Arthur Lubin

Arthur Lubin (July 25, 1898 – May 11, 1995) was an American film director and producer who directed several Abbott & Costello films, Phantom of the Opera, the Francis the Talking Mule film series and created the talking-horse TV series Mister Ed. A prominent director for Universal Pictures in the 1940s and 1950s, he is perhaps best known today as the man who gave Clint Eastwood his first contract in film.

Early life Arthur William Lubovsky was born in Los Angeles in 1898. His father, William Lubovsky, had come to the US from Poland in 1889. He originally lived in Willsborough, Pennsylvania then moved to California. Lubovsky changed his name to Lubin in honor of filmmaker Siegmund Lubin and became a salesman.

His family moved to Jerome, Arizona, when Arthur was five. He was interested in acting at an early age, appearing in local Sunday school productions, with the encouragement of his mother, who died when Lubin was six. His father remarried and Lubin was sent away to the Page School for Little Boys, a military school. The family moved from Jerome to San Diego when Lubin was eight for the climate, to help with his step-mother's health. He managed the music and drama clubs at high school and said a key influence was playing the title role in The Vicar of Wakefield.

He joined the San Diego Stock Company at $12 a week; the director was John Griffith Wray and the actors including Harold Lloyd.

As a child he had worked as a water boy for touring theatre companies, such as the Virginia Brissoe stock company, and volunteered for circuses. He briefly served in the navy in World War One and attended Carnegie Tech, where he studied drama and made money by shifting scenery and props. On graduation from college in 1922, he decided to become an actor. He started appearing at the Pasadena Playhouse and was soon seen by talent scouts and put in films.

He worked as a drama coach at Canadian Steel Mills before following one of his college drama teachers, B. Iden Payne, to New York.

Lubin later said "Whatever personality I had on the stage certainly wasn't photogenic. I was a little disappointed in the way I looked." He later said "every part that Joseph Schildkraut did in New York, I did... on the Coast [Los Angeles]".

He appeared in Liliom. In 1925 he and some friends were charged with obscenity by the Los Angeles police for putting on a production of Eugene O'Neill's Desire Under the Elms.

His films as an actor included The Woman on the Jury (1924), His People (1925), Bardelys the Magnificent (1926) with John Gilbert for King Vidor, Millionaires (1926), Afraid to Love (1927), The Wedding March (1928), The Bushranger (1928), Eyes of the Underworld (1929) and Times Square (1929), an early talking picture.

Over time Lubin's interests increasingly leant towards directing. "On the stage I had a personality I never had in pictures," he said. "That's one of the reasons I got the hell out of acting."

"Every director should have acting experience," he later said. "You can talk their language. You know the problems. You know how the scene should be acted. Too many directors are former writers. They have the scene in their mind but they don't know what the actor has to do to interpret it."

He worked for nine months for the Ray-Minor Company, a subsidiary of Paramount. He later sued them for unpaid wages. However working for Ray-Minor which brought him to the attention of that studio's chief, B.P. Schulberg.

Paramount In June 1932, Lubin returned to Hollywood to work for William Le Baron at Paramount as an associate producer. His contract included the right to return to New York in the first six months to produce and direct a play. He assisted Le Baron on films such as Hot Saturday, Night After Night, She Done Him Wrong' and Hello Everybody'.

Lubin began directing Little Theatre in his spare time, including productions of Lilliom, and got reputation for doing "outstanding work". He was fired from Paramount as part of an economy drive. He later made Frisco Waterfront (1935) and The House of a Thousand Candles (1936). These were produced by Nat Levine. In August 1935, Variety wrote about Republic, "under such fast production methods and with the limited budget [around $50,000 a film], training here is perfect for a jump into the big league. Arthur Lubin started with Republic last year, has so far turned out three good pictures." He was reportedly directing The Leavenworth Case but is not credited on the film.

Universal In 1936, he signed a contract with Universal starting 15 April. His first film for them was Yellowstone (1936). He was also asked to reshoot and recut parts of Nobody's Fool.

It was followed by Mysterious Crossing (1936), then a series of films with a young John Wayne: California Crossing (1937), I Cover the War (1937), Idol of the Crowds (1937) and Adventure's End (1937). "No one thought that Duke would ever amount to anything," recalled Lubin. The films were shot in six days. "I had the reputation of doing pictures quickly and bringing them in on schedule," he said.

In August 1937, he was in a car crash.

After Midnight Intruder (1938) with Louis Hayward, Lubin went over to Warner Bros., for The Beloved Brat (1938) then returned to Universal: Prison Break (1938), Secrets of a Nurse (1938), Newsboys' Home (1938), Risky Business (1939), Big Town Czar (1939), Mickey the Kid (1939), Call a Messenger (1939, with The Little Tough Guys), and The Big Guy (1939). Lubin said "possibly one of the reasons I was used so much at Universal was my very wonderful early training as a director under Trem Carr."

A higher profile project was Black Friday (1940), with Boris Karloff and Bela Lugosi. He went back to Republic to make Gangs of Chicago (1940) then returned to Universal: Meet the Wildcat (1940), I'm Nobody's Sweetheart Now (1940), Who Killed Aunt Maggie? (1940), The San Francisco Docks (1941) and Where Did You Get That Girl? (1941).

Abbott and Costello Lubin's career received a big break when he was assigned to direct the first Abbott and Costello star vehicle, Buck Privates (1941). The movie was a big hit, earning $4 million – Lubin, who was paid $350 a week, was given a $5,000 bonus. "It was very little credit to the director," said Lubin later. "It consisted mainly of fabulous gags that these two wonderful guys knew from years and years of being in burlesque."

He directed the double act's next four movies, In the Navy (1941), which earned him another $5,000 bonus, Hold That Ghost (1941), shot before In the Navy but released afterwards, Keep 'Em Flying (1942) and Ride 'Em Cowboy (1942), shot before Keep 'Em Flying but released afterwards. All the films were successful – the services comedies between them brought in over $6 million and Variety magazine named Lubin the most commercially successful director in Hollywood in 1941. Variety said "Lubin, who was considered just another camera flagger, is now the leader of the entire topflight group of directors with respect to getting coin into the box office."

Lubin would use two cameras directing the duo, one on a two shot, the other on Lou. He said the cameras were on a dolly because the team could not be trusted to stay in position.

However Lubin says after the fifth film he asked if he could work on other movies: They came on the set late, they didn't know their lines, and I think they were beginning to get tired of one another. They were bored. and for the first time they were beginning to complain about the scripts. But it was five fabulous pictures with the boys. They were very good for me. They gave me a reputation. I learned everything about timing from them. And I think I was very good for them, in this respect: not their routines, but in trying to give them some class. Whenever they got crude or rude, I'd try to soften it. And I tried in all my set-ups to keep a balance of refinement against the earthiness of some of their routines.

At Universal and other studios In January 1942, Lubin was assigned to an expensive war film, Eagle Squadron (1942), which was a massive hit. He was now established as one of Universal's leading directors. In 1942, The New York Times published a profile on the director which commented: On the set, Lubin is personally intense, but an easy boss to his casts. He is friendly and witty. Players like to work for him. He strives to keep them relaxed for the cameras. Holding a pow-wow before rehearsing a scene, he will frequently sit cross legged on the floor with the players seated about him. But when the camera starts going, so does Lubin. He is a pacer... He pantomimed all the parts Delightfully Dangerous (1945) was made for Hunt Stromberg and his old boss Charles Rogers at United Artists. Back at Universal he made The Spider Woman Strikes Back (1946), which he said he "hated" and did not want to do but the studio threatened to put him on suspension.

This was followed by the expensive box office disappointment Night in Paradise (1946). After the failure of this movie, Universal elected not to review his contract.

Francis the Talking Mule He bought the rights to a series of books about Francis the Talking Mule and set up the project as a film at Universal. Francis (1950) was a big hit, leading to a series of films directed by Lubin, in which the director had a percentage of the profits. Francis Goes to the Races (1952) was the first sequel.

Lubin also made Queen for a Day (1951) for United Artists, and Rhubarb (1951) for Paramount. The latter film is about a cat that inherits a baseball team by proxy. Lubin was worried about being typed as an animal director. "Everyone seems to forget I once directed John Wayne," he said.

He made Francis Goes to West Point (1952), It Grows on Trees (1952), which was Irene Dunne's last film, South Sea Woman (1953) with Burt Lancaster at Warner Bros, and Francis Covers the Big Town (1953). He complained during filming the latter that he was becoming typecast as an animal director. He hoped to make The Interruption from a suspense story by W. W. Mason "just to remind producers that I can direct people too."

After the swashbuckler Star of India (1954) at United Artists, shot in England, there was Francis Joins the WACS (1954) before he succeeded in filming Interruption in England; this was later titled Footsteps in the Fog (1955).

Lady Godiva of Coventry (1955) was a period swashbuckler with Maureen O'Hara. It featured a young Clint Eastwood who Lubin had put under personal contract. Eastwood had a larger role in Francis in the Navy (1955), Lubin's last Francis movie; both he and star Donald O'Connor elected not to appear in Francis in the Haunted House (1956). Lubin then was let go by Universal; the directed later blamed this on the failure of Lady Godiva.

Later films and television Eastwood was given another support role in two films Lubin made for his own company released through RKO, The First Traveling Saleslady (1956) and Escapade in Japan (1957). In May 1956 Eastwood signed an exclusive three-year deal with Lubin.

Television In the late 1950s, Lubin got involved in television. He directed episodic TV shows like Bronco (1958), New Comedy Showcase, Maverick (1959), Bonanza (1960), and The Addams Family (1965).

Mr Ed His best known work was Mister Ed. Lubin had wanted to make a TV series based on Francis but was not able to secure the rights. Instead he optioned a series of short stories about a talking horse, Mr Ed, back in 1957. The pilot was financed by comedian George Burns, but Lubin was unable to sell it to a network. He decided to sell the show into syndication first, got a sponsor and managed to finance 26 episodes until the show was picked up by CBS. The show ran for six seasons and 143 episodes. Star Alan Young recalled the producer-director: He was a very lovable character, but he was a character. He wanted to rush through and get things done quickly, and he didn't want to stay around the studio too long. I'll never forget one line he used. He didn't like people fooling around on the set, cracking jokes. He really didn't have a great sense of humor for a man who did so many comedies! I'll never forget when he said: "Stop that! Stop all this laughing! This is comedy, there's no time for laughter!" Well, we just all broke up. He didn't realize what he said, he didn't care. As a longtime friend of Mae West, Lubin got her to appear on an episode of Mister Ed.

He directed the occasional feature, such as The Thief of Baghdad (1961), The Incredible Mr. Limpet (1964, with Don Knotts) and Hold On! (1966, with Herman's Hermits). Peter Noone who appeared in the latter remembers, "Arthur Lubin was really talented. He made us better than we actually were, which is what a good director does. I mean, this band was not exactly ready for Stanislavski."

Lubin's last feature was Rain for a Dusty Summer (1971). His last work was the 1978 Little Lulu TV special on ABC Weekend Special. Lubin's career ended in the late 1970s.

Personal life Lubin was gay and for many years lived with Frank Burford.

Death He died at the Autumn Hills nursing home in Glendale, California, on May 11, 1995, at age 96.

Hospital worker and serial killer Efren Saldivar allegedly told people he killed dozens of sick and elderly patients; there was some fear that Lubin was one of these.

Appraisal Lubin said he directed 69 films of which "eight have been miserable flops".

Filmography

As director or producer

A Successful Failure (1934) Great God Gold (1935) Honeymoon Limited (1935) Two Sinners (1935) Frisco Waterfront (1935) The House of a Thousand Candles (1936) Yellowstone (1936) Mysterious Crossing (1936) California Straight Ahead! (1937) I Cover the War (1937) Idol of the Crowds (1937) Adventure's End (1937) Midnight Intruder (1938) The Beloved Brat (1938) Prison Break (1938) Secrets of a Nurse (1938) Newsboys' Home (1938) Risky Business (1939) Big Town Czar (1939) Mickey the Kid (1939) Call a Messenger (1939) The Big Guy (1939) Black Friday (1940) Gangs of Chicago (1940) Meet the Wildcat (1940) I'm Nobody's Sweetheart Now (1940) Who Killed Aunt Maggie? (1940) The San Francisco Docks (1940) Where Did You Get That Girl? (1941) Buck Privates (1941) In the Navy (1941) Hold That Ghost (1941) Keep 'Em Flying (1941) Ride 'Em Cowboy (1942) Eagle Squadron (1942) Keeping Fit (1942) (short) To the People of the United States (1943) White Savage (1943) Phantom of the Opera (1943) Ali Baba and the Forty Thieves (1944) Delightfully Dangerous (1945) The Spider Woman Strikes Back (1946) Night in Paradise (1946) New Orleans (1947) Impact (1949) Francis (1950) Francis Goes to the Races (1951) Queen for a Day (1951) Rhubarb (1951) Francis Goes to West Point (1952) It Grows on Trees (1952) Gobs in a Mess (1953) – short South Sea Woman (1953) Francis Covers the Big Town (1953) Star of India (1954) Francis Joins the WACS (1954) Footsteps in the Fog (1955) Francis in the Navy (1955) Lady Godiva of Coventry (1955) The First Traveling Saleslady (1956) – also producer Escapade in Japan (1957) – also producer The Thief of Baghdad (1961) The Incredible Mr. Limpet (1964) Hold On! (1966) Mister Terrific (1967) Rain for a Dusty Summer (1971)

As actor

The Woman on the Jury (1924) His People (1925) Bardelys the Magnificent (1926) Millionaires (1926) Afraid to Love (1927) The Wedding March (1928) The Bushranger (1928) Eyes of the Underworld (1929) Times Square (1929)

Unmade films Sheila (1946) with Geraldine Fitzgerald – "the story of a woman to 40" Lady from Lloyds (1947) Babes in Toyland (1948) Miss Brown My Mother (circa 1952) – based on story by Leonard Merrick Wisdom of the Serpent (1952) The Israeli Story – romantic comedy set in Israel (circa 1957) The Digger (1962) – about a man who falls for a steam engine

Partial TV credits

The Ed Wynn Show (1958) Westinghouse Desilu Playhouse (1959) – "The Comeback" Bronco (1959) 77 Sunset Strip (1959) The Deputy (1959–60) Maverick (1959–60) The Alaskans (1960) Cheyenne (1960) Lawman (1960) New Comedy Showcase (1960) Bonanza (1960) Mister Ed (1961–66) – also producer The Addams Family (1965) The Double Life of Henry Phyfe (1966) The Pruitts of Southampton (1967) Mr. Terrific (1967) ABC Weekend Specials (1978–81) – "If I'm lost, How Come I Found You?" (1978), "Little Lulu" (1978), "Arthur the Kid" (1981)

Theatre credits The Taming of the Shrew (1916) – San Diego – actor The Red Poppy (20 Dec – Dec 1922) – actor Anything Might Happen (20 Feb – April 1923) – actor He Who Gets Slapped (1924) – Pasadena Playhouse, Los Angeles – actor Lilliom (1924) – Hollywood Art Theatre, Los Angeles – actor The Failures (1924) – The Potboilers, Los Angeles – actor Justice (1925) – Los Angeles – actor Hell Bent for Heaven (1925) – actor Madam or Saint (1925) – actor The Waltz of the Dogs (1925) – actor The Dream Play (1925) – Pasadena Players, Los Angeles – actor Monna Vanna (16 Nov 1925 for two weeks) – Pot Boiler Theatre, Los Angeles = with Ian Keith Desire Under the Elms (March 1926) The Great God Brown (26 Aug 1926 for two weeks) – Pasadena Playhouse Loyalties (April 1927) Jealousy with Fay Bainter (Jan 1929) This One Man (21 Oct – Nov 1930) – New York – director – cast included Paul Muni When the Bough Breaks (16 Feb – March 1932) – New York – director Her Man of Wax (11 Oct – Oct 1933) – director Growing Pains (23 Nov – Dec 1933) – director Lilliom (1933) – Pasadena Playhouse, Los Angeles – actor The Green Bay Tree (May 1934) – Belasco Theatre – director City Without Jews (1934) – Pasadenia Playhouse, Los Angeles – director This Young World (May 1948) – Pasadena Playhouse, Los Angeles – director – all-child cast included Dwayne Hickman and Darryl Hickman