The title of the book and the cover photograph of the four Warner brothers is misleading, as this is not a history of Warner Bros. Instead, it’s a movie critic’s reprise of the movies produced by Warners over the years and gossip and opinion about the actors and directors involved in them.
Many movie buffs may enjoy this series of film riffs, as at points author David Thomson has witty observations. For example, referring to Humphrey Bogart and Lauren Bacall in The Big Sleep, he writes, “It does not matter whether Bogart and Bacall were happy together in life (I hope they had their moments), because they have 114 minutes of splendor in the film.” But I was suspicious that these might have been retreads of columns he has written over the years, and they certainly don’t constitute a book with well organized themes.
The book glosses over the four brothers who, with the exception of Jack, the author seems to find boring. Harry, an older brother, is mentioned mainly as a foil in terms of personality to Jack and at the end of the book there is a description of how Jack shortchanged Harry when the studio was sold. The falling out between the brothers was complete.
Thomson observes, “I doubt the editors of this series [entitled Jewish Lives] would proceed to print a full account of what might be plain or empty lives.” This was written in reference to the ancestors of the four brothers, but reveals the author’s own lack of interest in the principals of the studio themselves. Early chapters touch upon how the family, initially through Sam Warner obtaining an Edison projector, seized on movies only after attempting other business ventures in Baltimore, Canada, Pittsburgh, and Youngstown. But then the brothers are virtually forgotten until the final chapter of the book dealing with Jack’s betrayal of brother Harry.
Some of the financial ups and downs of the studio are briefly referenced without elaboration beyond stating that the early years were touch and go. Thomson seems to have no interest in the business side of Warner Bros or, more surprisingly, of exploring in depth how this studio in the 1930s became “the most socially conscious or leftist studio outside the Soviet Union” with films such as Heroes for Sale, Angels with Dirty Faces, I am a Fugitive from the Chain Gang, and They Drive by Night.
Consequently, as other reviewers have observed, the author’s narrative can be rambling and disjointed. We get summaries and assessments of the many films made by Warner Bros, along with tidbits about stars such as Bette Davis, Errol Flynn, Jimmy Cagney, and Humphrey Bogart. Director Michael Curtiz is greatly admired by Thomson. But there is no well organized analysis of the creative uniqueness of Warner Bros.
This a quick and undemanding read, and many readers will enjoy Thomson’s take on specific movies or on personalities such as Bette Davis, Jimmy Cagney, Humphrey Bogart, and Joan Crawford. However someone else will have to write a definitive book on “The Making of an American Movie Studio.”