Frank Capra

At 94 years old, Frank Capra has this physical status:

Frank Russell Capra (born Francesco Rosario Capra, 1897 – September 3, 1991) was an Italian film director, producer, and writer who became the creative force behind some of the 1930s and 1940s major award-winning films.

Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches tale has earned film historians such as Ian Freer to describe him as the "American Dream personified." "Capra was one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations, as well as three other Oscar winners from nine other categories."

It Happened One Night (1934), You Can't Take It With You (1938), and Mr. Smith Goes to Washington (1939); Capra was nominated as Best Director and as producer on all three films, winning both awards on the first two.

Capra served in the United States Army Signal Corps and made propaganda films, including the Why We Fight series, during World War II. Capra's career ended after World War II, as his later films, such as It's a Wonderful Life (1946), did poorly when they first appeared.

Despite this, critics have praised It's a Wonderful Life and other Capra films in recent decades.

Capra was involved in film production beyond directing, participating in various political and social activities.

He served as President of the Academy of Motion Picture Arts and Sciences, served with the Writers Guild of America, and was president of the Directors Guild of America.

Early life

Capra was born Francesco Rosario Capra in Bisacquino, a village near Palermo, Sicily, Italy. He was the youngest of seven children of Salvatore Capra, a fruit grower, and former Rosaria "Serah" Nicolosi. Capra's family was Roman Catholic. The name "Capra" refers to his family's closeness to the land and means "goat." "Capricious" derives from it, "evoking the animal's skittish temperament," he says, adding that "the term "describes two aspects of Frank Capra's personality: emotionalism and obstinacy."

Capra's family immigrated to the United States in 1903, travelling in a steerage compartment of the steamship Germania—the least costly way to get the passage. The 13-day journey for Capra was one of his life's most challenging experiences:

Capra recalls the ship's arrival in New York Harbor, where he saw "a statue of a great lady, higher than a church steeple," holding a torch above the land we were about to reach." He recalls his father's ecstatic shout at the sight: at the time, he recalls his father's screaming at the sight:

The family settled on avenue 18, which Capra characterized as an Italian "ghetto" in his autobiography. Capra's father worked as a fruit picker and young Capra sold newspapers after school for ten years until he graduated from high school. He enrolled in college rather than working after graduation, as his parents desired. He spent time at the California Institute of Technology, playing banjo at nightclubs, and doing odd jobs such as working at the campus laundry center, waiting tables, and cleaning engines at a local power plant. In the spring of 1918, he studied chemical engineering and graduated. Capra later wrote that his college education had "shifted his whole outlook on life from the viewpoint of an alley rat to the viewpoint of a cultured individual."

Personal life

Helen Howell, a 1923 actress, married Capra. In 1928, the two married. Lucille Warner married Lucille Warner in 1932, with whom he had a daughter and three sons, one of whom, Johnny, died at the age of 3 after a tonsillectomy.

Capra served as president of the Academy of Motion Picture Arts and Sciences for four decades and three times as president of the Directors Guild of America, which he helped found. He attempted to give directors more artistic control of their films under his presidency. He started as a director with a keen desire to teach science, but after his career as a filmmaker ended in the 1950s, he produced educational television films related to science subjects.

Capra was short, stable, and vigacious, and loved outdoor sports such as hunting, fishing, and peak climbing. He spent time in his later years writing short stories and songs, as well as playing guitar. During the 1930s and 1940s, he collected fine and rare books. Parke-Bernet Galleries auctioned six hundred and forty items from his "distinguished library" in New York in April 1949, selling for $68,000 ($774,400 today).

Frank Capra Jr., Jr., was the president of EUE Screen Gems Studios in Wilmington, North Carolina, before his death on December 19, 2007. Frank Capra III, his grandsons, brothers Frank Capra III, and Jonathan Capra have all served as assistant directors; Frank III appeared in Frank Capra's dialogue in 1995; he also referred to Frank Capra in the film's dialogue.

Capra's political convictions developed in his films, which promoted and celebrated the American individualism's spirit. During his tenure as governor of New York and opposed his presidency during the years of the Depression, a conservative Republican, Capra, slammed Franklin D. Roosevelt. During the national economic crisis, Capra protested government intervention.

Capra, a self-described pacifist, was incredibly critical of the Vietnam War in his later years.

In his youth, Capra wrote a "Christmas Catholic" in his name.

Capra's in later years returned to the Catholic Church in spirit; one who firmly believes that the anti-moral, academic bigots, and the Mafias of ill will cause havoc on faith; but that will never conquer the cross."

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Career

Capra read a newspaper article about a new movie studio opening in San Francisco during his book sales attempts—and almost broke. Capra phoned them and said he had moved from Hollywood and falsely stated that he had no expertise in the budding film business. Capra's first exposure to film was in 1915 while attending Manual Arts High School. Walter Montague, the studio's founder, was still impressed by Capra and gave him $75 to produce a one-reel silent film. Capra made the film in two days with the assistance of a cameraman, and the amateur cast it with amateurs.

Capra began attempting to find similar openings in film after her first serious job in film. He took up a second job at a small San Francisco studio and then was given the opportunity to work with producer Harry Cohn in Los Angeles's newest studio. During this period, he worked as a property manager, film editor, and assistant director.

Capra later became a gag writer for Hal Roach's Our Gang book. In 1918 and 1924, he was hired twice as a writer for Mack Sennett, a slapstick comedy director. Capra wrote scripts for comedian Harry Langdon and was produced by Mack Sennett, the first being Plain Clothes in 1925. It was he who created Langdon's character, the innocent fool living in a "naughty world," Capra says; however, Langdon was well into this role by 1925.

When Langdon left Sennett to make longer, feature-length films with First National Studios, he brought Capra along as his personal writer and director. They produced three feature films together between 1926 and 1927, all of whom were huge with critics and the public. Langdon was made a well-known comedian in the style of Charlie Chaplin and Buster Keaton's. Capra and Langdon died shortly after, and Capra was fired. Langdon's films devolved without Capra's assistance over the years. Capra supervised a photograph for First National, For the Love of Mike (1927), after splitting with Langdon. This was a silent comedy starring Claudette Colbert, a German, a Jew, and an Irishman. The film was considered a failure and is now a lost film.

Capra returned to Harry Cohn's studio, now Columbia Pictures, which was then producing short films and two-reel comedies for "fillers" to play between main features. Columbia was one of many start-up studios on "Poverty Row" in Los Angeles. Columbia was unable to contend with larger studios, which often had their own production, distribution, and theaters, as well as others. Cohn rehired Capra in 1928 to help his studio produce new, full-length feature films in order to compete with major studios. Capra would eventually direct 20 films for Cohn's studio, including all of his classics.

Capra's engineering education aided him in adapting to the latest sound technology more effectively than most directors. "I wasn't at home in silent films," he said as the transition went on. Most studios were hesitant to invest in the latest audio technology, assuming that it was a passing fashion. Many in Hollywood considered this a threat to the industry and wished it would pass quickly; McBride says "Capra was not one of them." Capra recalls his reaction when he saw Al Jolson on The Jazz Singer in 1927, the first talkie.

Until Capra began directing The Younger Generation in 1929, no one of the studios or crew was aware of his engineering experience until he began directing The Younger Generation. The chief cinematographer who worked with Capra on a number of films was also ignorant. He relates this early in sound for film:

Capra produced nine films in his first year with Columbia University, some of which were well-received. "It was the start of Columbia that had a higher quality of photos," Harry Cohn said. "Capra became ensconced as Harry Cohn's most trusted manager," Barson says. Capra's first film, "bankable" director known around the world, was soon established, and Cohn raised Capra's starting salary from $1,000 per film to $25,000 per year. Capra produced a film for MGM during this period, but then discovered he had much more autonomy under Harry Cohn's benevolent dictatorship, where Cohn even placed Capra's "name above the title" of his films, marking a first for the film industry. Capra wrote about this time and recalled the pride that Cohn had in Capra's vision and leadership: he recalled it.

In 1929, Capra produced his first "authentic" sound picture, The Younger Generation. It was a rags-to-riche romantic comedy about a Jewish family's ascension to New York City, with their son later trying to deny his Jewish roots in order to protect his wealthy, gentile mother. Capra "obviously felt a strong sympathy with the life of a Jewish immigrant who grows up in New York's ghetto, and he claims he must deny his ethnic origins in order to succeed in America," Capra biographer Joseph McBride writes. Capra, on the other hand, denied any connection between the tale and his own life.

Despite this, McBride maintains that The Younger Generation has a slew of parallels to Capra's own life. McBride addresses the "devastatingly sad climactic scene" in which the young social climber's embarrassed when his wealthy new friends first met his parents, has his mother and father off as house servants. "That scene," McBride writes, "echoes Capra's feeling toward his own family as he rose in social standing."

Capra worked with screenwriter Robert Riskin (husband of Fay Wray) and cameraman Joseph Walker during his time at Columbia. Riskin's scripts in several of Capra's films included wise-cracking and sharp dialogue, and he and Capra went on to become Hollywood's "most admired writer-director team."

At the Academy Awards, Capra's films in the 1930s had a huge success. One Night (1934) was the first film to win all five top Oscars (Best Picture, Best Actor, Best Actress, and Best Adapted Screenplay). It's one of the first screwball comedies, written by Robert Riskin, and critics consider it an escapist tale and a celebration of the American Dream. Clark Gable, Columbia Pictures, and actor Clark Gable and Claudette Colbert were among Capra, Columbia Pictures' names, as well as actress Clark Gable and Claudette Colbert in the film industry. The film has been described as "picaresque." It was one of the first road movies and other filmmakers' inspired it.

He was following Broadway Bill (1934), a screwball comedies about horse racing. Capra's film was a turning point for him, but it was also a turning point for him as he began to imagine an additional dimension to his films. He began broadcasting videos to the world.

Capra explains his new thinking:

After a meeting with a Christian Scientist friend who told him to see his gifts in a new way, this new aim was inspired.

In subsequent films, Capra began to portray messages, many of which conveyed "fantasies of goodwill." Mr. — the first of them. Deeds Goes to Town (1936), for which Capra received his second Best Director Oscar. Capra was "starting to make movies about themes rather than people," according to critic Alistair Cooke.

Capra received his third Director Award in five years for You Can't Take It With You, which also took Best Picture. Capra received three other film awards in addition to his three directing nominations (Lady for a Day, Mr. Smith Goes to Washington, and It's a Wonderful Life). Capra hosted the 8th Academy Awards Ceremony on May 5, 1936.

Although It's a Wonderful Life is his best-known film, Friedman notes that it was Mr. Smith Goes to Washington (1939), which most accurately represented the "Capta myth." Capra's patriotism was greater than any other, and "it presented the individual working within the political system to combat rampant societal injustice."

However, the film, not the film, became Capra's most controversial. During a press conference after Germany's recent acts of aggression in Europe, he was able to stand close to President Franklin D. Roosevelt.

Capra recalls his fears:

When the filming was complete, the studio sent preview copies to Washington. To Columbia head Harry Cohn, Joseph P. Kennedy Sr., the United States ambassador to the United Kingdom, wrote, "Please do not play this picture in Europe." Politicians were concerned about the possibility of a negative influence on the United States' allies' morale as World War II started. "This film will inevitably enhance the false belief that the United States is full of graft, mismanagement, and lawlessness," Kennedy told President Roosevelt. Many studio heads agreed, but they did not want to hear that Hollywood instilled in political leaders.

However, Capra's interpretation of the film's importance was clear: the film's significance was unambiguous:

Capra begged Cohn to allow the film to be released, but recalls the ferocity of their decision making:

Cohn and Capra chose to ignore the inflammatory press and calls and instead released the film as planned. It was later nominated for 11 Academy Awards, with one of them winning one (for Best Original Story) partially due to the number of major pictures submitted that year, including The Wizard of Oz and Gone with the Wind. Most analysts agreed with Hollywood columnist Louella Parsons' call it a "smash patriotic hit," as audiences left the theaters with "an enthusiasm for democracy" and "in a glow of patriotism."

The film's message was sent much earlier in France, shortly after World War II began. When the French people were asked to choose which movie they wanted to see most, they were told by the Vichy government that no more American films would be allowed in France anytime soon. The film most depicted democracy and the American way" in a France that is soon to be invaded and occupied by Nazi forces.

Meet John Doe (1941), which some consider Capra's most controversial film, was shot in 1941 by Capra. Gary Cooper's film's hero, Gary Cooper, is a retired baseball player now bumming around, lacking goals. A news reporter selects him to represent the "common man" in the popular American imagination. The film was released shortly before America's participation in World War II, but locals were also in a state of isolation. According to some commentators, the film was produced to promote a "deliberate reaffirmation of American values," but one that seemed uncertain with respect to the future.

Richard Glazer, a film critic, believes that the film may have been autobiographical, "reflecting Capra's own confusion." "John's accidental conversion from drifter to national star was likened to Capra's own drifting experience and subsequent involvement in filmmaking," Glazer explains.

Post-war career (1946–1961)

Capra, as well as film producers William Wyler and George Stevens, established Liberty Films after the war ended. In 1919, United Artists became the first independent company of directors, whose aim was to produce films without interference from studio owners. However, the only photographs by the studio were It's a Wonderful Life (1946) and State of the Union (1948). The first of these was a box office disappointment, but five Academy Awards were given to them.

Although the film did not have a following in 1946, its success has increased over the years, partially because of frequent airings during those years that it was commonly known to be in the public domain. Paraphrased (Under American rule, no work that ever entered the Public Domain will have its copyright restored.) However, none of the literally hundreds of tape resold copies of the film were able to bring a lawsuit to court, and not just them, but also others in the industry—not necessarily the film itself—could exploit the film in the public domain. The only thing against the actors who played the Bailey Children in the film was settled out of court, as the children and families of the actors were involved were still in school. The allegations relating to song copyrights in the film's soundtrack have deteriorated, with "California, Here I Come" slipping into the public domain. Frank Capra's best film, namely, the copyright status, is uncertain and in flux. The American Film Institute (AFI) named it one of the best films ever made in 1998, putting it at 11th place on AFI's list of the best American films of all time. The AFI's 100 Years...100 Cheers list ranked the film at the top of its AFI's 100 Years...100 Cheers list in 2006, ranked what AFI considers the best American films of all time. It will be Capra's last film to win major recognition—his heydays were behind him now, but five more films will be released over the next 14 years.

Capra changed studios in the State of the Union (1948). It would be his first time he's worked for Metro-Goldwyn-Mayer. Despite the fact that Spencer Tracy and Katharine Hepburn's film had a great pedigree, the film was not a success, and Capra's comment, "I think State of the Union was my most effective film in treating people and ideas" has few adherents today.

The United States was founded in 1952 in January 1952. At an International Film Festival in India, the ambassador to India requested Capra to represent the US film industry. Capra's State Department friend called him and explained why his trip was so vital:

After two weeks in India, Capra discovered that Bowles' worries were justified, as many film sessions were used by Russian and Chinese officials to give long political speeches. At a lunch with 15 Indian directors and producers, he stressed that "they must maintain their freedom as artists" and that any government interference would prevent that liberty. A totalitarian system — and after that, they would become nothing but publicity men for the party in power." Capra had a rough time expressing this, but he did a good job in his diary: Interestingly, he had a difficult time sharing this information:

Secretary of State Dean Acheson lauded Capra for his efforts to "virtually single-handedly foreshadowing a potential Communist take-over of Indian cinema." Ambassador Bowles expressed gratitude to Capra for their "one helluva job."

Capra's themes were becoming out of step with shifts in the film industry and the public mood, as shown by his book "It's a Wonderful Life and State of the Union, which were published shortly after the war ended. Friedman argues that although Capra's theories were popular with depression and prewar audiences, they became less relevant to a prospering postwar America. During the previous decade, Capra was "disconnected from an American culture that had changed." Capra's disillusionment, according to biographer Joseph McBride, was more due to the negative impact that the House Un-American Activities Committee (HUAC) had on the film industry in general. Many Hollywood careers were postponed as a result of the HUAC's in the early 1950s. Capra himself was not called to testify, though he was a leading suspect of the investigation due to his friendship with several Hollywood blacklisted screenwriters.

Capra owed his early retirement from film to the actor's increasing fame, which required him to constantly compromise his artistic vision. He also stated that rising budgetary and scheduling demands had strained his creative skills. Michael Medved, a film critic, agreed with Capra, noting that he walked away from the film industry because "he refused to conform to the new order's cynicism." Capra's autobiography, written in 1971, expressed his reservations about the burgeoning film industry:

"Almost all of Hollywood film-making today is stooping to cheap salacious pornography in a bizarre bastardization of a great art to compete for deviates and masturbators," Capra said.

Capra remained employable in Hollywood during and after the HUAC hearings, but he demonstrated his loyalty by re-enlisting in the Army immediately after the Korean War began in 1950. He was refused due to his age. He was later invited to participate in VISTA, the Defense Department's newly established Think Tank Initiative, but was refused the required authorization. "These two rejections were devastating to the man who had spent his career in film, as well as his directing award-winning documentary films for the Army," Friedman said.

Bing Crosby, Riding High (1950) and Here Comes the Bride (1951), Capra directed two films at Paramount Pictures starring Bing Crosby, Riding High (1950). Capra effectively stopped filmmaking at the age of 55, moving from Hollywood filmmaking to science fiction at the California Institute of Technology, his alma mater.

Capra produced four science-related television specials in color for The Bell System Science Series: Our Mr. Sun (1956), Hemo the Magnificent (1957), and Meteora: The Unchained Goddess (1958). For about 30 years, these educational science documentaries were a hit in school science classrooms. It was eight years before he directed A Hole in the Head (1959), with Frank Sinatra and Edward G. Robinson in his first film in color. He died in his last dramatic film, Pocketful of Miracles (1961), a recreation of his 1933 film Lady for a Day. He worked on pre-production for a Martin Caidin's novel Marooned in the mid-1960s, but he later decided he couldn't make the film on the $3 million budget he was given, so he scrapped it. (In 1969, a film adaptation was finally produced, but with an $8 million budget, directed by John Sturges.)

Rendezvous in Space, Capra's last film (1964), was an industrial film made for the Martin Marietta Company and screened at the 1964 New York World's Fair. After the Fair ended, it was displayed at the New York Hall of Science.

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