Died: Aug 17, 1987 in Santa Monica, Los Angeles, California
Occupation: Director, Writer, Actor
Active: '20s-'50s
Major Genres: Drama, Romance
Career Highlights: The Yearling, Anna Christie, Angels in the Outfield
First Major Screen Credit: The Last of the Mohicans (1920)
Biography
The son of a cotton manufacturer, Clarence Brown moved from Massachusetts to the South when he was eleven. He attended the University of Tennessee, graduating at the age of 19 with two degrees in engineering. An early fascination in automobiles led Brown to a mechanics-expert post with the Stevens Duryea Company, then to his own Alabama-based Brown Motor Car Company. He abandoned this concern when a new interest in motion pictures began manifesting itself circa 1913. Hired by the Peerless Studio at Fort Lee, New Jersey, Brown became assistant to the great French-born director Maurice Tourneur. Until the day he died, Brown attributed his future success in films to what he had learned under Tourneur's tutelage. After World War I service, Brown was given his first co-directing credit (with Tourneur) for 1920's The Great Redeemer; that same year, he directed a goodly portion of The Last of the Mohicans when official director Tourneur was injured in a fall. Soloing for the first time with 1923's Don't Marry for Money, Brown went on to direct some of the best dramas of the silent era, among them Smouldering Fires (1924), The Goose Woman (1925), and Valentino's The Eagle. His most felicitous screen collaboration was with Greta Garbo. He became Garbo's favorite director, guiding her through such well-received productions as Flesh and the Devil (1927), A Woman of Affairs (1928), and the actress' first talkie, Anna Christie (1930). From 1925 through 1952, Brown worked exclusively at MGM, save for a loan-out to 20th Century-Fox for The Rains Came. He functioned as both producer and director for many of his later films, notably Intruder in the Dust (1949), Angels in the Outfield (1951) and Plymouth Adventure (1952), his last effort. He retired a wealthy man due to his real estate investments, refusing to see any new films for fear of being galvanized into jump-starting his career. In the 1970s, the octogenarian Clarence Brown became a much-sought-after guest lecturer on the film-festival circuit, thanks in great part to his Garbo films and to his many excursions into Americana (Ah, Wilderness [35], Of Human Hearts [38], The Human Comedy [43] etc.). ~ Hal Erickson, All Movie Guide
Born in Clinton, Massachusetts, to a cotton manufacturer, Brown moved to the South when he was eleven. He attended the University of Tennessee, graduating at the age of 19 with two degrees in engineering. An early fascination in automobiles led Brown to a job with the Stevens-Duryea Company, then to his own Brown Motor Car Company in Alabama. He later abandoned the car dealership after developing an interest in motion pictures around 1913. He was hired by the Peerless Studio at Fort Lee, New Jersey, and became an assistant to the great French-born director Maurice Tourneur.
Career
After serving in World War I, Brown was given his first co-directing credit (with Tourneur) for 1920s The Great Redeemer. Later that year, he directed a major portion of The Last of the Mohicans after Tourneur was injured in a fall.
Brown moved to Universal in 1924, and then to MGM, where he stayed until the mid-1950s. At MGM he was one of the main directors of their female stars–he directed both Joan Crawford and Greta Garbo five times. Garbo referred to Brown as her favorite director.
He not only made the difficult transition from silent cinema to sound cinema, but thrived there, proving himself to be a "actor's director": listening to his actors', respecting their instincts, and often incorporating their suggestions into scenes. In doing so, Brown created believable, under-played, naturalistic dialogue scenes stripped of melodrama, pulsing with the honest rhythms of real-life conversation. He was nominated five times (see below) for the Academy Award as a director, and once as a producer, but never received an Oscar. However, he did win Best Foreign Film for Anna Karenina at the 1935 Venice International Film Festival.
Brown retired a wealthy man due to his real estate investments, but refused to watch new movies, as he feared they might cause him to restart his career. In the 1970s, Brown became a much-sought guest lecturer on the film-festival circuit, thanks in part to his connection with Garbo.
NOTE: In 1929/1930, Brown received one Academy Award nomination for two films. According to the Academy of Motion Picture Arts and Sciences, "As allowed by the award rules for this year, a single nomination could honor work in one or more films."
References
An Extraordinary Town, How one of America's smallest towns shaped the world - A Historical Marketing Book by A. J. Bastarache. Featuring a comprehensive section on Clarence Brown.
Academy Awards Database Information available on the actual dates and nominations, plus commentary on the nominations for multiple roles/films in 1929/1930.