John G. Blystone — Movie Director (1933) 🇺🇸
The part played by a director in the successful completion of a feature picture is so vital and important a one that a study of the men who “make or break” stars and motion picture organizations seems to be in order.
by Mary A. Roberts
It was with that in mind that I awaited, in a little bungalow around the corner from the Fox Hills Police Station, Mr. Blystone’s coming.
John G. Blystone is a very busy man, these days, hurrying from here to there, seeing to all the details attendant upon the launching of a new star on the American lots, Lilian Harvey.
Like a whirlwind, he was in the room, gracious, cavalier-like, smiling, and sorry to have been late. He dislikes exceedingly keeping people waiting or being kept waiting himself; the publicity department lists that as one of his outstanding traits.
John G. Blystone, though but forty years of age last December 2nd, is listed as one of Hollywood’s pioneers. He has been in Hollywood nearly a score of years, having practically grown up with the film business, — at least, after it reached a point where it was a real commercial consideration in the world.
He lolled back in his chair, lit a Camel and smiled across. “How did I become a director? Well, that’s not so hard!” “You know, in the old days, things were much simpler than they are now. I got a sort of odd job doing this and that around the studio. Anybody working on the lot had to do all manner of things. If something had to be built, moved, fixed, or designed, everyone pitched in and helped. We were all workers and we worked.”
Apparently there was little attention paid to unions, the time clock, and the iron clad rules that bind one set of workers to do or not to do certain things.
“So,” he continued, “we just grew up. Then it happened that I was assisting Isadore Bernstein on a picture. We were only at it two days when something happened. It’s so long ago, I just can’t remember how or what it was, but I got orders to finish the picture.
I did my best.
Since then I’ve been a director.
“The old days were good. Directors acted and actors directed. We gave and took advice freely and without stint. But, after all,” he grinned and shrugged, “you know, the public doesn’t care about a director; they want to know about the stars. Now, Miss Harvey, you must see her.” And he launched into a spirited recital of the ability and charm of the English-born German film star, whom he is directing in My Lips Betray.
“But the public is interested in directors, and in you, Mr. Blystone. We know that of the fifty-six pictures you directed for Fox, there has been not one that didn’t make the grade in the box-office. The director’s name should stamp the picture as being good or bad, depending on the known work of that man.”
“Maybe,” he said, “but out of that fifty-six you spoke of, there wasn’t one that was a tremendous hit. What do you call that, no hits or misses?” I didn’t agree with him that there had been no big successes; certainly Will Rogers’ “Too Busy to Work” was an artistic success if there ever was one.
We think it’s a record. What does the public think? I believe they agree with me. Director Blystone’s modesty is a cloak under which he does genuine, hard work and accomplishes a lot in an economical and effective way.
“The type of picture I like best to direct? Oh, the sort of ‘mother knows best’. The sweet, unsophisticated ones. The public likes romance; — I do, you do, so why not have it? And of all the pictures I have directed I enjoyed doing ‘Mother Knows Best,’ best of all. Romantic themes will always be a box office success.”
“And how,” I ventured timidly, “does it feel to ride around on that derrick-like contraption as you shoot the scenes?” He rubbed his hands together, threw back his head and laughed heartily.
“I like it, think it’s great. It is great, — it’s a barrel of fun! Tell you what, would you like to come out and ride around in it? O. K. then, you just let me know when you’re ready and we’ll let you try it.” I haven’t as yet, but when I do, I’ll let you know how it feels.
Meeting John Blystone, you’d really suspect him of being an actor. He’s over six foot tall, heavy set. Very much the he-man as fans desire him. His hair is brown, and there’s quite a lot of it, despite the fact that there is a little bald patch on top. But you and I couldn’t see that until he bends down. His eyes? They’re grey-green with little flecks of gold. There’s an openness about him, a frankness, a joy in the living that emanates from him. It takes no amount of imagination to picture him taking his part in the infant-days of the industry, then a cowboy, next a carpenter, an electrician, today, a director, respected and loved by those with whom he works and whom he works.
To adapt himself to hard work in the early days, especially carpentry, was not going too far afield, for his father was a lumber merchant. And when it came to doing electrical work, John had gone to Chicago, from his home in Rice Lake, Wisconsin, to take the students’ course at Western Electric Company, quitting only because he loved creative and detested routine work. His ambition then had been to be an electrical engineer.
Director Blystone was educated in the public schools of Eau Claire, and at the University of Wisconsin. His trip west was inspired by the idea of wearing cowboy clothes and riding horses; he wanted to live life.
“Arriving at Los Angeles a long time ago,” he said, “I secured a job at the old Nestor Studios; these were afterwards absorbed by Universal. I was a general utility man, then a property man, and in 1918 I was signed on by the big Fox Films organization.”
John G. Blystone is the pioneer director of that company; but to the hearts of small boys he will be principally remembered by the fact that he directed seven Tom Mix pictures and several other westerns.
Though he never brags about it, he has guided to assured success such well known players as Clara Bow, Ann Pennington, Madge Bellamy, Virginia Valli (wife of Charles Farrell of Fox fame), Margaret Livingston and Joyce Compton. He firmly believes that there is always room at both the top and the bottom of the ladder, and has been one of the outstanding characters in Hollywood cinema life who have actually encouraged, aided and helped those of the coming generation.
He prefers to produce pictures of the “So This Is London”, “Amateur Daddy” and “Scotch Valley” type, and if you think for an instant that So This Is London, — the Will Rogers starring vehicle based on the stage play of the same name, wasn’t an outstanding hit, then you’re all wrong. Folks are still laughing over the antics of that famous Oklahoma stage and screen star so ably directed by Mr. Blystone.
“Jack”, as his friends call him, is a quiet, unassuming and consistent home lover; married, and has two children. A typical man’s man in that he’s fond of music but can’t sing or play; in fact, he “couldn’t carry a tune if it had a handle on it,” as he says.
He smokes a pipe and cigars, and no amount of money would bribe him to take a blindfold test for cigarettes, though he occasionally puffs one. And, man-like, two dogs are his particular pets. He reads plays, biographies, classics, and occasionally a good novel.
He makes a point of seeing all the best pictures produced; feels it is his duty and at the same time says that aspirants for work in motion pictures should be constant patrons of the movie houses; “to succeed in pictures one must see pictures,” he added.
Director Blystone entertains no superstitions; he used to imagine that it was unlucky to start a production on a Friday or on the 13th of the month, but soon gave up the notion as ridiculous. He admires punctuality, as I have said, but is never unkind or scolds actors and assistants when they fail to report promptly. Patience’ is one of his dominant virtues, and it has won him a host of friends who know him to be an apostle of fair play.
He lives in a modest home in Beverly Hills, and, with the exception of one picture, Tol’able David, has never been off the Fox Films studio lot since he joined them.
In addition to the pictures I have already mentioned in this article, “Jack” Blystone also directed Dick Turpin, “On the Wings of the Storm”, “Pajamas”, “Slaves of Beauty”, “The Family Upstairs”, “Hardboiled”, “Ankles Preferred”, “Captain Lash”, Thru Different Eyes, The Sky Hawk, The Big Party, “Men on Call”, Mr. Lemon of Orange, “Young Sinners”, “Charlie Chan’s Chance”, “After the Rain”, and “She Wanted a Millionaire” which ran serially in Broadway and Hollywood “Movies” magazine.
As I write this, Mr. Blystone is “up to his neck” in assuring the successful American debut of Miss Harvey, former star of “Congress Dances” [Der Kongreß tanzt], — in a picture which was first known as His Majesty’s Car, by Atilla von Orbok [Attila Orbók].
In addition to Lilian, John Boles, El Brendel, Una O’Connor and Henrietta Crosman will have featured roles. And with John G. Blystone wielding the directorial megaphone, I’m sure that My Lips Betray will be another success.
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John G. Blystone, lower left, directs Will Rogers in a scene from Fox’s “Too Busy to Work.”
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Collection: Broadway and Hollywood “Movies” Magazine, November 1933