Frank Capra

Frank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was an Italian-born American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the " American Dream personified".Freer 2009, pp. 40–41.

Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations, along with three other Oscar wins from nine nominations in other categories. Among his leading films were ''It Happened One Night'' (1934), ''Mr. Deeds Goes to Town'' (1936), '' You Can't Take It with You'' (1938), and '' Mr. Smith Goes to Washington'' (1939). During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films, such as the ''Why We Fight'' series.The War Years; From Pearl Harbor to Dachau, many of Hollywood's top directors volunteered their creative talents to help win World War II. Their films from the front left a lasting document of the often brutal fight for freedom.
Directors Guild of America. Retrieved June 21, 2021.

After World War II, Capra's career declined as his later films, such as ''It's a Wonderful Life'' (1946), performed poorly when they were first released. In ensuing decades, however, ''It's a Wonderful Life'' and other Capra films were revisited favorably by critics. Outside of directing, Capra was active in the film industry, engaging in various political and social activities. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head 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 the former Rosaria "Serah" Nicolosi. Capra's family was Roman Catholic. The name "Capra", notes Capra's biographer Joseph McBride, represents his family's closeness to the land, and means "goat".McBride 1992, p. 16. He notes that the English word "capricious" derives from it, "evoking the animal's skittish temperament", adding that "the name neatly expresses two aspects of Frank Capra's personality: emotionalism and obstinacy."

In 1903, when he was five, Capra's family emigrated to the United States, traveling in a steerage compartment of the steamship ''Germania''—the least expensive way to make the passage. For Capra, the 13-day journey remained one of the worst experiences of his life:

Capra remembers the ship's arrival in New York Harbor, where he saw "a statue of a great lady, taller than a church steeple, holding a torch above the land we were about to enter". He recalls his father's exclamation at the sight:

The family settled in Los Angeles's East Side (today Lincoln Heights) on avenue 18, which Capra described in his autobiography as an Italian "ghetto".McBrid
1992, p. 34.
/ref> Capra's father worked as a fruit picker and young Capra sold newspapers after school for 10 years, until he graduated from high school. Instead of working after graduating, as his parents wanted, he enrolled in college. He worked through college at the California Institute of Technology, playing banjo at nightclubs and taking odd jobs like working at the campus laundry facility, waiting tables, and cleaning engines at a local power plant. He studied chemical engineering and graduated in the spring of 1918. Capra later wrote that his college education had "changed his whole viewpoint on life from the viewpoint of an alley rat to the viewpoint of a cultured person".

World War I and later

Soon after graduating from college, Capra was commissioned in the United States Army as a second lieutenant, having completed campus ROTC. In the Army, he taught mathematics to artillerymen at Fort Point, San Francisco. His father died during the war in an accident (1916). In the Army, Capra contracted Spanish flu and was medically discharged to return home to live with his mother. He became a naturalized U.S. citizen in 1920, taking the name Frank Russell Capra.Wakeman 1987, p. 96. Living at home with his siblings and mother, Capra was the only family member with a college education, yet he was the only one who remained chronically unemployed. After a year without work, seeing how his siblings had steady jobs, he felt he was a failure, which led to bouts of depression.

Chronic abdominal pains were later discovered to have been an undiagnosed burst appendix. After recovering at home, Capra moved out and spent the next few years living in flophouses in San Francisco and hopping freight trains, wandering the Western United States. To support himself, he took odd jobs on farms, as a movie extra, playing poker, and selling local oil well stocks.

During this time the 24-year-old Capra directed a 32-minute documentary film titled ''La Visita Dell'Incrociatore Italiano Libya a San Francisco''. Not only did it document the visit of the Italian naval vessel ''Libya'' to San Francisco, but also the reception given to the crew of the ship by San Francisco's L'Italia Virtus Club, now known as the San Francisco Italian Athletic Club.

At 25, Capra took a job selling books written and published by American philosopher Elbert Hubbard. Capra recalled that he "hated being a peasant, being a scrounging new kid trapped in the Sicilian ghetto of Los Angeles. ... All I had was cockiness—and let me tell you that gets you a long way."Stevens 2006, pp. 74–76.

Career

Silent film comedies

During his book sales efforts—and nearly broke—Capra read a newspaper article about a new movie studio opening in San Francisco. Capra phoned them saying he had moved from Hollywood, and falsely implied that he had experience in the budding film industry. Capra's only prior exposure in films was in 1915 while attending Manual Arts High School. The studio's founder, Walter Montague, was nonetheless impressed by Capra and offered him $75 to direct a one-reel silent film. Capra, with the help of a cameraman, made the film in two days and cast it with amateurs.

After that first serious job in films, Capra began efforts to finding similar openings in the film industry. He took a position with another minor San Francisco studio and subsequently received an offer to work with producer Harry Cohn at his new studio in Los Angeles. During this time, he worked as a property man, film cutter, title writer, and assistant director.Wakeman 1987, p. 97.

Capra later became a gag writer for Hal Roach's ''Our Gang'' series. He was twice hired as a writer for a slapstick comedy director, Mack Sennett, in 1918 and 1924. Under him, Capra wrote scripts for comedian Harry Langdon and produced by Mack Sennett, the first being ''Plain Clothes'' in 1925. According to Capra, it was he who invented Langdon's character, the innocent fool living in a "naughty world"; however, Langdon was well into this character by 1925.

When Langdon eventually left Sennett to make longer, feature-length movies with First National Studios, he took Capra along as his personal writer and director. They made three feature films together during 1926 and 1927, all of them successful with critics and the public. The films made Langdon a recognized comedian in the caliber of Charlie Chaplin and Buster Keaton. Capra and Langdon later had a falling out, and Capra was fired. During the following years, Langdon's films went into decline without Capra's assistance. After splitting with Langdon, Capra directed a picture for First National, '' For the Love of Mike'' (1927). This was a silent comedy about three bickering godfathers—a German, a Jew, and an Irishman—starring a budding actress, Claudette Colbert. The movie was considered a failure and is a lost film.

Columbia Pictures

Capra returned to Harry Cohn's studio, now named 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. Like the others, Columbia was unable to compete with larger studios, which often had their own production facilities, distribution, and theaters. Cohn rehired Capra in 1928 to help his studio produce new, full-length feature films, to compete with the major studios. Capra would eventually direct 20 films for Cohn's studio, including many of his classics.

Because of Capra's engineering education, he adapted more easily to the new sound technology than most directors. He welcomed the transition to sound, recalling, "I wasn't at home in silent films." Most studios were unwilling to invest in the new sound technology, assuming it was a passing fad. Many in Hollywood considered sound a threat to the industry and hoped it would pass quickly; McBride notes that "Capra was not one of them." When he saw Al Jolson singing in ''The Jazz Singer'' in 1927, considered the first talkie, Capra recalled his reaction:

Few of the studio heads or crew were aware of Capra's engineering background until he began directing ''The Younger Generation'' in 1929. The chief cinematographer who worked with Capra on a number of films was likewise unaware. He describes this early period in sound for film:

During his first year with Columbia, Capra directed nine films, some of which were successful. After the first few, Harry Cohn said: "it was the beginning of Columbia making a better quality of pictures." According to Barson, "Capra became ensconced as Harry Cohn's most trusted director." His films soon established Capra as a "bankable" director known throughout the industry, and Cohn raised Capra's initial salary of $1,000 per film to $25,000 per year. Capra directed a film for MGM during this period, but soon realized he "had much more freedom under Harry Cohn's benevolent dictatorship", where Cohn also put Capra's "name above the title" of his films, a first for the movie industry. Capra wrote of this period and recalled the confidence that Cohn placed in Capra's vision and directing:

Capra directed his first "real" sound picture, ''The Younger Generation'', in 1929. It was a rags-to-riches romantic comedy about a Jewish family's upward mobility in New York City, with their son later trying to deny his Jewish roots to keep his rich, gentile girlfriend. According to Capra biographer Joseph McBride, Capra "obviously felt a strong identification with the story of a Jewish immigrant who grows up in the ghetto of New York ... and feels he has to deny his ethnic origins to rise to success in America." Capra, however, denied any connection of the story with his own life.

Nonetheless, McBride insists that ''The Younger Generation'' abounds with parallels to Capra's own life. McBride notes the "devastatingly painful climactic scene", where the young social-climbing son, embarrassed when his wealthy new friends first meet his parents, passes his mother and father off as house servants. That scene, notes McBride, "echoes the shame Capra admitted feeling toward his own family as he rose in social status".

During his years at Columbia, Capra worked often with screenwriter Robert Riskin (husband of Fay Wray), and cameraman Joseph Walker. In many of Capra's films, the wise-cracking and sharp dialogue was often written by Riskin, and he and Capra went on to become Hollywood's "most admired writer-director team".Wakeman 1987, p. 98.

Film career (1934–1941)

''It Happened One Night'' (1934)

Capra's films in the 1930s enjoyed immense success at the Academy Awards. ''It Happened One Night'' (1934) became the first film to win all five top Oscars (Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay). Written by Robert Riskin, it is one of the first screwball comedies, and with its release in the Great Depression, critics considered it an escapist story and a celebration of the American Dream. The film established the names of Capra, Columbia Pictures, and stars Clark Gable and Claudette Colbert in the movie industry. The film has been called "picaresque". It was one of the earliest road movies and inspired variations on that theme by other filmmakers.Wakeman 1987, p. 99.

He followed the film with '' Broadway Bill'' (1934), a screwball comedy about horse racing. The film was a turning point for Capra, however, as he began to conceive an additional dimension to his movies. He started using his films to convey messages to the public. Capra explains his new thinking:

This added goal was inspired after meeting with a Christian Scientist friend who told him to view his talents in a different way:

Capra began to embody messages in subsequent films, many of which conveyed "fantasies of goodwill". The first of those was ''Mr. Deeds Goes to Town'' (1936), for which Capra won his second Best Director Oscar. Critic Alistair Cooke

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