A Film Study of MICHAEL CURTIZ

One of Hollywood’s greatest directors of its pinnacle ‘golden era’ is a name you’ve possibly never heard of. Michael Curtiz directed an impressively prolific filmography, from silents to the early sixties, including popular classics that endure to this day. And yet, his is not a household name.

Directors like Alfred Hitchcock, John Ford, and Steven Spielberg are well-known names- their styles are etched into the minds of cinema fans. Curtiz does not fall into the ‘auteur theory’ like many famed directors. In this class, we will get to know Curtiz a little better, not so much from an auteur signature point-of-view, but through his own story and the films themselves. You will decide for yourself, through the vast variety of genres of Curtiz films, who Michael Curtiz the director is, and whether that even matters in the results of an array of incredible films. 

Variety of genre is exactly what Curtiz mastered, so that’s driving our selection of films. In this series, we’ll cover:

DOCTOR X (1932)  

THE ADVENTURES of ROBIN HOOD (1938)

ANGELS WITH DIRTY FACES (1938)

CASABLANCA (1942)

THE UNSUSPECTED (1947)

YOUNG MAN WITH A HORN (1950)

THE BREAKING POINT (1950)

As you can tell from this list, our focus will be on films from the 1930s and 1940s, which was Curtiz’s hey days. As for genres, we will cover horror, swashbuckling action adventure, gangster drama, spy melodrama, romance, comedy, thrillers, and film noirs in only 8 sessions. Yes, Curtiz tackled every genre- even westerns, musicals, war epics and more, but we only have so much time!

The Early Days…

The date of Michael Curtiz’s birth has been told in several iterations. But, per his actual birth certificate, he was born Mano Kaminer on Christmas night, 1886 in Budapest, Hungary. His name would go on to change several times, which was not unexpected for a Jewish Hungarian with a passion for a career in the arts. He has been described as being raised in a middle class upbringing, but the truth was something much more ‘artsy but blue collar’ laced with periods of earnest struggle. His father’s inconsistent work included bricklayer and as a painter. His mother has been described as a concert singer but that too seems very unlikely, perhaps more of an unfulfilled aspiration of her youth. Michael’s childhood home was a small apartment with only two bedrooms. He was the oldest of seven children. While a life of wealth and comfort was not part of his early days, the opportunities and influences of the creative arts was all around him in plenty. Through hard work, talent, and an unyielding drive, Curtiz eventually found his promised land.

During the turn-of-the-century in Budapest, the metropolis was modern, thriving, technologically advanced, and hyper-focused on the arts. Artists, writers, musicians, thespians were all encouraged to congregate and collaborate in the most sought-after cafes, such as the New York café (which later inspired a recognizable ‘Rick’s Café Americain’ for a film which earned Curtiz his Oscar). It was a mini renaissance of Eastern Europe, and Curtiz wanted to soak it all in. He was contemporaries with fellow Eastern European thespians who would also make their way to Hollywood, like SZ Sakall and Bela Lugosi. By 1906, “Mihaly Kertesc” graduated from the Royal Academy of Theater and Arts. He performed as a contract actor in the National Hungarian Theater. Before long, he knew his skills were better suited in directing than acting. And he was more excited about the pioneering format of motion pictures than of stage productions.       

“It is the director who makes the film happen in his humble ways. Building up the scenario invisibly, he brings it to success, he makes the actors famous – even the unknown ones – while he himself remains a no-name entity because in the row of the movie theater, the viewer cannot comprehend how a film is made … The director’s attention has to encompass even such tiny details because the ultimate responsibility rests on one man’s shoulders: the director’s.” (Curtiz, from “Motion Picture News,” 1913)  

He was ambitious and focused on his pursuits, making his way into greater and greater opportunities across Denmark (he served as assistant director in August Blom’s ATLANTIS (1913) and Austria, in addition to his homeland. Going wherever filmmaking brought bigger productions and budgets. After serving in WWI, he returned to directing in big epics such as SODOM and GOMORRHA (1922), MOON OF ISRAEL (1924), RED HEELS (1925), and THE GOLDEN BUTTERFLY (1926). Jack Warner of Warner Brothers took notice of this hot shot director of these enormous productions (some of these films employing hundreds of actors and extras) and invited him to Hollywood.

Curtiz in Hollywood…

Curtiz thought he was coming to Hollywood in 1926 to make the biblical epic of the Noah’s ark story, as a competitive answer to mega films like Cecil B DeMille’s THE TEN COMMANDMENTS (1923). But Jack wanted him to cut his teeth in the Hollywood system on a few moderate films first before he eventually made NOAH’S ARK in 1928. It was during this time that he made films (a total of eight) with one of their top stars, Dolores Costello. Warner Brothers knew he was ready to tackle the latest technologies of ‘part’ talkies and color film.     

Warner Brothers was not known for horror films, but for its rare examples, Michael Curtiz kicked off his early Hollywood years with films like THE MAD GENIUS (1931), DOCTOR X (1932), MYSTERY of the WAX MUSEUM (1933), and THE WALKING DEAD (1936). While horror may have been less familiar territory for WB, Curtiz directed other horrors prior to Hollywood including ALRAUNE (1918) and LABYRINTH of HORROR (1921). We’ll begin with his early Warner Brothers’ horror work in our Curtiz journey.

Michael Curtiz made a variety of films in Europe and this reputation for being able to masterfully direct any genre of film continued throughout his career in Hollywood. His ability to span all genres made him an asset to the studio system. While not considered a director of the auteur theory, some might think he’s too tough to nail down to a particular style. Perhaps the best way to think of his signature as we explore his films, is to note that Curtiz had key instincts that he employed quite successfully in his work. Much of this is due to his time working immersed in the theatrical world, being surrounded by the arts in his youth, his education and time as an actor, then ultimately as a filmmaker. As a perfectionist and an extreme workaholic, he spent a lifetime engaging all these personal tools and experiences to make magnificent films. 

One trait that made Curtiz so successful was his innate ability to spot talent. Not all of his ‘discovered actors’ were actually discovered by him personally but grew into stars thanks to his films. Most didn’t like him personally due to his tireless work ethic on set. But they all wanted, and often repeatedly, to work with him. Many actors were nominated and/or won Oscars under Curtiz’s direction. Doris Day, James Cagney, Errol Flynn, Bette Davis, and John Garfield were just a few of the mega talents that collaborated with Curtiz and achieved stardom. Frequently, Errol Flynn butted heads with Curtiz, but they made a dozen pictures together.  

Another Curtiz hallmark was his visual talents. His visual style was influenced by German Expressionism and included artistic lighting, fluid camera movement, high crane shots, effective use of closeups, and unusual camera angles. Starting his career so successfully in the silent era, he knew telling a story via action/movement was key to great filmmaking. As such, he utilized camera technology including dolly shots, many of his own innovation, to bring the best visual storytelling in Hollywood. This included building a thousand-foot-long dolly track with cameras in dug outs, to keep pace with the horses in the battle scenes of CHARGE of the LIGHT BRIGADE. Bringing the influence of German Expression from Europe to Hollywood, Curtiz frequently utilized the use of shadows. Not just in his film noir films, but throughout many genres of his films. As we explore his films, we’ll look for examples of these distinctive uses of lighting, camera work techniques, and visual cues.      

“Curtizisms…” was the term used by many in Hollywood to describe his uniquely spoken vernacular. Obviously English was not his first language. But for all the languages he dabbled in across Europe, and for all the years he spent here, Curtiz never fully embraced the language. He claimed to have never learned English at all, but those who worked with him said it was all an act. The truth was likely somewhere in the middle and the results were broken English phrases that frequently drew confusion. One such infamous line by Curtiz, “bring on the empty horses,” is from his direction in THE CHARGE OF THE LIGHT BRIGADE (1936) when he requested riderless horses. Co-star David Niven was so delighted by this silly phrase that he titled his novel the same.      

The man and myths…

His reputation as meticulous and demanding with an explosive temper was often rough on the cast and crew. But in one example, it was even more so on the horses. While the myth has been widely spun that Curtiz killed hundreds of horses on a film set, the truth is not quite as gruesome. Not quite. On the set for THE CHARGE OF THE LIGHT BRIGADE (1936), it’s true that trip wires were installed to give a realistic effect of horses being shot and falling in a battle scene. And there were over a hundred horses on set. Sadly, many horses were injured or killed in the process. Errol Flynn was outraged and demanded accountability. Due to the outcry of their treatment and in other films with similar abuse, the American Humane Association launched legislation that requires AHA presence for any set with animals, with guidelines to their handling. It is a mandatory staple to this day. In his biography “My Wicked, Wicked Ways,” Flynn later wrote:

“Horses have been perhaps the most badly treated animals in the motion picture industry. Especially in the days when these early Westerns [Charge of the Light Brigade] were being ground out. A device called “the running W” was used on horses. A trip wire, to make the animals tumble at the right instant. The stunt man, riding the horse, knew where the trip wire was. He knew when he had to get off and all he had to do was take a fall. But the horse would go headfirst, and sometimes get hurt and have to be shot. They stopped this because so many horses broke their legs and their necks, and there were protests by the actors and the public.”

Thanks to the protests by actors like Errol Flynn and others, AHA can now verify in the closing credits that “no animals were harmed” in the making of every film. Flynn added,

“This gave ride to a wonderful breed of man. This was the stunt man who would train a horse so well that he could ride down the side of a cliff, and at a certain signal, the rider, putting his left foot under the horse, could trip him. The horse knew he would be tripped. It looked just as good, and nobody was hurt.“  

Another example of the Curtiz legend that reflected his rough reputation was his choices on the set of the film, NOAH’s ARK (1928). The flooding scene was extraordinary. To make this scene feel so compelling and realistic, Curtiz made choices with the set design and the release of a flood waters upon the actors and animals, that was essentially the real deal. Rumors persisted that at least one actor extra didn’t make it out alive. Although studios have a way of making inconvenient truths disappear, it’s never been proven.        

Curtiz was married a couple of times. Imdb claims he was married to Lili Damita (1925 – 1926), but Curtiz biographer Alan K Rode states that there’s no record that they were ever officially married. He was married to Lucy Doraine from 1915 to 1923. They divorced, had one child together. His last wife was Bess Meredyth (m. 1929 – 1962). His last wife Bess (1890 – 1969) was notable because she came from a career in the film business in her own right, including being one of the original founders of the Academy of Motion Picture Arts and Sciences. She was a silent film actress, but mostly a strong screenwriter. During Bess’s prolific writing in Hollywood, she was nominated twice for the Oscar for Best Writing- A WOMAN of AFFAIRS (1930) and WONDER of WOMEN (1930). She was best remembered as the one who helped salvage BEN-HUR (1924). MGM shipped her off to Italy when production was running way over budget and seriously behind schedule. While only listed in credits as “continuity” along with Carey Wilson; in actuality, she supervised (and essentially saved) the massive production.

Bess was good friends with Irving Thalberg when he was the epicenter of MGM and her screenwriting career was supported and thriving. When Thalberg unexpectedly died, so did Bess’s career. She suffered a series of illnesses and was often bedridden. Her creative energies resurged when she met and married Mike Curtiz. Bess frequently assisted her husband on his films at the height of his career, but rarely received any official credit. While filming CASABLANCA (1942), many of Bess’s contributions unofficially made it into the film. Curtiz was noted as sometimes murmuring to himself on set while making changes or additions to the script with, “now what was it that Bess said last night?” It became obvious that Bess was coaching script contributions from the dinner table at the Curtiz home. As CASABLANCA (1942) screenwriter Julius Epstein remarked, “When we had a story conference and Mike came in the next day and made criticisms or suggestions, we knew they were Bess Meredyth’s ideas, not his, so it was easy to trip him up. We’d make a change and say, ‘What do you think, Mike?’ and he’d have to go back and ask Bess.”

In addition to his reputation as a workaholic on set, Curtiz was known for his ‘playboy’ ways outside of his marriages. This resulted in four children out of wedlock with four different women. When he wasn’t feeding his insatiable appetite for work and sex, he also played polo. According to biographer Rode, his list of priorities would always be directing first and foremost, then sex, then polo, and somewhere near the bottom would be his roles as spouse and father.  

The 1950s would embark a new and final chapter for Curtiz in his career. He had created his own production company in hopes for greater creative control and ended his long tenure with Warner Brothers. He would go on to freelance with studios like Paramount that offered Vista Vision for the latest in Technicolor technology with films like WHITE CHRISTMAS (1954) and WE’RE NO ANGELS (1955). But Curtiz was slowing down, making fewer pictures than his old work horse days. While filming THE COMANCHEROS (1962) starring John Wayne, Curtiz’s doctor revealed startling news. He not only had cancer, but the doctor and Mike’s wife Bess had known for nearly six years. They chose to keep the dark secret because it was inoperable, and they thought he would’ve preferred not knowing– to keep making movies. The doctor asked how many films he would have made in those years if he was aware of his fate. Curtiz agreed that the secrecy was the right decision. He died on April 10, 1962.    

Michael Curtiz was nominated for several awards across his vast career. His Oscar nominations: CAPTAIN BLOOD (1935), Best Director (this was as a write-in which reflects the immense confidence to receive that many votes outside of the Academy process)

ANGELS WITH DIRTY FACES (1938), Best Director

FOUR DAUGHTERS (1938), Best Director *(yes- nominated twice in same year)

SONS OF LIBERTY (1939), Best Short Subject – WON the Oscar

YANKEE DOODLE DANDY (1942), Best Director

CASABLANCA (1943), Best Director – WON the Oscar

A Curtiz legacy is not only his instinct for spotting talent, but pulling out the best performances from them, as well.

Directed Academy Performances:

Academy Award for Best Actor-

Paul Muni – BLACK FURY (1935) (write-in candidate) – nominated

James Cagney – ANGELS WITH DIRTY FACES (1938) – nominated

James Cagney – YANKEE DOODLE DANDY (1942) – WON the Oscar

Humphrey Bogart – CASABLANCA (1943) – nominated

William Powell – LIFE WITH FATHER (1947) – nominated

Academy Award for Best Actress-

Joan Crawford – MILDRED PIERCE (1945) – WON the Oscar

Academy Award for Best Supporting Actor-

John Garfield – FOUR DAUGHTERS (1938) – nominated

Walter Huston – YANKEE DOODLE DANDY (1942) – nominated

Claude Rains – CASABLANCA (1943) – nominated

Academy Award for Best Supporting Actress-

Eve Arden – MILDRED PIERCE (1945) – nominated

Ann Blyth – MILDRED PIERCE (1945) – nominated

For all his flaws as a human, Curtiz was a magnificent filmmaker. In this course, we will look for the Curtiz touches …shadows, long continuous takes, superb dolly shots, unique angles, high crane shots, breathtaking action scenes, artistic instincts, solid storytelling. And we’ll have fun enjoying the variety and stellar films of this great filmmaker.

Sources:

“Michael Curtz: A Life in Film” by: Alan K. Rode. University Press of Kentucky, 2017.

“Bess Meredyth- Women Pioneers Project – Columbia University” by: Victoria Sturtevant. https://wfpp.columbia.edu , 2013.

“When Horse Cruelty Was Common” by: Jeffrey Wells. https://hollywood-elsewhere.com Nov. 22, 2017. 

“Round Up the Usual Suspects.” by: Aljean Harmetz. New York: Hyperion. 1992.