.

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Michael Apted

b. Aylesbury, England, 1941 1963: 7 Vp (as assistant director) (d). 1968; Number 10 (TV). 1972: Another Sunday and Sweet F.A. (TV). 1973: Triple Echo/Soldier in Skirts. 1974: Kisses at Fifty (TV); Stardust. 1976: The Collection (TV); The Squeeze (TV); 21 (TV) (d), 1977: Stronger Than the Sun (TV). 1979: Agatha. 1980; Coal Miner’s Daughter, 1981: Continental Divide. 1982; Kipperbang (TV). 1983: Gorky Park. 1985; 28 Up (d);
Firstborn; Bring on the Night (d). 1987: Critical Condition. 1988; Gorillas in the Mist. 1989; The Long Way Home (TV). 1991: Class Action; 35 Up (d); Incident at Oglala (d), 1992: Thunderheart. 1994; BUnk.
Educated at City of London School and Cambridge, Apted trained with Granada TV and went on to work on World of Action and Corona/ion Street. He directed many films/plays for British TV before he broke into features in 1973. Yet he has never given up on television or documentaries. He has done commercials and he has produced several projects for cable in America.
Apted is not just an Englishman who has made an unusual commitment to American regionalism. He was born eight days before I was, and only fifty miles away—so I try to keep up with him. But since Apted’s interests are so varied, and his personality so fleeting, this is no easy task. We have only to note that, in 1991, he put together the latest installment in his survey of a group of English lives and a study of the Leonard Peltier case in South Dakota with the same decency and distance. In the same year, Class Action was a very conventional, very rigged but appealing study of a father and daughter who are lawyers and— wouldn’t you know it?—find themselves on opposite sides in a big civil suit.
That is barely the beginning. In successive years, Apted did what he could to handle that odd English mystery about the brief disappearance of Agatha Christie, and directed Coal Miners Daughter without being glaringly un-American. Throw in a very bad Richard Pryor film. Critical Condition, that fetching mix of documentary and career-woman melodrama, Gorillas in the Mist, and you can see how hard it is to account for Apted.
In truth, I do not detect more than proficient execution in his feature films. Apted’s most lasting work is the series of English documentaries, begun when he was an assistant on the program World In Action and continues with 21, 28 Up, and 35 Up. I’m not sure how many more of the series I want to see: many lives, but English lives especially, gather sadness as they grow older, and Apted is stuck with the people he found at the outset. How many are ready to die on-screen? How far could Apted’s rather removed, polite scrutiny stand up to all that demist:? Still, the series was a great idea, and anyone hoping to understand England should watch the films. 28 Up is the best of the bunch, probably because the people have energies and hopes still to burn.
I have to wonder whether Apted can yet find a way to deliver himself on-screen with
Rcwcoe (Fatty) Arbuclde
something like the desperate or exuberant force that drives some of the people in that series. Or is he really just a calm, faithful watcher?

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