Frank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was an Italian-born American film director, producer, and screenwriter who was the creative force behind several major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the "American Dream personified".Freer 2009, pp. 40–41.
Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations. Among his leading films were It Happened One Night (1934), Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939). During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films, such as the Why We Fight series.The War Years; From Pearl Harbor to Dachau, many of Hollywood's top directors volunteered their creative talents to help win World War II. Their films from the front left a lasting document of the often brutal fight for freedom. Directors Guild of America. Retrieved June 21, 2021.
After World War II, Capra's career declined as his later films, such as It's a Wonderful Life (1946), performed poorly when they were first released.Poague 2004, p. viii. Beginning in 1950, his cinematic output slowed, and he retired from filmmaking in the mid-1960s. In the ensuing decades, however, It's a Wonderful Life and other Capra films were reevaluated favorably by critics. Outside of directing, Capra was active in the film industry, engaging in various political and social activities. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head of the Directors Guild of America.
Early life Capra was born Francesco Rosario Capra on May 18, 1897, in Bisacquino, a village near Palermo, Sicily, Italy. He was the youngest of seven children of Salvatore Capra, a fruit grower, and the former Rosaria "Sara" Nicolosi. Capra's family was Roman Catholic. The name "Capra", notes Capra's biographer, Joseph McBride, represents his family's closeness to the land, and means "goat".McBride 1992, p. 16. He notes that the English word "capricious" derives from it, "evoking the animal's skittish temperament", adding that "the name neatly expresses two aspects of Frank Capra's personality: emotionalism and obstinacy."
In 1903, when he was five, Capra's family immigrated to the United States, traveling in a steerage compartment of the steamship Germania—the least expensive way to make the passage. For Capra, the 13-day journey remained one of the worst experiences of his life:
Capra remembers the ship's arrival in New York Harbor, where he saw "a statue of a great lady, taller than a church steeple, holding a torch above the land we were about to enter". He recalls his father's exclamation at the sight:
The family settled in Los Angeles's East Side (today Lincoln Heights) on Avenue 18, which Capra described in his autobiography as an Italian "ghetto".McBride 1992, p. 34. Capra's father worked as a fruit picker and young Capra attended Castelar Elementary School and sold newspapers after school for ten years until he graduated from high school. He attended the Manual Arts High School, with Jimmy Doolittle and Lawrence Tibbett as classmates.Thomas & Jablonski Bomber Commander: the Life of James H. Doolittle 1977, p.13 ISBN 0283983825 Instead of working after graduating, as his parents wanted, he enrolled in college.
He worked through college at the California Institute of Technology, playing banjo at nightclubs and taking odd jobs like working at the campus laundry, waiting tables, and cleaning engines at a local power plant. He studied chemical engineering and graduated in the spring of 1918. Capra later wrote that his college education had "changed his whole viewpoint on life from the viewpoint of an alley rat to the viewpoint of a cultured person".
World War I and later
Soon after graduating from college, Capra was commissioned in the United States Army as a second lieutenant, having completed campus ROTC. In the Army, he taught mathematics to artillerymen at Fort Point, San Francisco. His father died during the war in an accident (1916). In the Army, Capra contracted Spanish flu and was medically discharged to return home to live with his mother. He became a naturalized U.S. citizen in 1920, taking the name Frank Russell Capra.Wakeman 1987, p. 96. Living at home with his siblings and mother, Capra was the only family member with a college education, yet he was the only one who remained chronically unemployed. After a year without work, seeing how his siblings had steady jobs, he felt he was a failure, which led to bouts of depression.
Chronic abdominal pains were later discovered to have been an undiagnosed burst appendix. After recovering at home, Capra moved out and spent the next few years living in flophouses in San Francisco and hopping freight trains, wandering the Western United States. To support himself, he took odd jobs on farms, as a movie extra, playing poker, and selling local oil well stocks.
During this time the 24-year-old Capra directed a 32-minute documentary film titled La Visita Dell'Incrociatore Italiano Libya a San Francisco ("The Visit of The Italian Cruiser Libya to San Francisco"). Not only did it document the visit of the Italian naval vessel Libya to San Francisco, but also the reception given to the crew of the ship by San Francisco's L'Italia Virtus Club, now known as the San Francisco Italian Athletic Club.
At 25, Capra took a job selling books written and published by American philosopher Elbert Hubbard. Capra recalled that he "hated being a peasant, being a scrounging new kid trapped in the Sicilian ghetto of Los Angeles. ... All I had was cockiness—and let me tell you that gets you a long way."Stevens 2006, pp. 74–76.
Career Silent film comedies During his book sales efforts—and nearly broke—Capra read a newspaper article about a new movie studio opening in an abandoned gymnasium, at San Francisco. Capra called on them saying he had moved from Hollywood and falsely implied that he had experience in the budding film industry. Capra's only prior exposure in films was in 1915 while attending Manual Arts High School. The studio's founder, Walter Montague, was nonetheless impressed by Capra and offered him $75 to direct a one-reel silent film. Capra, with the help of a cameraman, made the film, Fultah Fisher's Boarding House, in two days and cast it with amateurs. It was made for $1,700 and was sold to Pathé Exchange for $3,500.
critics noted that it was free from stunts, mannerisms, camera angles and Hollywood tricks. It had to be free from them as Capra never had time to learn anything of them. - Alva Johnston
After that first serious job in films, Capra began efforts to finding similar openings in the film industry. He took a position with Paul Gerson Pictures Corporation, Paul Gerson's minor San Francisco studio, as a property man.
In 1923, on Thanksgiving Day, after returning to San Francisco, from Burlingame, Santa Cruz Mountains, and La Honda, after filming Getting Her Man, Frank Capra married Helen Howell attended by Tom Gibson, Ora Carew, and other actors.Getting Her Man The AFI Catalog of Feature Films Capra's father-in-law, William A. Howell,Paul Gerson Pictures Corporation at Progressive Silent Film List, Silent Era .com was a principal investor in Paul Gerson Pictures Corporation.
(When?) Capra subsequently received an offer to work with producer Harry Cohn at his new studio in Los Angeles. During this time, he worked as a property man, film cutter, title writer, and assistant director.Wakeman 1987, p. 97.
Capra later became a gag writer for Hal Roach's Our Gang series. He was twice hired as a writer for a slapstick comedy director, Mack Sennett, in 1918 and 1924. Under him, Capra wrote scripts for comedian Harry Langdon and produced by Mack Sennett, the first being Plain Clothes in 1925. According to Capra, it was he who invented Langdon's character, the innocent fool living in a "naughty world"; however, Langdon was well into this character by 1925.
When Langdon eventually left Sennett to make longer, feature-length movies with First National Studios, he took Capra along as his personal writer and director. They made three feature films together during 1926 and 1927, all of them successful with critics and the public. The films made Langdon a recognized comedian in the caliber of Charlie Chaplin and Buster Keaton. Following the production of Long Pants (1927), Capra argued with Langdon over the direction his next project would take. Langdon's other confidant was writer-director Arthur Ripley, a fellow Sennett alumnus, and Langdon followed Ripley's suggestions. Capra quit, and the split was disastrous for Langdon, who took matters into his own hands and directed his films himself, to poor reception.
After Capra split with Langdon, he directed a picture for First National, For the Love of Mike (1927). This was a silent comedy about three bickering godfathers—a German, a Jew, and an Irishman—starring a budding actress, Claudette Colbert. The movie was considered a failure and is a lost film.
Columbia Pictures Capra returned to Harry Cohn's studio, now named Columbia Pictures, which was then producing short films and two-reel comedies for "fillers" to play between main features. Columbia was one of many start-up studios on "Poverty Row" in Los Angeles. Like the others, Columbia was unable to compete with larger studios, which often had their own production facilities, distribution, and theaters. Cohn rehired Capra in 1928 to help his studio produce new, full-length feature films, to compete with the major studios. Capra would eventually direct 20 films for Cohn's studio, including many of his classics.
Because of Capra's engineering education, he adapted more easily to the new sound technology than most directors. He welcomed the transition to sound, recalling, "I wasn't at home in silent films." Most studios were unwilling to invest in the new sound technology, assuming it was a passing fad. Many in Hollywood considered sound a threat to the industry and hoped it would pass quickly; McBride notes that "Capra was not one of them." When he saw Al Jolson singing in The Jazz Singer in 1927, considered the first talkie, Capra recalled his reaction:
Few of the studio heads or crew were aware of Capra's engineering background until he began directing The Younger Generation in 1929. The chief cinematographer who worked with Capra on a number of films was likewise unaware. He describes this early period in sound for film:
During his first year with Columbia, Capra directed nine films, some of which were successful. After the first few, Harry Cohn said: "it was the beginning of Columbia making a better quality of pictures."McBride 1992, p. 189. According to Barson, "Capra became ensconced as Harry Cohn's most trusted director." His films soon established Capra as a "bankable" director known throughout the industry, and Cohn raised Capra's initial salary of $1,000 per film to $25,000 per year. Capra directed a film for MGM during this period, but soon realized he "had much more freedom under Harry Cohn's benevolent dictatorship", where Cohn also put Capra's "name above the title" of his films, a first for the movie industry.McBride 1992, p. 197. Capra wrote of this period and recalled the confidence that Cohn placed in Capra's vision and directing: