Lloyd Bacon

Lloyd Bacon (born December 4, 1889, San Jose, California, U.S.—died November 15, 1955, Burbank, California) was an American director who made some 100 films and was known for his efficiency and businesslike approach; his popular movies included 42nd Street (1933) and It Happens Every Spring (1949).

(Read Martin Scorsese’s Britannica essay on film preservation.)

Early work

In 1911 Bacon became a member of David Belasco’s Los Angeles stock company of actors. He broke into films four years later as a heavy in comedy shorts. He worked with Charlie Chaplin in the mid-1910s before entering the military as a photographer for the U.S. Navy. After completing his service, Bacon returned to bit roles in Chaplin movies; between 1919 and 1921 he acted in more than 15 films. In 1922 Bacon began directing short films, and three years later he made the first of more than 10 shorts for Mack Sennett.

Warner Brothers

In 1926 Bacon joined Warner Brothers, where he would stay for nearly 18 years, during which time he became one of its top directors. His first feature for the studio was the cautionary melodrama Broken Hearts of Hollywood (1926). In 1928 he directed Women They Talk About and The Lion and the Mouse, both of which featured some spoken dialogue. Bacon then helmed The Singing Fool (1928), the follow-up to Al Jolson’s The Jazz Singer (1927), which was the first feature-length movie with synchronized dialogue and marked the ascendancy of “talkies.” In Bacon’s production, Jolson again regaled audiences with his singing, and the film was enormously popular.

In 1929 Bacon released five films, including Honky Tonk, with Sophie Tucker, and So Long Letty, a musical comedy via Broadway that included the standard “Am I Blue?” Moby Dick was the most enduring of Bacon’s efforts in 1930, with John Barrymore in the role of Captain Ahab. Over the next two years, Bacon helmed 11 films, ranging from the largely forgettable productions 50 Million Frenchmen and Gold Dust Gertie (both 1931), a pair of Ole Olsen and Chic Johnson comedies, to Crooner (1932), a dissection of the rise and fall of a radio star (David Manners) whose hubris is the instrument of his destruction.

In 1933 Bacon directed his most successful film to date, 42nd Street; he replaced the ailing Mervyn LeRoy. The archetypal backstage musical, it featured Ruby Keeler, Dick Powell, Ginger Rogers, and Warner Baxter. Even more critical to its success were the contributions of composers Al Dubin and Harry Warren and dance director Busby Berkeley. Picture Snatcher (1933) was not as big a hit, but it featured a notable performance by James Cagney as an unscrupulous news photographer who snaps a photograph no one else can get. The melodrama Mary Stevens, M.D., the classic backstage musical Footlight Parade, and Son of a Sailor, a solid vehicle for Joe E. Brown, rounded out 1933 for Bacon.

Wonder Bar (1934) transported the Warner Brothers musical formula to a Parisian nightclub with uneven results, the nadir being Jolson’s number “Goin’ to Heaven on a Mule,” sung in blackface to 200 black children dressed as angels. Bacon could not elevate either Here Comes the Navy or He Was Her Man despite the presence of Cagney, while both A Very Honorable Guy and 6 Day Bike Rider (all 1934) featured Brown again. Devil Dogs of the Air (1935) provided Cagney with the promising setting of the U.S. Marine Air Corps and an on-screen rivalry with Pat O’Brien, but again the result was unimpressive.

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Bacon returned to musical comedy with In Caliente and Broadway Gondolier (both 1935), the latter enhanced by the chemistry between Powell and Joan Blondell and the presence of the Mills Brothers. Bacon finished 1935 with two more Cagney vehicles, the sentimental boxing film The Irish in Us and Frisco Kid, a drama set in San Francisco’s Barbary Coast. Warner Brothers assigned Bacon just three productions in 1936: Sons o’Guns, with Brown fighting for the French during World War I; Cain and Mabel, a musical comedy–romance with Clark Gable and Marion Davies; and Gold Diggers of 1937, a return to the backstage formula with Powell and Blondell in the lead roles and Berkeley providing dance direction.

Marked Woman (1937) is considered among Bacon’s best pictures. Bette Davis starred as a “nightclub hostess”—because of the Production Code, she could not be identified as a prostitute—who agrees to testify against a mob boss after he kills her sister. Humphrey Bogart portrayed the prosecuting attorney. Inspired by Lucky Luciano, who was tried and convicted in 1936 of trafficking in prostitution after several of his “girls” testified against him, the film had a contemporary resonance. Bacon had less success with Ever Since Eve, a Davies comedy, and Submarine D-1 (both 1937), with O’Brien as the commander of a peacetime sub. Bogart starred in San Quentin (1937), but it was a mundane prison yarn, and his presence hardly registered. A Slight Case of Murder (1938), however, was a pleasant surprise. The amiable crime comedy was based on a play by Damon Runyon and Howard Lindsay, and it featured Edward G. Robinson in his Al Capone-like persona as a bootlegger gone straight.

In Cowboy from Brooklyn (1938), Powell played a cowhand who becomes a radio star thanks to a promoter (O’Brien), while Racket Busters (1938) was another in the series of formulaic gangster pictures Bogart was mired in at that point in his career. Boy Meets Girl (1938), from the Broadway play, featured Cagney and O’Brien as a pair of wise-guy Hollywood screenwriters, but Wings of the Navy (1939) was unadorned hokum about two pilots (George Brent and John Payne), both politely chasing after Olivia de Havilland. The Oklahoma Kid (1939) again paired Cagney and Bogart, but the film was largely forgettable.

Bacon’s spot in the Warner pecking order had been slipping for some time, but he did what he could with such second-tier properties as Indianapolis Speedway with O’Brien and Payne, Espionage Agent with Joel McCrea and Brenda Marshall, and A Child Is Born (all 1939) with Geraldine Fitzgerald as a convict sent to a maternity ward to have her baby. Invisible Stripes (1939) was better. The drama featured George Raft as an ex-convict who tries to keep his kid brother (William Holden) from hooking up with his erstwhile partner (Bogart). Bacon returned to melodrama with Three Cheers for the Irish (1940), which starred Thomas Mitchell as an over-the-hill beat cop.

Brother Orchid (1940) was a clever postgangster comedy, with Robinson as a reformed racketeer who hides out in a monastery only to discover that he likes the life. Knute Rockne–All American (1940) was one of the era’s best sports biopics, while Honeymoon for Three (1941) was an unremarkable comedy. Bacon got his one chance to direct Errol Flynn in Footsteps in the Dark (1941), which featured Flynn not as a swashbuckler or a war hero but as a gentleman sleuth in a rare comedic performance. Affectionately Yours, with Rita Hayworth, Merle Oberon, and Dennis Morgan, was poorly cast, but Navy Blues (both 1941), with Ann Sheridan and Martha Raye, fared better.

Larceny, Inc., Wings for the Eagle, and Silver Queen (all 1942) followed. Action in the North Atlantic (1943) was an exercise in patriotism, with Bogart and Raymond Massey defending their ship from a German submarine attack. It was probably Bacon’s best action picture at Warner Brothers, though it proved to be his last at the studio.