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theseerasures · 4 years

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RWBY V08C14 reaction post

haven’t done something like this for this fandom yet, but the finale was so much all at once that i could not muster any level of critical thinking the first go-around. my thoughts have...settled somewhat with a second rewatch. still nothing conclusive (obviously), but at least coherent enough to be written down.

in rough chronological order:

i am very into it, of course, but i’m still not quite sure what to make of the fact that this finale very explicitly pivots around Winter Schnee, to the extent that the episode (sans prologue and coda) are bookended by her. she begins the episode charging into a fight, and ends it the same way. even putting aside that her in-universe presence has increased by magnitudes, that we end a season where she has mostly been a sparse supporting player with THIS has implications i can’t suss out for her narrative role going forward.

going into the finale i thought that Ironwood vs. Winter would turn out to be another RWBY Flagship Fight (ie long and flashy and indulgent in the best ways), but i pretty much knew that wouldn’t be the case once the fight began in earnest and they immediately started talking to each other.

for what we did get i’m happy to say that the Core Dynamic of the fight was exactly what i predicted: Winter rushing in to melee and not giving Ironwood enough time to fire, Ironwood trying to make room by shoving her away and using his cannon as a makeshift club--even down to breaking the cannon formation BACK to dual wielding to give himself an edge.

i will say that for Winter to have blocked him head-on--this is James Ironwood, who once stopped an Alpha Beowolf cold with one bionic hand, and now he’s got TWO--with her broken noodle arms is...incredibly cool. stupid! but cool.

Ironwood doing the double pistol whip while screaming about how no one is grateful has i wouldn’t have to be doing this if you just behaved all over it.

in retrospect i’m not sure why i expected a RWBY Flagship Fight when just about every fight this season has been extremely different. the camera work is always fucking frantic, we’re often cross-cutting between different simultaneous fights, and there are far fewer shots where both combatants are clearly shown and evenly matched. about the only fight we’ve had resembling that is AceOps vs Penny waaaaaaay back in Strings--even the low-stakes triumphant JNPER + Winter vs. Ironwood fight in Creation was extremely short and crosscut with BRA vs. AceOps.

case in point: the showdown in Grand Central takes up pretty much the entire episode, but combatants are continuously entering and exiting, the setting’s physical dimensions feel wonky and surreal, and the fact that half of the people fighting have flight capabilities means we’re relying on wide shots and oners to figure out what the fuck is going on. it’s a war now, and even though we follow only a handful of characters in it the fights carry that grander and more desperate tone.

Cinder relies twice this episode on just fucking nova-ing herself to overwhelm her Maiden opponents. it’s different from how she usually fights, which is still fireballs and conjured swords/projectiles--she’s learning to use her Maiden powers to wreak havoc on a larger scale, which a) reinforces what we already know of Cinder, but b) complements her recent relearning of subtlety and manipulation. still a tenuous balance of extremes that can and will shatter, though.

Weiss got to save everyone during the fight, and none of it mattered in the end.

the thing about priority one is that they all planned for this. they all went in planning for the contingency where they don’t make it out, where they have to watch others not make it out.

Weiss plucking Penny out of the air and Penny pleading to make the sacrifice play is an EXACT recreation of what happened in Enemy of Trust, down to the saved looking up at the savior while the savior is looking onward. she’s just swapped places with the Schnee in question, and...they are the priority targets this time, unfortunately.

Cinder smugly flipping her hair out of...her eyepatch...she really is living her best life and she knows it

Blake made the right choice, and it didn’t matter at all.

Qrow ending the last episode with a berserker charge at Harriet and then immediately pulling back here and trying to talk her down really got to me, as did him trying to block the bomb with his body. the man is so desperately trying to be better than he was, and it doesn’t take a lot anymore for him to realize the right path.

Elm and Vine--

the thing about Elm and Vine is that both their powers boil down to getting attached. so watching Elm hold Vine in place while Vine holds the two airships together, everyone in this little world, it’s...everything i could ever want, out of how the story of the AceOps would end.

Anairis Quinones for dark horse MVP. why can’t you just let me do my job, delivered in the way that it was, is the perfect encapsulation of Harriet Bree desperately trying to outrun her personal feelings and the grief it has given her.

Elm tells Harriet that she’s their friend, to stop her from killing a part of herself as she tries to kill others. it’s the first time this happens in the episode, but not the only time.

Penny saved Blake so they could save Ruby together, and it didn’t matter at all.

our heroes have GOT to stop falling for the “watch the thing flying in the air! OH WAIT I STILL HAVE A WEAPON IN MY HAND WALLOP WALLOP” trick. it happens multiple times in this one episode.

Harriet, who has the fastest Speed Semblance known, says there’s no time to make it out of the blast range. she doesn’t try to outrun it. she just...stays put, and admits that she brought them all here, to this. i’m sorry.

here’s the thing: they’re soldiers. they were prepared for this eventuality, where they don’t make it out. that’s why Elm let Vine go grab Harriet; because she thought they were all going to die, and if that happened she wanted Harriet close enough to reach.

but--just like with Team Hero--some of them do make it out. they just have to watch.

Vine and Hazel sacrificed themselves in the same way in the end: pulling their loved ones close wasn’t working, so they threw themselves around the thing trying to kill them instead.

Ruby was clever, and pragmatic, and brave. it didn’t matter in the end.

Cinder letting Neo fall as soon as she gets a chance proves that she still lacks patience, and that’s going to bite her in the ass.

the Penny-Blake fastball special and the fall; Penny crying tears for the first time, but not moving immediately to rage, as she had last episode, when Yang fell.

Weiss’ shaking hands around Gambol Shroud, crying berserker tears as she tries, desperately, to pull off another miracle. it’s another role reversal in a way: her sister’s the Riza Hawkeye, but she’s the one emptying useless clip after useless clip into an enemy she can’t kill, because her heart has been ripped in two.

the last time Nora Valkyrie saw Jaune Arc, they clasped hands, and their eyes met with determination, and hope.

it figures that a Schnee would be the last one standing, letting all her friends die first. she was right, but again: wrong Schnee.

Weiss diving past Cinder’s blind spot to slice the Grimm Arm, to save Penny--the same script, but the wrong player. and too late.

at Haven, Jaune went from trying to do harm to unlocking his Semblance, and realizing that he was meant to heal. here, he goes from trying to do what he is meant to do, what he has made peace with, to...

it will take a long time, i think, for him to learn to live with himself, even with Penny reassuring him that this is what she wants. to go from wanting to harm to being the one who does no harm, to being forced to acknowledge a person’s right to die, and carry out the deed himself. it’s a new variation on what he’s always had to wrestle with since Pyrrha’s sacrifice.

Weiss managed to outlast Cinder Fall without an Aura WITHOUT getting her entire body broken, Winter

the boundary between material worlds is made of darkness. the boundary between souls is made of light, and there is no danger of falling.

where...what is this? of course Winter doesn’t know. she never would have, even if she had gotten the powers, because she would have used the Transfer machine.

i thought of you, and here we are. that was all it took. the last time Penny saw Winter, Winter was still loyal to Ironwood. she’s only known abstractly, secondhand from Weiss, that Winter was on their side again and trying to help save Mantle, for about an hour. and yet: i thought of you.

and in the face of this thought that is love, Winter averts her eyes. tries in vain to hide her face, because she knows she is unworthy. she doesn’t deserve this.

but here’s the thing: no one deserves this. Penny. are you...the one? even Penny herself wasn’t sure.

you were my friend. the second time it happens this episode. friends save friends from themselves. friends transform what would have been murder into sacrifice.

remember what Penny said to Cinder, shortly before Cinder killed her? you wouldn’t know anything about friends. she’s right. it wasn’t Cinder’s choice, but she’s right. and now Cinder has learned how to use that.

i’ll be part of you. it is, of course, something that’s been brought up repeatedly this whole season. but it’s also what Winter said to Penny after Fria died: she’s a part of you now.

and i do love this yoking together of arc words. Winter is of course the firstborn Schnee, but Winter is, more broadly, The Firstborn in this new generation. so here we have something similar to the chain that begins with Winter letting her sisters go, through Penny letting Emerald go, through Emerald helping Oscar escape, to Atlas’ however ephemeral victory over Salem. what Winter begins--haltingly and with resentment--becomes transformed into radiant grace in the hands of her younger siblings. and she gets to be the direct benefactor this time. the prodigal daughter returns to her family.

during Enemy of Trust we watched from the outside as Oscar fell and Penny rose, as one set of eyes closed as another opened. during The Final Word, we watch from the inside: one set of eyes close. another opens.

Winter’s leitmotif plays on the piano for the first time since the previous season as she comes back to the world. it makes sense. the piano version is for her sisters, and she just left one of them.

here is the apotheosis of Winter Schnee: she gets back up. she falters and sways but she gets back up, and then she, the person who once managed to convince herself that so long as she could make peace with someone else’s choice it meant she too was choosing, tells the man who has been choosing for her for years: you chose nothing. and she rises.

in the end James Ironwood was finished by his petard thrice over. Atlas had defected against him. his greatest creation had become the Maiden and unshackled herself from him. and there is of course, the cannon: a literal petard, in the other words, which he fires at Winter, and Winter reflects back upon him.

Jaune Arc used the heirloom that his family has held for generations to kill a defenseless girl. he took the blade and sunk it in deep, because Penny trusted him and he had to be sure.

and then it shattered in his hands.

there’s something here in the second fight between Maidens, about Cinder having a named weapon and forsaking it for what she can make on the fly, and Winter insistent on using a weapon with no name at all, but i still can’t put my finger on it.

Winter never got to see Weiss try to Summon her Nevermore.

the thing that gets me about how it turns out is: Winter was winning. she’d managed to get her hands on the Staff, and even with Cinder’s immediate counterattack she managed to get the Staff away from Cinder. but then Cinder saw Jaune and Weiss, and she remembered a few days ago, when Penny saved Winter instead of going after Cinder, when Winter attacked Cinder to save Penny.

so Cinder attacks Weiss and Jaune instead of racing for the Staff. and Winter--

this is Winter Schnee. she saves people despite herself. she runs toward them, despite herself. and it has always, always been what saves her.

not anymore.

last time it had been Winter who was in mortal danger, and Weiss who, with Ruby’s help, drove Cinder off. same script, wrong player. and too late.

Weiss falls and for a moment, the camera makes it seem like Winter is falling too.

she wants to. no one deserves this.

the thing you have to ask when characters leap for the exit and fall just short is: is it about faith, or friendship? in Jaune’s case it’s both. his faith broke with Crocea Mors. and the portal is one-way, so he had no friends to grab him from the other side.

but Nora was still trying. they clasped hands. she promised.

the first time Winter sees her family--really sees them, after years of separation--she averts her eyes. she hides her face from them, because how can she tell them that Weiss is gone? how can she tell Penny’s friends that Penny is a part of her now, when Penny is just a part, now?

there are people all around her looking to her. there are voices within her. she has never been more alone.

(Winter Schnee has never met Pyrrha Nikos, and Pyrrha Nikos never became Maiden. because Pyrrha Nikos never became Maiden. Cinder Fall did that, too.)

this is what Winter Schnee thinks, as she screams and charges, as she kills Grimm faster than they are drawn in by her despair: in the fairy tales, eldest siblings never win.

i failed you again, master. master, but not queen.

Cinder won this. the heroes tried and tried and tried and none of it mattered, and she won this. but here’s the thing: Cinder won because she was LUCKY, and because she made her own luck. that she was able to pin things on Neo and Team Hero depended on things going exactly as planned, and some things going better than planned. and the reason she’d even made it that far was because she cheated, with the last use of a divine relic. it doesn’t take away her from her victory, but what i do know is this: this is her finest moment. she will never win as completely ever again, and she will fall farther than she has ever feared. (and that will save her, in the end.)

and that’s checkmate. i said that i wanted Atlas to fall the same way that Amity rose, but of course they did it like this. of course it would horrific yet unspectacular, with its General slumped in defeat, unable to fire a single shot from his gun. with the city in the sky falling onto Mantle, in Mantle’s palette. from the Dust from which it arose into Dust again.

as below, so above.

#rwby #helen writes meta

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chiseler · 3 years

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The Mysterious Death of a Hollywood Director

This is the tale of a very famous Hollywood mogul and a not-so-famous movie director. In May of 1933 they embarked together on a hunting trip to Canada, but only one of them came back alive. It’s an unusual tale with an uncertain ending, and to the best of my knowledge it’s never been told before.

I. The Mogul

When we consider the factors that enabled the Hollywood studio system to work as well as it did during its peak years, circa 1920 to 1950, we begin with the moguls, those larger-than-life studio chieftains who were the true stars on their respective lots. They were tough, shrewd, vital, and hard working men. Most were Jewish, first- or second-generation immigrants from Europe or Russia; physically on the small side but nonetheless formidable and – no small thing – adaptable. Despite constant evolution in popular culture, technology, and political and economic conditions in their industry and the outside world, most of the moguls who made their way to the top during the silent era held onto their power and wielded it for decades. Their names are still familiar: Zukor, Goldwyn, Mayer, Jack Warner and his brothers, and a few more. And of course, Darryl F. Zanuck. In many ways Zanuck personified the common image of the Hollywood mogul. He was an energetic, cigar-chewing, polo mallet-swinging bantam of a man, largely self-educated, with a keen aptitude for screen storytelling and a well-honed sense of what the public wanted to see. Like Charlie Chaplin he was widely assumed to be Jewish, and also like Chaplin he was not, but in every other respect Zanuck was the very embodiment of the dynamic, supremely confident Hollywood showman.

In the mid-1920s he got a job as a screenwriter at Warner Brothers, at a time when that studio was still something of a podunk operation. The young man succeeded on a grand scale, and was head of production before he was 30 years old. Ironically, the classic Warners house style, i.e. clipped, topical, and earthy, often dark and sometimes grimly funny, as in such iconic films as The Public Enemy, I Am a Fugitive from a Chain Gang, and 42nd Street, was established not by Jack, Harry, Sam, or Albert Warner, but by Darryl Zanuck, who was the driving force behind those hits and many others from the crucial early talkie period. He played a key role in launching the gangster cycle and a new wave of sassy show biz musicals. At some point during 1932-33, however, Zanuck realized he would never rise above his status as Jack Warner’s right-hand man and run the studio, no matter how successful his projects proved to be, because of two insurmountable obstacles: 1) his name was not Warner, and 2) he was a Gentile. Therefore, in order to achieve complete autonomy, Zanuck concluded that he would have to start his own company.

In mid-April of 1933 he picked a public fight with Jack Warner over a staff salary issue, then abruptly resigned. Next, he turned his attention to setting up a company in partnership with veteran producer Joseph Schenck, who was able to raise sufficient funds to launch the new concern. And then, Zanuck invited several associates from Warner Brothers to accompany him on an extended hunting trip in Canada.

Going into the wilderness and killing wild game, a pastime many Americans still regard as a routine, unremarkable form of recreation, is also of course a conspicuous show of machismo. But in this realm, as with his legendary libido, Zanuck was in a class by himself. He had been an enthusiastic hunter most of his life, dating back to his boyhood in Nebraska. Once he became a big wheel at Warners in the late ’20s he took to organizing high-style duck-hunting expeditions: the young executive and his fellow sportsmen would travel to the appointed location in private railroad cars, staffed by uniformed servants. Heavy drinking on these occasions was not uncommon. (Inevitably, film buffs will recall The Ale & Quail Club from Preston Sturges’ classic comedy The Palm Beach Story, but DFZ and his pals were not cute old character actors, and their bullets were quite real.) Members of Zanuck’s studio entourage were given to understand that participation in these outings was de rigueur if they valued their positions, and expected desirable assignments in the future. Director Michael Curtiz, who had no fondness for hunting, remembered the trips with distaste, and recalled that on one occasion he was nearly shot by a casting director who had no idea how to properly handle a gun.

But ducks were just the beginning. In 1927 Zanuck took his wife Virginia on an African safari. In Kenya Darryl bagged a rhinoceros and posed for a photo with his wife, crouched beside the rhino’s carcass. Virginia, an erstwhile Mack Sennett bathing beauty and former leading lady to Buster Keaton, appears shaken. Her husband looks exhilarated. During this safari Zanuck also killed an elephant. He kept the animal’s four feet in his office on the Warners lot, and used them as ashtrays. If any animal lover dared to express dismay, the Hollywood sportsman would retort: “It was him or me, wasn’t it?” Zanuck made several forays to Canada with his coterie in this period, gunning for grizzly bears. Director William “Wild Bill” Wellman, who was more of an outdoorsman than Curtiz, once went along, but soon became irritated with Zanuck’s bullying. The two men got into a drunken fistfight the night before the hunting had even begun. In the course of the ensuing trip the hunting party was snowbound for three days; Zanuck sprained his ankle while trailing a grizzly; the horse carrying medical supplies vanished; and Wellman got food poisoning. “It was the damnedest trip I’ve ever seen,” the director said later, “but Zanuck loved it.”

Now that Zanuck had severed his ties with the Warner clan and was on the verge of a new professional adventure, a trip to Canada with a few trusted associates would be just the ticket. This time the destination would be a hunting ground on the banks of the Canoe River, a tributary of the Columbia River, 102 miles north of Revelstoke, British Columbia, a city about 400 miles east of Vancouver. There, in a remote scenic area far from any paved roads, telephones, or other niceties of modern life, the men could discuss Zanuck’s new production company and, presumably, their own potential roles in it. Present on the expedition were screenwriter Sam Engel, director Ray Enright, 42nd Street director Lloyd Bacon, producer (and former silent film comedian) Raymond Griffith, and director John G. Adolfi, best known at the time for his work with English actor George Arliss. Adolfi, who was around 50 years old and seemingly in good health, would not return.

II. The Director

Even dedicated film buffs may draw a blank when the name John Adolfi is mentioned. Although he directed more than eighty films over a twenty-year period beginning in 1913, most of those films are now lost. He worked in every genre, with top stars, and made a successful transition from silent cinema to talkies. He seems to have been a well-respected but self-effacing man, seldom profiled in the press.

According to his tombstone Adolfi was born in New York City in 1881, but the exact date of his birth is one of several mysteries about his life. His father, Gustav Adolfi, was a popular stage comedian and singer who emigrated to the U.S. from Germany in 1879. Gustav performed primarily in New York and Philadelphia, and was known for such roles as Frosch the Jailer in Strauss’ Die Fledermaus. But he was a troubled man, said to be a compulsive gambler, and after his wife Jennie died (possibly of scarlet fever) it appears his life fell apart. Gustav’s singing voice gave out, and then he died suddenly in Philadelphia in October 1890, leaving John and his siblings orphaned. (An obituary in the Philadelphia Jewish Exponent reported that Gustav suffered a stroke, but family legend suggests he may have committed suicide.) After a difficult period John followed in his father’s footsteps and launched a stage career, and was soon working opposite such luminaries of the day as Ethel Barrymore and Dustin Farnum. Early in the new century the young actor wed Pennsylvania native Florence Crawford; the marriage would last until his death.

When the cinema was still in its infancy stage performers tended to regard movie work as slumming, but for whatever reason John Adolfi took the plunge. He made his debut before the cameras around 1907, probably at the Vitagraph Studio in Brooklyn. There he appeared as Tybalt in J. Stuart Blackton’s 1908 Romeo and Juliet , with Paul Panzer and Florence Lawrence in the title roles. He worked at the Edison Studio for director Edwin S. Porter, and at Biograph in a 1908 short called The Kentuckian which also featured two other stage veterans, D.W. Griffith and Mack Sennett. Most of Adolfi’s work as a screen actor was for the Éclair Studio in Fort Lee, New Jersey, the first film capital. The bulk of this company’s output was destroyed in a vault fire, but a 1912 adaptation of Robin Hood in which Adolfi appeared survives. That same year he also appeared in a famous docu-drama, as we would call it, Saved from the Titanic. This ten-minute short premiered less than a month after the Titanic disaster, and featured actress Dorothy Gibson, who actually survived the voyage, re-enacting her experience while wearing the same clothes she wore in the lifeboat. (This film, unfortunately, is among the missing.) After appearing in dozens of movies Adolfi moved behind the camera.

Much of his early work as a director was for a Los Angeles-based studio called Majestic, where he made crime dramas, Westerns, and comedies, films with titles like Texas Bill’s Last Ride and The Stolen Radium. In 1914 the company had a new supervisor: D. W. Griffith, now the top director in the business, who had just departed Biograph. Adolfi was one of the few Majestic staff directors who kept his job under the new regime. A profile in the February 1915 issue of Photoplay describes him as “a tallish, good-looking man, well-knit and vigorous, dark-haired and determined; his mouth and chin suggest that their owner expects (and intends) to have his own way unless he is convinced that the other fellow’s is better.” It was also reported that Adolfi had developed something of a following as an actor, but that he dropped out of the public eye when he became a director. Presumably, that’s what he wanted.

Adolfi left Majestic after three years, worked at Fox Films for a time as a staff director, then freelanced. During the remainder of the silent era he guided some of the screen’s legendary leading ladies: Annette Kellerman (Queen of the Sea, 1918), Marion Davies (The Burden of Proof, 1918), Mae Marsh (The Little ‘Fraid Lady, 1920), Betty Blythe (The Darling of the Rich, 1922), and Clara Bow (The Scarlet West, 1925). Not one of these films survives. A profile published in the New York World-Telegram during his stint at Fox reported that Adolfi was well-liked by his employees. He was “reticent when the conversation turned toward himself, but frank and outspoken when it concerned his work. Mr. Adolfi is not only a director who is skilled in the technique of his craft; he is also a deep student of human nature.” Asked how he felt about the cinema’s potential, he replied, with unconscious irony, “it is bound to live forever.”

III. The Talkies

In spring of 1927 Adolfi was offered a job at Warner Brothers. His debut feature for the studio What Happened to Father? (now lost) was a success, or enough of one anyway to secure him a professional foothold, and he worked primarily at WB thereafter. Thus he was fortuitously well-positioned for the talkie revolution, for although talking pictures were not invented at the studio it was Sam Warner and his brothers, more than anyone else, who sold an initially skeptical public on the new medium. After Adolfi had proven himself with three talkie features Darryl Zanuck handed him an expensive, prestige assignment, a lavish all-star revue entitled The Show of Shows which featured every Warners star from John Barrymore to Rin-Tin-Tin.

Other important assignments followed. In March of 1930 a crime melodrama called Penny Arcade opened on Broadway. It was not a success, but when Al Jolson saw it he sensed that the story had screen potential. He purchased the film rights at a bargain rate and then re-sold the property to his home studio, Warner Brothers. Adolfi was chosen to direct, but was doubtless surprised to learn that Jolson had insisted that two of the actors from the Broadway production repeat their performances before the cameras. One of the pair, Joan Blondell, had already appeared in three Vitaphone shorts to good effect, but the other, James Cagney, had never acted in a movie. Any doubts about Jolson’s instincts were quickly dispelled. Rushes of the first scenes featuring the newcomers so impressed studio brass that both were signed to five-year contracts. While Adolfi can’t be credited with discovering the duo, the film itself, re-christened Sinners’ Holiday,remains his strongest surviving claim to fame: he guided Jimmy Cagney’s screen debut.

At this point the director formed a professional relationship that would shape the rest of his career. George Arliss was a veteran stage actor who went into the movies and unexpectedly became a top box office draw. He was, frankly, an unlikely candidate for screen stardom. Already past sixty when talkies arrived, Arliss was a short, dignified man who resembled a benevolent gargoyle. But he was also a journeyman actor, a seasoned professional who knew how to command attention with a sudden sharp word or a raised eyebrow. Like Helen Hayes he was valued in Hollywood as a performer of unblemished reputation who lent the raffish film industry a touch of Class, in every sense of the word.

In 1929 Arliss appeared in a talkie version of Disraeli, a role he had played many times on stage, and became the first Englishman to take home an Academy Award for Best Actor. Thereafter he was known for stately portrayals of History’s Great Men, such as Voltaire and Alexander Hamilton, as well as fictional kings, cardinals, and other official personages. The old gentleman formed a close alliance with Darryl Zanuck, whom he admired, and was in turn granted privileges highly unusual for any actor at the time. Arliss had final approval of his scripts and authority over casting. He was also granted the right to rehearse his selected actors for two weeks before filming began. All that was left for the film’s director to do, it would seem, would be to faithfully record what his star wanted. Not many directors would accept this arrangement, but John Adolfi, who according to Photoplay “was determined to have his own way unless he is convinced that the other fellow’s is better,” clearly had no problem with it. His first film with Arliss was The Millionaire, released in May 1931; and in the two years that followed Adolfi directed eight more features, six of which were Arliss vehicles. He had found his niche in Hollywood.

One of Adolfi’s last jobs sans Arliss was a B-picture called Central Park, which reunited the director with Joan Blondell. It’s a snappy, topical, crazy quilt of a movie that packs a lot of incident into a 58-minute running time. Central Park was something of a sleeper that earned its director positive critical notices, and must have afforded him a lively holiday from those polite period pieces for the exacting Mr. Arliss.

In spring of 1933, after completing work on the Arliss vehicle Voltaire, Adolfi accompanied Darryl Zanuck and his entourage to British Columbia to hunt bears. Arliss intended to follow Zanuck to his new company, while Adolfi in turn surely expected to follow the star and continue their collaboration. Things didn’t work out that way.

IV. The Hunting Trip

It’s unclear how long the men were hunting before tragedy struck. On Sunday, May 14th, newspapers reported that film director John G. Adolfi had died the previous week – either on Wednesday or Thursday, depending on which paper one consults – at a hunting camp near the Canoe River. All accounts give the cause of death as a cerebral hemorrhage. According to the New York Herald-Tribune the news was conveyed in a long-distance phone call from Darryl Zanuck to screenwriter Lucien Hubbard in Los Angeles. Hubbard subsequently informed the press. The N.Y. Times reported that the entire hunting party (Zanuck, Engel, Enright, Bacon, and Griffith) accompanied Adolfi’s remains in a motorboat down the Columbia River to Revelstoke. From there the body was sent to Vancouver, B.C., where it was cremated. Write-ups of Adolfi’s career were brief, and tended to emphasize his work with George Arliss, though his recent success Central Park was widely noted. John’s widow Florence was mentioned in the Philadelphia City News obituary but otherwise seems to have been ignored; the couple had no children.

V. The Aftermath

Darryl F. Zanuck went on to found Twentieth Century Pictures, a name suggested by his hunting companion Sam Engel. One of the company’s biggest hits in its first year of operation was The House of Rothschild, starring George Arliss and directed by Alfred Werker. The venerable actor returned to England not long afterwards and retired from filmmaking in 1937. In his second book of memoirs, published three years later, Arliss devotes several pages of warm praise to Zanuck, but refers only fleetingly to the man who directed seven of his films, John Adolfi, and misspells his name.

In 1935 Zanuck merged his Twentieth Century Pictures with Fox Films, and created one of the most successful companies in Hollywood history. He would go on to produce many award-winning classics, including The Grapes of Wrath, Laura, and All About Eve. Zanuck’s trusted associates at Twentieth-Century Fox in the company’s best years included Sam Engel, Raymond Griffith, and Lloyd Bacon, all survivors of the Revelstoke trip. Personal difficulties and vast changes in the film industry began to affect Zanuck’s career in the 1950s. He left the U.S. for Europe but continued to make films, and sporadically managed to exercise control over the company he founded. He died in 1979.

In 1984 a onetime screenwriter and film critic named Leonard Mosley, who had known Zanuck slightly, published a biography entitled Zanuck: The Rise and Fall of Hollywood’s Last Tycoon. Aside from his movie reviews most of Mosley’s published work concerned military matters, specifically pertaining to the Second War World. His Zanuck bio reveals a grasp of film history that is shaky at times, for the book has a number of obvious errors. Nevertheless, it was written with the cooperation of Darryl’s son Richard, his widow Virginia, and many of the mogul’s close associates, so whatever its errors in chronology or studio data the anecdotes concerning Zanuck’s personal and professional activities are unquestionably well-sourced.

When Mosley’s narrative reaches May 1933, the point when Zanuck is on the verge of founding his new company, we’re told that he and several associates decided to go on a hunting trip to Alaska. The location is not correct, but chronologically – and in one other, unmistakable respect – there can be no doubt that this refers to the Revelstoke trip. From Mosley’s book:

“There is a mystery about this trip, and no perusal of Zanuck’s papers or those of his former associates seems to elucidate it,” he writes. “Something happened that changed his whole attitude towards hunting. All that can be gathered from the thin stories that are still gossiped around was that the hunting party went on the track of a polar bear somewhere in the Alaskan wilderness [sic], and when the vital moment came it was Zanuck who stepped out to shoot down the charging, furious animal. His bullet, it is said, found its mark all right, but it did not kill. The polar bear came on, and Zanuck stood his ground, pumping away with his rifle. Only this time it was not ‘him or me,’ but ‘him’ and someone else. The wounded and enraged bear, still alive and still charging, swerved around Zanuck and swiped with his great paw at one of the men standing behind him – and only after it had killed this other man did it fall at last into the snow, and die itself. That’s the story, and no one seems to be able to confirm it nor remember the name of the man who died. The only certain thing is that when Zanuck came back, he announced to Virginia that he had given up hunting. And he never went out and shot a wild animal again, not even a jackrabbit for his supper.”

VI. The Coda

Was John Adolfi killed by a bear? It certainly seems possible, but if so, why didn’t the men in the hunting party simply report the truth? Even if their boss was indirectly responsible, having fired the shots that caused the bear to charge, he couldn’t be blamed for the actions of a dying animal. But it’s also possible the event unfolded like a recent tragedy on the Montana-Idaho border. There, in September 2011, two men named Ty Bell and Steve Stevenson were on a hunting trip. Bell shot what he believed was a black bear. When the bear, a grizzly, attacked Stevenson, Bell fired again – and killed both the bear and his friend.

That seems to be the more likely scenario. If Zanuck fired at the wounded bear, in an attempt to save Adolfi, and killed both bear and man instead, it would perhaps explain a hastily contrived false story. It would most definitely explain the prompt cremation of Adolfi’s body in Vancouver. Back in Hollywood Joe Schenck was busy raising money, and lots of it, to launch Zanuck’s new company. Any unpleasant information about the new company’s chief – certainly anything suggestive of manslaughter – could jeopardize the deal. A man hit with a cerebral hemorrhage in the prime of life is a tragedy of natural causes, but a man sprayed with bullets in a shooting, accidental or not, is something else again. That goes double if alcohol was involved, as it reportedly was on Zanuck’s earlier hunting trips.

Of course, it’s also possible that Adolfi did indeed suffer a cerebral hemorrhage. Like his father.

John G. Adolfi is a Hollywood ghost. Most of his works are lost, and his name is forgotten. (Even George Arliss couldn’t be bothered to spell it correctly.) Every now and then TCM will program one of the Arliss vehicles, or Sinners’ Holiday. Not long ago they showed Adolfi’s fascinating B-picture Central Park, that slam-bang souvenir of the early Depression years in which several plot strands are deftly inter-twined. One of the subplots involves a mentally ill man, a former zoo-keeper who escapes from an asylum and returns to the place where he used to work, the Central Park Zoo. He has a score to settle with an old nemesis, an ex-colleague who tends the big cats. As the story approaches its climax, the escaped lunatic deliberately drags his enemy into the cage of a dangerous lion and leaves him there. In the subsequent, harrowing scene, difficult to watch, the lion attacks and practically kills the poor bastard.

by William Charles Morrow

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My sources for this article, in addition to the Mosley biography cited in the text, include Stephen M. Silverman’s The Fox That Got Away: The Last Days of the Zanuck Dynasty at Twentieth-Century Fox (1988), and Marlys J. Harris’s The Zanucks of Hollywood: The Dark Legacy of an American Dynasty (1989). For material on John Adolfi I made extensive use of the files of the New York Public Library for the Performing Arts. Special thanks to James Bigwood for his prodigious research on the Adolfi family genealogy, and to Mary Maler, John Adolfi’s great-niece, for information she provided on her family.

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