12 Screwball Facts About Frank Capra

Wikimedia Commons // Public Domain
Wikimedia Commons // Public Domain

Back in the 1930s and ‘40s, Frank Capra was one of the most famous directors in Hollywood. The creator of such movies as It Happened One Night (1934), Mr. Smith Goes To Washington (1939), and It’s a Wonderful Life (1946), Capra was famous for churning out screwball comedies with heart. Though some critics derisively called the gee-whiz sincerity of his films “Capra-corn,” the director—who was born into a working class Italian family—was proud to make movies that championed the so-called “little guy.” Here are 12 screwball facts you might not know about Frank Capra, on the anniversary of his passing.

1. HE IMMIGRATED TO AMERICA AS A CHILD.

Born in Sicily in 1897, Capra was six years old when his family moved to Los Angeles in 1903, settling in a predominantly Italian neighborhood. In his 1971 autobiography, The Name Above The Title, Capra described traveling in steerage on the boat ride to America as one of the most miserable experiences of his young life, and seeing the Statue of Liberty as the boat arrived in New York as one of the most inspiring.

Once in Los Angeles, Capra’s entire family, including his young siblings, began working, struggling to make ends meet. Capra, who sold newspapers, waited tables, and worked at a laundromat, as a tutor, and at a power plant, became the only one of his six siblings to attend college, graduating from Caltech in 1918 with a degree in chemical engineering.

2. HE CONNED HIS WAY INTO HIS FIRST FILM JOB.

After college, Capra drifted. Unable to find work in chemical engineering, he took a series of odd jobs, finally ending up as an unsuccessful—and almost broke—book salesman in San Francisco. He read about a new San Francisco film studio called Fireside Productions in the newspaper, and decided to try his hand at making moving pictures. He showed up at the studio, announced that he’d just arrived from Hollywood, and fast-talked his way into his first directing role.

“So what’s a little lie if you haven’t got to eat?” Capra asked in his autobiography, recalling, “I was trapped by my own chicanery. Seething with enthusiasm, yet scared stiff of exposure, I stood in a spotlight of my own lighting. Only the surge of adventure and the god-awful gall of the ignorant would lead me to think I could get away with it.”

3. HE INSISTED ON FULL CREATIVE CONTROL.


Wikimedia Commons // Public Domain

From the earliest days of his directing career, Capra refused to work on any project on which he wouldn’t have full control, modeling himself after other auteurs like D.W. Griffith and Charlie Chaplin. “That simple notion of ‘one man, one film’ (a credo for important filmmakers since D.W. Griffith), conceived independently in a tiny cutting room far from Hollywood, became for me a fixation, an article of faith,” he explained in his autobiography. “I walked away from the shows I could not control completely from conception to delivery.”

4. HE SOMETIMES TORTURED HIS ACTORS.

With his background in chemical engineering, Capra was not only a great director, but a great technical innovator, who was constantly creating new devices and strategies for achieving more realistic technical effects in his movies. But, while many of his innovations were ingenious, they also took a toll on his actors. On Lost Horizon (1937), for instance, he insisted on shooting much of the film inside an industrial cold storage warehouse at below freezing temperatures, which he converted into a sound stage, in order to achieve the most realistic snow effects.

On the South Pole film Dirigible (1931), which was shot during a Los Angeles heat wave, Capra forced his actors to hold tiny cages of dry ice in their mouths as they acted, in order to make their breath appear. Frustrated with trying to speak around the tiny cage, lead actor Hobart Bosworth decided to get rid of the cage and simply held the ice in his mouth, unprotected. “True trouper that he was, he flung away the cage—and plopped the square piece of dry ice into his mouth as he would a big pill,” Capra recalled. “He fell to the salted ground groveling and screaming. We ran to him. We couldn’t open his jaws! In a panic we rushed him to the emergency hospital in Arcadia.” In the end, Bosworth lost three lower back teeth, two uppers, and part of his jawbone.

5. HE WAS HUMILIATED AT HIS FIRST OSCARS CEREMONY.

In 1934, both Frank Capra and Frank Lloyd were nominated for Best Director (Capra for Lady For a Day, Lloyd for Cavalcade). During the ceremony, host Will Rogers announced the winner of the award by yelling, “C’mon get it, Frank!” Capra, assuming he had won, leapt from his seat and made to the front of the room, before realizing Frank Lloyd was the winner. “I wished I could have crawled under the rug like a miserable worm,” Capra wrote. “When I slumped into my chair I felt like one. All my friends at the table were crying.”

6. IT HAPPENED ONE NIGHT WASN'T AN IMMEDIATE HIT.

Though it went on to win five Oscars (becoming the first film to win the so-called Big Five: Best Picture, Best Actress, Best Actor, Best Writer, and Best Director), It Happened One Night wasn’t an immediate hit with critics. The Clark Gable-Claudette Colbert romantic comedy was dismissed as fluff by a slew of critics (“to claim any significance for the picture … would of course be a mistake,” wrote The Nation). But the moment it hit theaters, the film was embraced by audiences throughout America. “Then—it happened. Happened all over the country—not in one night, but within a month,” recalled Capra. “People found the film longer than usual and, surprise, funnier, much funnier than usual.”

7. POLITICIANS WEREN'T HAPPY ABOUT MR. SMITH GOES TO WASHINGTON.


Wikimedia CommonsPublic Domain

While audiences and critics loved Jimmy Stewart’s naive and idealistic Jefferson Smith in Mr. Smith Goes to Washington, politicians and members of the Washington press weren’t so pleased. While some politicians were simply angry with the way Capra portrayed the Senate as equal parts bumbling and corrupt (Senator Alben W. Barkley called the film a “grotesque distortion,” complaining it “showed the Senate as the biggest aggregation of nincompoops on record!”), others argued the film would make America a laughing stock abroad, which on the eve of World War II, could be dangerous. Joseph P. Kennedy, the American Ambassador in London at the time, went so far as to write to Capra, requesting he withdraw the film from European distribution, saying it “would do untold harm to America’s prestige in Europe.”

But Capra disagreed. Despite its uneven portrayal of Washington’s politicians, he saw the film as a celebration of democratic ideals and freedoms—as did many people abroad. According to a 1942 article in The Hollywood Reporter, Mr. Smith was chosen by many French movie theaters as the final American film to screen before the implementation of the Nazis’ ban on American and British entertainment.

8. IT'S A WONDERFUL LIFE WAS HIS FAVORITE FILM.

Capra saw It’s a Wonderful Life as his ultimate triumph: a film made to inspire and delight his fans, with no concern for the critics. “I thought it was the greatest film I ever made,” Capra said. “Better yet, I thought it was the greatest film anybody ever made. It wasn't made for the oh-so-bored critics or the oh-so-jaded literati. It was my kind of film for my kind of people."

9. HE POPULARIZED THE WORD "DOODLE."

In the 1930s, the word “doodle” was generally used in reference to the act of goofing around. But in Mr. Deeds Goes To Town (1936), Capra gave the word new meaning. Though it’s unknown whether Capra reinvented the word or popularized a bit of obscure regional slang, it was with Mr. Deeds that the majority of America was introduced to the term “doodle,” in the sense of absentminded or distracted drawing. In the film, Longfellow Deeds (Gary Cooper) tells the judge that “doodler” is “a word we made up back home to describe someone who makes foolish designs on paper while they’re thinking.”

The film is also credited with the brief popularization of the word “pixilated,” not in relation to images or computers, but in reference to pixies. In Mr. Deeds, the term is used to describe people who are a little bit crazy, as if possessed by spirits.

10. JEAN ARTHUR WAS HIS FAVORITE ACTRESS.

Capra had a team of regular collaborators both on and off screen: In the 1930s, he co-wrote eight movies with the help of screenwriter Robert Riskin, worked with composer Dimitri Tiomkin for nearly a decade, and repeatedly cast (or tried to cast) Barbara Stanwyck, Jimmy Stewart, and Gary Cooper in many of his films. But of all the many performers he worked with over his long career, it was the talent and nervous energy of Jean Arthur that stuck with him most.

Arthur appeared in the Capra films Mr. Deeds Goes To Town, You Can’t Take It With You (1938), and Mr. Smith Goes To Washington. “Jean Arthur is my favorite actress. Probably because she was unique. Never have I seen a performer plagued with such a chronic case of stage jitters. I’m sure she vomited before and after every scene,” Capra wrote in his autobiography. “But push that neurotic girl forcibly, but gently, in front of the camera and turn on the lights—and that whining mop would magically blossom into a warm, lovely, poised, and confident actress.”

11. HE ENLISTED IN WORLD WARS I AND II, BUT NEVER MADE IT TO COMBAT.

Frank Capra
Getty Images

Though Capra eagerly enlisted in both World Wars, his expertise—first as an engineer, and later as a filmmaker—kept him off the front lines. During World War I, Capra taught ballistic mathematics to artillery officers in San Francisco, while he spent World War II directing Why We Fight, a documentary series meant to inspire and inform American troops.

12. HE WAS PROUD OF MAKING "GEE WHIZ" FILMS.

Many of Capra’s films, though packed with wit, had an undercurrent of idealism that critics sometimes accused of being overly naive or sentimental. But Capra, who believed his comedies should “say something,” was proud of making optimistic movies. “There is a type of writing which some critics deploringly call the ‘gee whiz’ school. The authors they point out, wander about wide-eyed and breathless, seeing everything as larger than life,” he wrote in his autobiography. “If my films—and this book—smack here and there of gee whiz, well, ‘Gee whiz!’ To some of us, all that meets the eye is larger than life, including life itself. Who can match the wonder of it?”

16 Biting Facts About Fright Night

William Ragsdale stars in Fright Night (1985).
William Ragsdale stars in Fright Night (1985).
Columbia Pictures

Charley Brewster is your typical teen: he’s got a doting mom, a girlfriend whom he loves, a wacky best friend … and an enigmatic vampire living next door.

For more than 30 years, Tom Holland’s critically acclaimed directorial debut has been a staple of Halloween movie marathons everywhere. To celebrate the season, we dug through the coffins of the horror classic in order to discover some things you might not have known about Fright Night.

1. Fright Night was based on "The Boy Who Cried Wolf."

Or, in this case, "The Boy Who Cried Vampire." “I started to kick around the idea about how hilarious it would be if a horror movie fan thought that a vampire was living next door to him,” Holland told TVStoreOnline of the film’s genesis. “I thought that would be an interesting take on the whole Boy Who Cried Wolf thing. It really tickled my funny bone. I thought it was a charming idea, but I really didn't have a story for it.”

2. Peter Vincent made Fright Night click.

It wasn’t until Holland conceived of the character of Peter Vincent, the late-night horror movie host played by Roddy McDowall, that he really found the story. While discussing the idea with a department head at Columbia Pictures, Holland realized what The Boy Who Cried Vampire would do: “Of course, he's gonna go to Vincent Price!” Which is when the screenplay clicked. “The minute I had Peter Vincent, I had the story,” Holland told Dread Central. “Charley Brewster was the engine, but Peter Vincent was the heart.”

3. Peter Vincent is named after two horror icons.

Peter Cushing and Vincent Price.

4. The Peter Vincent role was intended for Vincent Price.

Roddy McDowall in Fright Night (1985)
Roddy McDowall as Peter Vincent in Fright Night (1985).
Columbia Pictures

“Now the truth is that when I first went out with it, I was thinking of Vincent Price, but Vincent Price was not physically well at the time,” Holland said.

5. Roddy McDowall did not want to play the part like Vincent Price.

Once he was cast, Roddy McDowall made the decision that Peter Vincent was nothing like Vincent Price—specifically: he was a terrible actor. “My part is that of an old ham actor,” McDowall told Monster Land magazine in 1985. “I mean a dreadful actor. He had a moderate success in an isolated film here and there, but all very bad product. Basically, he played one character for eight or 10 films, for which he probably got paid next to nothing. Unlike stars of horror films who are very good actors and played lots of different roles, such as Peter Lorre and Vincent Price or Boris Karloff, this poor sonofabitch just played the same character all the time, which was awful.”

6. It took Holland just three weeks to write the Fright Night script.

And he had a helluva good time doing it, too. “I couldn’t stop writing,” Holland said in 2008, during a Fright Night reunion at Fright Fest. “I wrote it in about three weeks. And I was laughing the entire time, literally on the floor, kicking my feet in the air in hysterics. Because there’s something so intrinsically humorous in the basic concept. So it was always, along with the thrills and chills, something there that tickled your funny bone. It wasn’t broad comedy, but it’s a grin all the way through.”

7. Tom Holland directed Fright Night out of "self-defense."

By the time Fright Night came around, Holland was already a Hollywood veteran—just not as a director. He had spent the past two decades as an actor and writer and he told the crowd at Fright Fest that “this was the first film where I had sufficient credibility in Hollywood to be able to direct ... I had a film after Psycho 2 and before Fright Night called Scream For Help, which … I thought was so badly directed that [directing Fright Night] was self-defense. In self-defense, I wanted to protect the material, and that’s why I started directing with Fright Night."

8. Chris Sarandon had a number of reasons for not wanting to make Fright Night.

Chris Sarandon stars in 'Fright Night' (1985)
Chris Sarandon stars in Fright Night (1985).
Columbia Pictures

At the Fright Night reunion, Chris Sarandon recalled his initial reaction to being approached about playing vampire Jerry Dandrige. "I was living in New York and I got the script,” he explained. “My agent said that someone was interested in the possibility of my doing the movie, and I said to myself, ‘There’s no way I can do a horror movie. I can’t do a vampire movie. I can’t do a movie with a first-time director.’ Not a first-time screenwriter, but first-time director. And I sat down and read the script, and I remember very vividly sitting at my desk, looked over at my then wife and said, ‘This is amazing. I don’t know. I have to meet this guy.’ And so, I came out to L.A. And I met with Tom [Holland] and our producer. And we just hit it off, and that was it.”

9. Jerry Dandridge is part fruit bat.

After doing some research into the history of vampires and the legends surrounding them, Sarandon decided that Jerry had some fruit bat in him, which is why he’s often seen snacking on fruit in the film. When asked about the 2011 remake with Colin Farrell, Sarandon commented on how much he appreciated that that specific tradition continued. “In this one, it's an apple, but in the original, Jerry ate all kinds of fruit because it was just sort of something I discovered by searching it—that most bats are not blood-sucking, but they're fruit bats,” Sarandon told io9. “And I thought well maybe somewhere in Jerry's genealogy, there's fruit bat in him, so that's why I did it.”

10. William Ragsdale learned he had booked the part of Charley Brewster on Halloween.

William Ragsdale had only ever appeared in one film before Fright Night (in a bit part). He had recently been considered for the role of Rocky Dennis in Mask, which “didn’t work out,” Ragsdale recalled. “But a few months later, [casting director] Jackie Burch tells me, ‘There’s this movie I’m casting. You might be really right for it.’ So, I had this 1976 Toyota Celica and I drove that through the San Joaquin valley desert for four or five trips down for auditioning. And in the last one, Stephen [Geoffreys] was there, Amanda [Bearse] was there and that’s when it happened. I had read the script and at the time I had been doing Shakespeare and Greek drama, so I read this thing and thought, ‘Well, God, this looks like a lot of fun. There’s no … iambic pentameter, there’s no rhymes. You know? Where’s the catharsis? Where’s the tragedy?’ … I ended up getting a call on Halloween that they had decided to use me, and I was delighted.”

11. Not being Anthony Michael Hall worked in Stephen Geoffreys's favor.

In a weird way, it was by not being Anthony Michael Hall that Stephen Geoffreys was cast as Evil Ed. “I actually met Jackie Burch, the casting director, by mistake in New York months before this movie was cast and she remembered me,” Geoffreys shared at Fright Fest. “My agent sent me for an audition for Weird Science. And Anthony Michael Hall was with the same agent that I was with, and she sent me by mistake. And Jackie looked at me when I walked into the office and said, ‘You’re not Anthony Michael Hall!’ and I’m like ‘No!’ But anyway, I sat down and I talked to Jackie for a half hour and she remembered me from that interview and called my agent, and my agent sent me the script while I was with Amanda [Bearse] in Palm Springs doing Fraternity Vacation, and I read it. It was awesome. The writing was incredible.”

12. Evil Ed wanted to be Charley Brewster.

Stephen Geoffreys stars in 'Fright Night' (1985).
Stephen Geoffreys stars in Fright Night (1985).
Columbia Pictures

Geoffreys loved the script for Fright Night. “I just got this really awesome feeling about it,” he said. “I read it and thought I’ve got to do this. I called my agent and said ‘I would love to audition for the part of Charley Brewster!’ [And he said] ‘No, Steve, you’re wanted for the part of Evil Ed.’ And I went, ‘Are you kidding me? Why? I couldn’t… What do they see in me that they think I should be this?' Well anyway, it worked out. It was awesome and I had a great time.”

13. Fright Night's original ending was much different.

The film’s original ending saw Peter Vincent transform into a vampire—while hosting “Fright Night” in front of a live television audience.

14. A ghost from Ghostbusters made a cameo in Fright Night.

Visual effects producer Richard Edlund had recently finished up work on Ghostbusters when he and his team began work on Fright Night. And the movie gave them a great reason to recycle one of the library ghosts they had created for Ghostbusters—which was deemed too scary for Ivan Reitman's PG-rated classic—and use it as a vampire bat for Fright Night.

15. Fright Night's cast and crew took it upon themselves to record some DVD commentaries.

Because the earliest DVD versions of Fright Night contained no commentary tracks, in 2008 the cast and crew partnered with Icons of Fright to record a handful of downloadable “pirate” commentary tracks about the making of the film. The tracks ended up on a limited-edition 30th anniversary Blu-ray of the film, which sold out in hours.

16. Vincent Price loved Fright Night.


Columbia Pictures

Holland had the chance to meet Vincent Price one night at a dinner party at McDowall’s. And the actor was well aware that McDowall’s character was based on him. “I was a little bit embarrassed by it,” Holland admitted. “He said it was wonderful and he thought Roddy did a wonderful job. Thank God he didn’t ask why he wasn’t cast in it.”

7 Timeless Facts About Paul Rudd

Rich Fury, Getty Images
Rich Fury, Getty Images

Younger fans may know Paul Rudd as Ant-Man, one of the newest members of the Marvel Cinematic Universe. However, the actor has been a Hollywood mainstay for half his life.

Rudd's breakout role came in 1995’s Clueless, where he played Josh, Alicia Silverstone's charming love interest in Amy Heckerling's beloved spin on Jane Austen's Emma. In the 2000s, Rudd became better known for his comedic work when he starred in movies like Wet Hot American Summer (2001), Anchorman (2004), The 40-Year-Old Virgin (2005), Knocked Up (2007), and I Love You, Man (2009).

It wasn’t until 2015 that Rudd stepped into the ever-growing world of superhero movies when he was cast as Scott Lang, a.k.a. Ant-Man, and became part of the MCU.

Rudd has proven he can take on any part, serious or goofy. More amazingly, he never seems to age. But in honor of (what is reportedly) his 50th birthday on April 6, here are some things you might not have known about the star.

1. Paul Rudd is technically Paul Rudnitzky.

Though Paul Rudd was born in Passaic, New Jersey, both of his parents hail from London—his father was from Edgware and his mother from Surbiton. Both of his parents were descendants of Jewish immigrants who moved to England from from Russia and Poland. Rudd’s last name was actually Rudnitzky, but it was changed by his grandfather.

2. His parents are second cousins.

In a 2017 episode of Finding Your Roots, Rudd learned that his parents were actually second cousins. Rudd responded to the discovery in typical comedic fashion: "Which explains why I have six nipples." He also wondered what that meant for his own family. "Does this make my son also my uncle?," he asked.

3. He loved comic books as a kid.

While Rudd did read Marvel Comics as a kid, he preferred Archie Comics and other funny stories. His English cousins would send him British comics, too, like Beano and Dandy, which he loved.

4. Rudd wanted to play Christian in Clueless. And Murray.

Clueless would have been a completely different movie if Rudd had been cast as the suave Christian instead of the cute older step-brother-turned-love-interest Josh. But before he was cast as Cher’s beau, he initially wanted the role of the “ringa ding kid” Christian.

"I thought Justin Walker’s character, Christian, was a really good part," Rudd told Entertainment Weekly in 2012. "It was a cool idea, something I’d never seen in a movie before—the cool gay kid. And then I asked to read for Donald Faison's part, because I thought he was kind of a funny hip-hop wannabe. I didn’t realize that the character was African-American.”

5. His role model is Paul Newman.

In a 2008 interview for Role Models, which he both co-wrote and starred in, Rudd was asked about his real-life role model. He answered Paul Newman, saying he admired the legendary actor because he gave a lot to the world before leaving it.

6. Before he was Ant-Man, he wanted to be Adam Ant.

In a 2011 interview with Grantland, Rudd talked about his teenage obsession with '80s English rocker Adam Ant. "Puberty hit me like a Mack truck, and my hair went from straight to curly overnight," Rudd explained. "But it was an easier pill to swallow because Adam Ant had curly hair. I used to ask my mom to try and shave my head on the sides to give me a receding hairline because Adam Ant had one. I didn’t know what a receding hairline was. I just thought he looked cool. She said, 'Absolutely not,' but I was used to that."

Ant wasn't the only musician Rudd tried to emulate. "[My mom] also shot me down when I asked if I could bleach just the top of my head like Howard Jones. Any other kid would’ve been like, 'F*** you, mom! I’m bleaching my hair.' I was too nice," he said.

7. Romeo + Juliet wasn’t Rudd's first go as a Shakespearean actor.

Yet another one of Rudd's iconic '90s roles was in Baz Luhrmann's Romeo + Juliet, but it was far from the actor's first brush with Shakespeare. Rudd spent three years studying Jacobean theater in Oxford, England, and starred in a production of Twelfth Night. He was described by his director, Sir Nicholas Hytner, as having “emotional and intellectual volatility.” Hytner’s praise was a big deal, considering he was the director of London's National Theatre from 2003 until 2015.

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