.jpg/250px-Silent_films_actor_Raymond_Griffith_(SAYRE_3335).jpg){kind=small}
.jpg/2000px-Silent_films_actor_Raymond_Griffith_(SAYRE_3335).jpg)
Community hub
0 subscribers8 pages, 0 posts
Recent from talks
All channels
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Welcome to the community hub built to collect knowledge and have discussions related to Raymond Griffith.
Nothing was collected or created yet.
Raymond Griffith
View on Wikipediafrom Wikipedia
 | This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these messages)
|
Raymond Griffith (January 23, 1895 – November 25, 1957) was an American silent movie actor and comedian. Later in his career, he worked behind the camera as writer and producer.
Key Information
.jpg)
Biography
[edit]Griffith was born in Boston, Massachusetts. He lost his voice at an early age, causing him to speak for the rest of his life in a hoarse whisper. Griffith claimed that it was the result of his having to scream at the top of his lungs every night in a stage melodrama as a child actor—others have stated that a childhood disease was more likely the cause. Lying about his age, Griffith enlisted in the U.S. Navy at age 15 and served for three years.[1][2][3] He was later drafted for service in World War I but was not inducted because of his vocal problems.[2]
Although a few comedy films of his are considered classics he is almost totally forgotten today. His film debut was for the L-KO Kompany. Many of his starring feature films have long since been lost, but probably the best known of his films today is Hands Up! (1926), a Civil War comedy feature directed by Clarence G. Badger, and co-starring Mack Swain, which was entered into the National Film Registry in 2005. Also considered a classic is Badger's Paths to Paradise, a caper film that is in all circulating prints missing its final reel. Like many silent comedians, he had a traditional costume; his was a top hat, white tie and tails, often augmented by a cape and/or walking stick.
The coming of sound ended Griffith's acting career, but he did have one memorable role in a motion picture before retiring from the screen, playing a French soldier killed by Lew Ayres in the 1930 Lewis Milestone film All Quiet on the Western Front. He then segued into a writing/producing career at Twentieth Century Fox.
As of 1929, Griffith was a Socialist.[4]
Griffith choked to death at the Masquers Club in Los Angeles, California, aged 62, on November 25, 1957.
Filmography
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1918 | The Red-Haired Cupid | Albert Jones | Lost film |
| 1919 | The Follies Girl | Fredric | |
| 1920 | Love, Honor and Behave | Man with Married Girlfriend | Lost film |
| Down on the Farm | Writer | ||
| 1922 | The Crossroads of New York | Wall Street 'Wolf' | Lost film |
| Fools First | Tony | Lost film | |
| Minnie | Chewing Gum Salesman | Lost film | |
| 1923 | Red Lights | Sheridan Scott | Lost film |
| The Eternal Three | Leonard Foster | ||
| The Day of Faith | Tom Barnett | Lost film | |
| White Tiger | Roy Donovan | ||
| Souls for Sale | Himself | ||
| 1924 | Poisoned Paradise: The Forbidden Story of Monte Carlo | Martel aka The Rat | Incomplete film, five of seven reels are preserved |
| The Dawn of a Tomorrow | The Dandy | Lost film | |
| Nellie, the Beautiful Cloak Model | Shorty Burchell | ||
| Changing Husbands | Bob Hamilton | ||
| The Yankee Consul | Writer | ||
| Lily of the Dust | Karl Dehnecke | Lost film | |
| Open All Night | Igor | ||
| 1925 | The Night Club | Robert White | |
| Miss Bluebeard | The Honorable Bertie Bird | ||
| Forty Winks | Lord Chumley | Lost film | |
| Paths to Paradise | The Dude from Duluth | Incomplete film, final reel is missing | |
| Fine Clothes | Oscar | Lost film | |
| A Regular Fellow | The Prince | Lost film | |
| When Winter Went | Bookworm | ||
| 1926 | Hands Up! | Jack - a Confederate Spy | |
| Wet Paint | He | Lost film | |
| You'd Be Surprised | Mr. Green - The Coroner | ||
| The Waiter from the Ritz | |||
| 1927 | Wedding Bills | Algernon Schuyler Van Twidder | Lost film |
| Time to Love | Alfred Sava-Goiu | Lost film | |
| 1929 | Trent's Last Case | Philip Trent | |
| 1930 | All Quiet on the Western Front | Gérard Duval | Uncredited, (final film role) |
| 1933 | Ladies They Talk About | Producer | |
| Broadway Through a Keyhole | Co-producer | ||
| 1934 | The House of Rothschild | Co-producer | |
| 1936 | Private Number | Producer | |
| 1939 | Hotel for Women | Producer |
References
[edit]- ^ Raymond Griffith Los Angeles Times. Retrieved July 13, 2022.
- ^ a b Raymond Griffith at Notré Cinema: Movies and Stars Images. Retrieved July 13, 2022.
- ^ Raymond Griffith at The Silent Film Still Archive. Retrieved July 13, 2022.
- ^ Detwiler, Justice B. (1929). Who's Who in California. San Francisco: Who's Who Publishing Company. p. 430. Retrieved April 11, 2025.
External links
[edit]
Wikimedia Commons has media related to Raymond Griffith.
- Raymond Griffith at IMDb
- Classic Images article on Raymond Griffith
- Raymond Griffith at Find a Grave
| International | |
|---|---|
| National | |
| People | |
| Other | |
Raymond Griffith
View on Grokipediafrom Grokipedia
Raymond Griffith (January 23, 1895 – November 25, 1957) was an American silent film comedian, actor, writer, director, and producer, renowned for his suave "silk hat" persona and sophisticated humor in mid-1920s Paramount features.[1][2]
Born into a theatrical family in Boston, Massachusetts, Griffith began performing on stage as a child, making his debut at fifteen months old, and later transitioned to film in 1915 with uncredited roles in short comedies for L-KO Kompany.[1][2] By 1918, he had established himself as a supporting player in Mack Sennett comedies, writing scripts alongside collaborators like Johnny Gray and Bert Glassmire, before rising to stardom as a leading man in feature films.[3]
Griffith's peak fame came between 1924 and 1926, when he starred in, wrote, and sometimes directed up to nine Paramount productions, including the Civil War comedy Hands Up! (1926), the tropical adventure Paths to Paradise (1925), and the mystery You'd Be Surprised (1926), earning critical acclaim for his originality and ingenuity from reviewers like Robert E. Sherwood.[1][2][3] His distinctive style—marked by a top hat, mustache, and a mild-mannered, reactive physical comedy—placed him among the top silent-era comedians, with film historian Walter Kerr later ranking him fifth behind Charlie Chaplin, Buster Keaton, Harold Lloyd, and Harry Langdon.[2]
A childhood bout of diphtheria left Griffith with a permanent hoarse whisper, preventing a smooth transition to sound films despite a cameo in All Quiet on the Western Front (1930).[1][3] He shifted to behind-the-scenes roles, serving as a script doctor and associate producer at Warner Bros., Twentieth Century Pictures, and Twentieth Century-Fox under Darryl F. Zanuck, contributing to notable productions like Heidi (1937) and The Mark of Zorro (1940).[1][3]
Griffith's legacy has been overshadowed by the loss or inaccessibility of many of his films, limiting his posthumous recognition, though recent restorations and scholarly interest have highlighted his unique contributions to silent comedy.[2] He received a star on the Hollywood Walk of Fame at 6100 Hollywood Boulevard in 1960.[1]
Griffith's producing tenure ended around 1940, after which he retired from the industry, though his contributions helped shape several enduring classics in the pre-war Hollywood output.[1]
Early Life
Childhood and Family Background
Raymond Griffith was born on January 23, 1895, in Boston, Massachusetts, into a multi-generational theatrical family.[1] His parents, James Henry Griffith, an actor from San Francisco, and Mary Guichard, a French-born stage actress, immersed him in the world of performance from infancy.[1] Guichard's birthplace in France contributed to the family's itinerant lifestyle tied to the theater circuit.[1] This background, spanning actors like his grandfather Gerald Griffith and great-grandfather Thomas Griffith, provided a foundation in the performing arts rather than traditional trades.[1] As a child in Boston's bustling theater environment, Griffith's early exposure to stage work began with family-influenced debuts.[1] By then, he had already appeared in local productions, reflecting the socioeconomic realities of a working-class family reliant on show business for livelihood.[1]Voice Loss and Early Performances
In childhood, Raymond Griffith suffered a severe case of respiratory diphtheria that weakened his vocal cords, rendering him temporarily mute.[4] Further damage occurred during rehearsals for the play The Witching Hour, where, as a juvenile lead, he overexerted his voice through excessive screaming, leaving him with a permanent hoarse whisper for the rest of his life.[4][5] Despite the setback, Griffith's early performances began in Boston's theatrical scene, where he had debuted onstage at just 15 months old in his parents' stock company.[1] As a child, he took on roles such as Little Lord Fauntleroy at age 7 and a "little girl" in Ten Nights in a Barroom at age 8, but following his voice loss, he shifted to non-verbal pursuits, including work as a dancer and acrobat in a circus and touring with a French pantomime troupe across Europe.[1] In 1910, at age 15, he enlisted in the U.S. Navy (claiming to be 18) and served for 2.5 years aboard five ships.[1] In these amateur and semi-professional endeavors, Griffith adapted effectively through expressive physical gestures and mime, honing skills that would later define his silent film career.[6] The incident shaped Griffith's career path, limiting legitimate theater opportunities but channeling his efforts into visual performance arts that did not rely on spoken dialogue.[4] This early adversity ultimately positioned him advantageously in the silent era, where his muted expressiveness became an asset rather than a limitation.[6]Career Beginnings
Stage and Vaudeville Work
Griffith's entry into professional performance came in his mid-teens, following the permanent damage to his vocal cords from childhood diphtheria, which necessitated a shift toward nonverbal entertainment forms.[1] Around 1910, at age 15, he joined vaudeville circuits, where he performed primarily as a dancer and in pantomime routines, capitalizing on his agility and expressive physicality.[7] These acts honed his ability to convey humor without dialogue, relying on precise timing, exaggerated gestures, and facial contortions to engage audiences in comedy sketches.[8] A pivotal early opportunity arose when Griffith aligned with a French pantomime troupe, embarking on multiple European tours that exposed him to sophisticated mime traditions and further refined his silent comedic techniques.[7] This international experience, combined with domestic vaudeville engagements, emphasized reactive humor and subtle emotional shifts over overt slapstick, laying the groundwork for his distinctive style.[8] By emphasizing visual storytelling, Griffith adapted his vocal limitations into an asset, developing a repertoire of mime-based sketches that showcased cunning, dapper characters through body language and props.[1] In addition to touring, Griffith took on roles in stock theater productions during this period, performing in legitimate stage companies that demanded versatile physical presence in comedic supporting parts.[1] These experiences in New York-area ensembles and brief forays into burlesque circuits allowed him to experiment with exaggerated expressions and ensemble dynamics, solidifying his prowess in wordless humor before transitioning to film around 1915.[7]Entry into Film Industry
Griffith entered the film industry in 1915, appearing in uncredited and supporting roles in short comedies produced by the L-KO Motion Picture Kompany in California under director Henry Lehrman.[1][9] These early experiences in fast-paced slapstick shorts honed his on-screen presence and led to further opportunities in the burgeoning Hollywood scene. In March 1916, Griffith joined Mack Sennett's Keystone Comedies at the Triangle studio, contributing as an actor, gag writer, and scenario assistant in five burlesque shorts.[1] Although his subtler comedic style, rooted in vaudeville pantomime, clashed with Sennett's preference for exaggerated, cartoonish antics—prompting a shift toward behind-the-scenes work—Griffith leveraged his expressive timing to support ensemble scenes.[9] By 1917, he expanded to contract work with smaller studios, including a role in Fox's An Aerial Joy Ride.[1] Griffith's first credited role came in 1918 with Sennett shorts, where he co-directed The Village Chestnut alongside Walter Wright, marking a key step in adapting his stage-honed pantomime skills to the demands of filmed comedy.[10] The transition from live vaudeville to cinema required navigating the fixed perspectives of the camera and the absence of real-time audience interaction, challenges that tested performers' ability to convey humor through visual nuance alone.[1]Silent Film Stardom
Breakthrough Roles
Raymond Griffith's ascent to prominence in silent cinema began with his performance in Open All Night (1924), directed by Paul Bern for Paramount Pictures, where he portrayed Igor, a boisterous drunk parodying Rudolph Valentino's sheik persona.[1] In this marital comedy supporting Adolphe Menjou and Viola Dana, Griffith's exaggerated antics, including frequent comedic interludes, overshadowed the leads and elicited strong audience laughter, marking his first significant showcase of sophisticated farce.[1][11] This role transitioned him from bit parts and gag writing at Keystone Studios to leading man potential, earning critical notice for his ability to inject vitality into lighter fare.[8] Building on this momentum, Griffith took a co-starring role as the Honorable Bertie Bird in Miss Bluebeard (1925), a Frank Tuttle-directed adaptation of Avery Hopwood's play Little Miss Bluebeard, opposite Bebe Daniels.[1] As a somnolent aristocrat unwittingly entangled in a web of romantic mix-ups at a French hotel, Griffith delivered refined physical humor, including a memorable cat imitation that drew roars from audiences.[1] The New York Times praised the film as a "clever farce, capably acted" by Daniels, Robert Frazer, and Griffith, highlighting his contribution to its lively bedroom comedy tone.[12] This performance solidified his reputation at Paramount for urbane wit, positioning him as a versatile comedian amid the studio's 1925 slate of features.[1] Griffith's breakthrough culminated in Hands Up! (1926), directed by Clarence G. Badger, where he starred as an unnamed Confederate spy—referred to simply as "the Man"—tasked with diverting a Union gold shipment during the Civil War.[13] Blending espionage, chases, and sight gags with co-stars Marian Nixon and Mack Swain, the film showcased Griffith's deadpan cunning and reactive style in innovative sequences, such as narrow escapes from firing squads and Native American encounters.[13] Critics lauded it as his finest work, distinguishing his poised elegance from the slapstick of contemporaries like Buster Keaton, whose similar Civil War comedy The General released the same year.[1] Inducted into the National Film Registry in 2005 for its cultural significance and preserved comic ingenuity, Hands Up! encapsulated Griffith's mid-1920s stardom as the "silk hat comedian," affirming his place among silent era's top leading men.[13]Signature Style and Notable Films
Raymond Griffith was renowned for his distinctive "silk-hat comedian" persona, characterized by a trademark appearance of a top hat, neatly trimmed mustache, and impeccably tailored suits that evoked an air of upper-class elegance. This dapper look defined his roles as suave tricksters or aristocrats, allowing him to navigate comedic scenarios with a blend of physical slapstick and subtle irony, often portraying unflappable gentlemen who outwit their foes through clever deception rather than brute force.[14][2][15] In films like Forty Winks (1925), Griffith embodied this style as Lord Chumley, a sophisticated nobleman entangled in romantic and adventurous mishaps, showcasing his ability to infuse debonair poise with humorous pratfalls that highlighted his graceful athleticism. The character's reliance on wit and charm over overt aggression exemplified Griffith's departure from the more sentimental or everyman humor of contemporaries like Charlie Chaplin, favoring instead a polished cynicism that appealed to audiences seeking refined comedy.[16][17][2] Griffith's innovative approach shone in Paths to Paradise (1925), a partially preserved heist comedy directed by Clarence G. Badger, where he played a debonair confidence trickster vying with a female rival (Betty Compson) to steal a diamond necklace, culminating in a chaotic chase to the Mexican border; a 2023 2K restoration of an incomplete print has renewed interest in the film.[18] The film featured overlapping action sequences, such as a triple-cross in a fake Chinatown saloon and a frenetic motorcycle pursuit, employing cinematic tricks to layer deception upon deception in a "millefeuille of fakery" that parodied Hollywood tropes while celebrating crookish ingenuity. This structure blended Griffith's signature irony—through self-aware role-playing and absurd reversals—with kinetic slapstick, distinguishing his work as a sophisticated evolution of the genre.[14]Transition and Later Career
Shift to Sound Films
As the silent film era gave way to talking pictures in the late 1920s, Raymond Griffith faced significant challenges in adapting to sound due to a childhood bout of diphtheria that had severely damaged his vocal cords, leaving him with a raspy, hoarse whisper unsuitable for leading roles.[2][19] This limitation effectively ended his prominence as a comedic star, as studios typecast him in non-speaking or minimal-dialogue parts where his physical expressiveness could still shine without relying on voice.[20][14] Griffith attempted a brief foray into early sound shorts at Christie Studios, starring in two-reel comedies that highlighted his silent-era talents but underscored his vocal constraints. In Post Mortems (1929) and The Sleeping Porch (1929), he played lead roles with sparse dialogue, relying on visual gags and mime to carry the humor, though these efforts marked the rapid decline of his on-screen career.[1][21] His final major acting appearance came as an uncredited cameo in the anti-war epic All Quiet on the Western Front (1930), where he portrayed Gérard Duval, a dying French soldier who shares a poignant, wordless exchange with protagonist Paul Bäumer (Lew Ayres) in a shell crater. This silent yet emotionally charged performance was widely praised for its intensity and restraint, leveraging Griffith's strengths in expressive physicality to convey profound regret and humanity without uttering a line.[22][21]Writing and Producing Contributions
Following the decline in his acting career with the advent of sound films, Raymond Griffith pivoted to writing and producing roles in the 1930s, leveraging his comedic background and script-doctoring expertise at major studios. Known for uncredited rewrites and contributions to dialogue, Griffith's credited producing work began at Warner Bros., including as associate producer on The Little Giant (1933), a comedy where his oversight helped shape the film's sharp, humorous tone in Edward G. Robinson's gangster spoof.[1][23][24] Griffith's producing career flourished under Darryl F. Zanuck, beginning at Warner Bros. and continuing after Zanuck's move to Twentieth Century Fox in 1935, where Griffith served as an associate producer on several projects, including the family drama Heidi (1937). This collaboration allowed Griffith to extend his comedic sensibility to films like Day-Time Wife (1939), a screwball comedy starring Tyrone Power and Linda Darnell, which he oversaw in production and helped shape through gag suggestions and rewrites.[1][25] A highlight of his producing work was The Mark of Zorro (1940) at Twentieth Century Fox, where Griffith managed key elements of the swashbuckler adventure, including action sequences and visual spectacle, contributing to its status as a lavish Technicolor hit directed by Rouben Mamoulian.[26][27]Personal Life
Marriage and Family
Griffith married stage and film actress Bertha Mann on January 8, 1928.[1] The couple took an extended honeymoon in Europe, during which Griffith paused his film work.[4] Their marriage lasted nearly 29 years, until Griffith's death in 1957.[28] The Griffiths' first child, a son named Raymond Griffith Jr., was stillborn on June 6, 1929.[28] Their second child, son Michael, was born on July 16, 1931.[28] In 1933, they adopted a daughter, Patricia, after her birth parents died in an auto accident.[28][1] The family resided in Los Angeles, California, where photographs from 1933–1934 capture Griffith with Mann and their young children in domestic settings.[29] Griffith's intense career schedule, involving writing and producing roles that often demanded long hours on set, contrasted with their private home life, though the couple prioritized family stability amid Hollywood's pressures.[1]Political Affiliations
Griffith's possible connections to Hollywood's leftist circles were evident in his attendance at a 1922 dinner hosted by socialist philanthropist Kate Crane Gartz in honor of author Upton Sinclair, where he mingled with radicals such as Charlie Chaplin and actress Lila Lee.[30] However, no records indicate major activism on his part, such as public speeches, donations to causes, or involvement in organizations like the Hollywood Ten precursors.Death and Legacy
Final Years and Death
After retiring from acting in the early sound era due to his hoarse whisper from childhood diphtheria, Griffith continued in production roles until the late 1930s, retiring around 1940 after his producing work.[2][31] Griffith spent his final years in relative seclusion, largely out of the public eye following the end of his producing work around 1940.[31] On November 25, 1957, while dining at the Masquers Club in Los Angeles, the 62-year-old Griffith choked on partially masticated food, leading to asphyxia and his immediate death.[1] Initial newspaper accounts reported a heart attack as the cause, but an autopsy conducted on November 27 confirmed asphyxia from choking.[1] Masonic funeral services were held for Griffith, drawing attendance from numerous Hollywood peers in recognition of his contributions to early cinema.[32] He was interred at Forest Lawn Memorial Park in Glendale, California.[4]Posthumous Recognition
Following his death in 1957, Raymond Griffith received a star on the Hollywood Walk of Fame in the Motion Pictures category, dedicated on February 8, 1960, at 6124 Hollywood Boulevard, recognizing his contributions to silent comedy despite his niche status among contemporaries.[33] In 2005, Griffith's film Hands Up! (1926) was selected for preservation in the National Film Registry by the Library of Congress, honored for its cultural, historic, and aesthetic significance as an exemplar of sophisticated silent-era comedy featuring Griffith's deadpan performance amid adventurous Civil War antics.[34][35] Griffith's work has experienced modern rediscovery through screenings at silent film festivals worldwide, including the Niles Essanay Silent Film Museum in 2015 and the Kansas Silent Film Festival in recent years, where restored prints of his features highlight his elegant comedic timing.[36][37] This resurgence includes 2023 restorations of previously rare or presumed-lost films like Paths to Paradise (1925) and You'd Be Surprised (1926), sourced from Library of Congress archives and released on Blu-ray/DVD by Undercrank Productions, which earned the 2024 DVD/Blu-ray Award for Best Silent Film Edition at Italy's Il Cinema Ritrovato festival.[2][18][38]Filmography
Acting Credits
Raymond Griffith's acting credits from 1918 to 1930 consist primarily of supporting and leading roles in silent shorts and features, many produced by studios such as Paramount and Universal.[39][1] The following is a chronological catalog of his verified credited roles, excluding uncredited appearances as extras.| Year | Title | Role | Notes |
|---|---|---|---|
| 1918 | Their Neighbor's Baby (short) | Not specified | Early comedy short.[1] |
| 1919 | The Follies Girl (feature) | Fredric | Lost film.[1] |
| 1922 | Fools First (short) | Tony | Supporting role in comedy. |
| 1922 | Minnie (short) | Chewing Gum Salesman | Comedy short directed by Marshall Neilan.[40] |
| 1923 | The Day of Faith (feature) | Tom Barnett | Drama with Eleanor Boardman. |
| 1923 | The Eternal Three (feature) | Leonard Foster | Drama.[1] |
| 1923 | Red Lights (feature) | Sheridan Scott | Mystery-melodrama; first film for new studio. |
| 1923 | The White Tiger (feature) | Roy Donovan | Crime drama with Priscilla Dean; lost film.[1] |
| 1924 | Changing Husbands (feature) | Befuddled husband | Comedy.[1] |
| 1924 | The Dawn of a Tomorrow (feature) | The Dandy | Drama. |
| 1924 | Nellie, the Beautiful Cloak Model (feature) | Shorty Burchell | Comedy-drama. |
| 1924 | Lily of the Dust (feature) | Karl Dehnecke | Drama starring Pola Negri.[41] |
| 1924 | Open All Night (feature) | Igor | Comedy.[1] |
| 1925 | A Regular Fellow (feature) | The Prince | Comedy. |
| 1925 | Paths to Paradise (feature) | The Dude from Duluth | Comedy; incomplete print preserved (missing final reel). |
| 1925 | The Night Club (feature) | Robert White | Comedy starring Vera Reynolds. |
| 1925 | Miss Bluebeard (feature) | The Honorable Bertie Bird | Comedy with Bebe Daniels. |
| 1925 | Forty Winks (feature) | Lord Chumley | Comedy.[1] |
| 1925 | Fine Clothes (feature) | Oscar | Drama.[1] |
| 1926 | Wet Paint (feature) | He | Comedy short expanded to feature. |
| 1926 | Hands Up! (feature) | Jack, the Confederate spy | Civil War comedy; preserved. |
| 1926 | You'd Be Surprised (feature) | Mr. Green, the coroner | Mystery comedy.[1] |
| 1927 | Time to Love (feature) | Alfred Sava-Goiu | Lost film.[1] |
| 1927 | Wedding Bills (feature) | Algernon Schuyler Van Twidder | Comedy; lost film.[1] |
| 1929 | Trent's Last Case (feature) | Philip Trent | Mystery adaptation. |
| 1929 | Post Mortems (short) | Not specified | Sound short.[1] |
| 1929 | The Sleeping Porch (short) | Not specified | Sound short. |
| 1930 | All Quiet on the Western Front (feature) | Gerard Duval (uncredited) | Supporting role in war drama.[42] |
Writing and Producing Credits
Raymond Griffith began his career behind the camera during the silent film era, initially contributing scenarios and stories to comedies and dramas. His writing work often involved adaptations and original stories for independent productions, showcasing his understanding of comedic timing developed as an actor. By the late 1920s, he shifted toward script doctoring and story editing, particularly at Warner Bros., where he rewrote scripts for five films in 1931 under Darryl F. Zanuck's mentorship.[1] In the sound era, Griffith's producing career flourished, starting as an associate producer on early Warner Bros. talkies and extending to 20th Century Fox, where he oversaw high-profile adaptations and originals. His production credits emphasized efficient storytelling and visual appeal, contributing to several box-office successes and Oscar-nominated films. He often handled uncredited contributions, such as story ideas for Shirley Temple vehicles like The Littlest Rebel (1935).[1][43][44]Notable Writing Credits
| Year | Title | Role | Notes |
|---|---|---|---|
| 1923 | Going Up | Screenplay | Adaptation of the Broadway play; directed by George Melford.[1] |
| 1923 | The Yankee Consul | Screenplay | Comedy starring Will Rogers; directed by James Cruze.[1] |
| 1924 | Never Say Die | Story | Basis for the film starring Douglas MacLean; directed by Howard Higgin.[1] |
| 1931 | Girls About Town | Screenwriter (adaptation) | Co-adapted Zoe Akins' story with Brian Marlow; directed by George Cukor, starring Kay Francis.[44] |
Notable Producing Credits
| Year | Title | Role | Notes |
|---|---|---|---|
| 1931 | Girls About Town | Producer | Pre-Code drama highlighting women's independence; co-produced with William LeBaron.[44] |
| 1932 | Tiger Shark | Producer | Howard Hawks-directed drama starring Edward G. Robinson; focused on tuna fishing rivalries.[45] |
| 1932 | Three on a Match | Associate Producer | Early Warner Bros. pre-Code featuring Ann Dvorak; directed by Mervyn LeRoy.[1] |
| 1933 | 20,000 Years in Sing Sing | Associate Producer | Prison drama with Spencer Tracy and Bette Davis; directed by Michael Curtiz.[1] |
| 1933 | Broadway Thru a Keyhole | Associate Producer | Gangster musical inspired by Texas Guinan; directed by Lowell Sherman.[46] |
| 1934 | The House of Rothschild | Associate Producer | Nominated for Best Picture Oscar; historical drama directed by Alfred Werker.[1] |
| 1934 | Moulin Rouge | Associate Producer | Constance Bennett vehicle directed by Sidney Lanfield; musical drama.[47] |
| 1935 | The Call of the Wild | Associate Producer | Adaptation starring Clark Gable and Loretta Young; directed by William A. Wellman.[43] |
| 1935 | Cardinal Richelieu | Associate Producer | George Arliss starrer directed by Rowland V. Lee; historical swashbuckler.[48] |
| 1936 | A Message to Garcia | Associate Producer | Adaptation of Elbert Hubbard's essay; directed by George Marshall.[49] |
| 1936 | Professional Soldier | Associate Producer | Freddie Bartholomew film directed by Tay Garnett.[50] |
| 1937 | Heidi | Associate Producer | Shirley Temple classic directed by Allan Dwan.[1] |
| 1938 | Drums Along the Mohawk | Associate Producer | John Ford-directed historical drama with Claudette Colbert and Henry Fonda.[1] |
| 1940 | The Great Profile | Associate Producer | John Barrymore comedy; directed by Walter Lang.[51] |
| 1940 | The Mark of Zorro | Associate Producer | Tyrone Power swashbuckler directed by Rouben Mamoulian.[1] |
| 1940 | He Married His Wife | Producer | Adolphe Menjou comedy directed by Wesley Ruggles.[52] |