William Beaudine

2.1. Childhood and Family

Born on January 15, 1892, in New York City, William Washington Beaudine was part of a family connected to the early film industry. In 1914, he married Marguerite Fleischer, and their marriage lasted until his death. Marguerite's sister was the mother of actor Bobby Anderson. Beaudine's brother, Harold Beaudine, also pursued a career in directing, specializing in short, action-filled comedies.

2.2. Early Career as an Actor and Assistant Director

Beaudine began his career as an actor in 1909 at the age of 17, working with the American Mutoscope and Biograph Company. By 1915, he was hired by the Kalem Company as both an actor and a director. During this formative period, he gained valuable experience as an assistant to the pioneering director D.W. Griffith on two of his landmark films, The Birth of a Nation and Intolerance. At just 23 years old, Beaudine directed his first picture, a short film titled Almost a King (1915). He continued directing exclusively short films until 1922, collaborating with actors like Bobby Vernon at the Al Christie studio and Snub Pollard at the Hal Roach studio.

3.1. Early Career as a Prestige Director

During the 1920s, William Beaudine was highly sought after as a director, earning a reputation for his skill and efficiency. The 1959 book Classics of the Silent Screen: A Pictorial Treasury, primarily written by film historian William K. Everson, praised Beaudine as "what a really fine director William Beaudine was in the silent era, long before he became the principal director of the Bowery Boys 'B' comedies." He began directing feature-length films for the then-struggling Warner Bros., where he quickly became known for his innovative methods of making films appear more expensive than their actual budgets. This ability to maximize production value with limited resources became a defining characteristic of Beaudine's directorial style.

He directed silent films for several prominent studios, including Goldwyn Pictures (before its merger into MGM), Metro Pictures (also before MGM), First National Pictures, and Sol Lesser's Principal Pictures. By 1926, he had directed Sparrows, a powerful story of orphans imprisoned on a swamp farm starring Mary Pickford, and The Canadian, a film based on a W. Somerset Maugham play, which was notably shot on location in Alberta, Canada, with Thomas Meighan in the lead role. Before the advent of sound in cinema, Beaudine already had at least 30 pictures to his credit.

His transition into sound films included directing short comedies for Mack Sennett. At one point, he directed a film for Sennett while contractually obligated elsewhere, leading him to adopt the pseudonym "William Crowley." He occasionally used this alias, sometimes as "William X. Crowley," in later years. Throughout the early 1930s, Beaudine continued to direct several movies annually for major studios such as Fox Films, Warner Bros., Paramount, and Universal Pictures. His notable credits from this period include The Mad Parade (1931), a unique World War I battlefield drama featuring an all-female cast, Three Wise Girls (1932), which marked Jean Harlow's first starring film, and The Old Fashioned Way (1934), a popular comedy about old-time show business starring W. C. Fields.

3.2. Work in Britain and Return to Hollywood

In the mid-1930s, William Beaudine joined a number of experienced Hollywood directors, including Raoul Walsh and Allan Dwan, who were brought to England to work on British film productions. From 1935 through 1937, Beaudine directed 11 features in Britain. Among these were notable comedies starring popular British actors, such as Boys Will Be Boys (1935) and Where There's a Will (1936), both starring Will Hay, and the George Formby comedy Feather Your Nest (1937).

Upon his return to America in 1937, Beaudine faced considerable challenges in re-establishing himself within the major Hollywood studios. Having been widely recognized as an A-list director of significant productions, Beaudine had commanded a premium salary in the late 1920s that Hollywood producers of the late 1930s were unwilling to match, particularly as the industry shifted and he had spent time abroad. Although he worked briefly at Warner Bros., a studio with which he had maintained ties while in Britain, the offers that would meet his previous terms never materialized. Compounding his professional difficulties, Beaudine had also lost a significant portion of his personal fortune through circumstances beyond his control, including the failure of a bank in which he had purchased an interest and a substantial amount of his income being claimed by the British government in taxes.

3.3. Prolific B-Movie and Television Career

Facing financial challenges, William Beaudine made a pivotal career decision in 1940 when publicist-turned-producer Jed Buell approached him to direct an all-black-cast feature for Buell's Dixie National Pictures. The offered salary was a flat 500 USD for a single week's work. Beaudine understood that accepting this low-budget assignment would associate him with inexpensive films and likely prevent him from ever commanding his previous A-list salary. Nevertheless, given his strained finances, he accepted the assignment, using his "William X. Crowley" alias to distinguish this new phase of his career.

Buell was highly impressed by Beaudine's professionalism and his innovative ability to stretch a shoestring budget. Consequently, he hired Beaudine to direct Misbehaving Husbands (1940), a film notable for being the comeback feature for silent-screen comedian Harry Langdon. This film, released by the tiny Producers Releasing Corporation (PRC) whose budgets rarely exceeded five figures, marked a humble return for both Langdon and Beaudine. Despite the low budget, the film garnered critical praise within its market, with Boxoffice reporting that the "Preview house rewarded them with practically solid laughter," and Motion Picture Daily calling it "Easily [Langdon's] best performance in years." The success of Misbehaving Husbands in its specific market re-established both Langdon and Beaudine, albeit firmly within the realm of B-pictures.

William Beaudine subsequently embraced his role as a low-budget specialist, consciously setting aside artistic ambitions in favor of strictly commercial film fare. He aimed to recoup his financial losses through the sheer volume of his work. He directed dozens of comedies, thrillers, and melodramas, frequently collaborating with popular personalities such as Bela Lugosi, Ralph Byrd, Edmund Lowe, Jean Parker, and The East Side Kids. He became a regular director for the ambitious Monogram Pictures, famously directing half of the 48 comedy features starring The Bowery Boys. By this period, Beaudine had solidified his reputation as a resourceful, no-nonsense director capable of completing feature films in a matter of days, sometimes as few as five.

Beyond standard genre films, Beaudine occasionally directed special-interest productions, including the 1945 sex-education feature Mom and Dad, produced by Kroger Babb, and the 1950 religious drama Again Pioneers, produced by the Protestant Film Commission. Reflecting on his B movie career, Beaudine once stated, "These films are going to be made regardless of who directs them. There's a market for them and the studios are going to continue to make them. I've been doing this long enough, I think I can make them as good or better than anyone else." This perspective highlights his pragmatic and adaptable approach to filmmaking, prioritizing the satisfaction of existing market demands with competence and efficiency.

Beaudine was frequently entrusted with directing installments in popular film series, such as Torchy Blane, The East Side Kids, Jiggs and Maggie, The Shadow, Charlie Chan, and The Bowery Boys. His widely recognized efficiency even led Walt Disney to hire him for various television projects in the 1950s, as well as to direct the feature western Ten Who Dared (1960). Beaudine's television career became even more active, as he directed episodes for series like Naked City, The Green Hornet, and dozens of episodes for the enduringly popular Lassie.

3.4. Final Works

William Beaudine's last two feature films, both released in 1966, were the horror-westerns Billy the Kid vs. Dracula (starring John Carradine) and Jesse James Meets Frankenstein's Daughter. His next planned project was to be a screen biography of Lupe Vélez, with Estelita Rodriguez both producing and starring. However, the project was cancelled with Rodriguez's death in 1966, and Beaudine did not direct another film. By the end of the 1960s, William Beaudine had become the oldest working professional in the film industry, having begun his career in 1909. His final screen credit was a posthumous one: The Green Hornet, a feature film compiled from episodes of the television series, which was released in 1974.

5.1. Critical Evaluation

In their 1980 tongue-in-cheek book The Golden Turkey Awards, authors Michael and Harry Medved included William Beaudine in their list of the worst directors of all time. They bestowed upon him the unflattering nickname "One-Shot," implying that he consistently filmed only one take, regardless of actors making errors or special effects malfunctioning. While it is true that Beaudine was known for his economical shooting style-often a necessity given the low budgets and tight schedules of his later career-he was consistently professional in his approach. In reality, he did shoot multiple takes of movie scenes when required, a fact evidenced by the presence of alternate takes found in coming-attractions trailers for his films. This nuance challenges the simplistic "One-Shot" label, highlighting Beaudine's professionalism and resourcefulness under pressure, rather than a lack of dedication. His ability to produce a high volume of films, often under extreme constraints, speaks to his pragmatic skill in navigating the commercial demands of the film industry.

5.2. Preservation Efforts

Despite varying critical perspectives, the importance of William Beaudine's work within film history has been recognized by preservation institutions. The Academy Film Archive has undertaken efforts to preserve three of his films, ensuring their availability for future generations of filmmakers and scholars. These preserved works include the silent film Little Annie Rooney (1925), the controversial exploitation feature Mom and Dad (1945), and A Husband in Haste. These preservation efforts acknowledge the historical and cultural significance of Beaudine's diverse filmography.

6.1. 1910s

• Almost a Wild Man (1913)

6.2. 1920s

• Watch Your Step (1922)
• Catch My Smoke (1922)
• Heroes of the Street (1922)
• Her Fatal Millions (1923)
• Penrod and Sam (1923)
• The Printer's Devil (1923)
• The Country Kid (1923)
• Boy of Mine (1923)
• Daring Youth (1924)
• Wandering Husbands (1924) a.k.a. Love and Lies
• Daughters of Pleasure (1924) a.k.a. Beggars on Horseback
• A Self-Made Failure (1924) a.k.a. The Goof
• Cornered (1924)
• Lover's Lane (1924) unconfirmed
• The Narrow Street (1925)
• A Broadway Butterfly (1925)
• How Baxter Butted In (1925)
• Little Annie Rooney (1925)
• That's My Baby (1926)
• Sparrows (1926)
• The Social Highwayman (1926)
• Hold That Lion (1926)
• The Canadian (1926)
• Frisco Sally Levy (1927)
• The Life of Riley (1927)
• The Irresistible Lover (1927)
• The Cohens and the Kellys in Paris (1928)
• Heart to Heart (1928)
• Home, James (1928)
• Do Your Duty (1928)
• Give and Take (1928)
• Fugitives (1929)
• Two Weeks Off (1929)
• Hard to Get (1929) a.k.a. Classified
• The Girl from Woolworth's (1929)
• Wedding Rings (1929) a.k.a. The Dark Swan

6.3. 1930s

• Those Who Dance (1930)
• Road to Paradise (1930)
• Father's Son (1931)
• Misbehaving Ladies (1931)
• The Lady Who Dared (1931)
• The Mad Parade (1931) a.k.a. Forgotten Women
• Penrod and Sam (1931)
• Men in Her Life (1931)
• Three Wise Girls (1932)
• Make Me a Star (1932)
• The Crime of the Century (1933)
• Her Bodyguard (1933)
• The Old Fashioned Way (1934)
• Two Hearts in Harmony (1935)
• So You Won't Talk (1935)
• Dandy Dick (1935)
• Boys Will Be Boys (1935)
• Get Off My Foot (1935)
• Mr. Cohen Takes a Walk (1935)
• Where There's a Will (1936)
• Educated Evans (1936)
• It's in the Bag (1936)
• Windbag the Sailor (1936)
• Feather Your Nest (1937)
• Said O'Reilly to McNab (1937)
• Take It from Me (1937)
• Torchy Gets Her Man (1938)
• Torchy Blane in Chinatown (1939)

6.4. 1940s

• She Done Him Right (1940)
• Four Shall Die (1940) a.k.a. Condemned Men
• Misbehaving Husbands (1940)
• Up Jumped the Devil (1941)
• Emergency Landing (1941)
• Federal Fugitives (1941) a.k.a. International Spy
• Desperate Cargo (1941)
• Mr. Celebrity (1941)
• The Miracle Kid (1941)
• Blonde Comet (1941)
• Duke of the Navy (1942)
• Broadway Big Shot (1942)
• Lucky Ghost (1942) a.k.a. Lady Luck
• Professor Creeps (1942)
• The Panther's Claw (1942)
• Men of San Quentin (1942)
• Gallant Lady (1942) a.k.a. Prison Girl
• One Thrilling Night (1942)
• Phantom Killer (1942)
• Foreign Agent (1942)
• The Living Ghost (1942)
• The Ape Man (1943)
• Clancy Street Boys (1943)
• Spotlight Scandals (1943) a.k.a. Spotlight Revue (reissue title)
• Ghosts on the Loose (1943)
• Here Comes Kelly (1943)
• Mr. Muggs Steps Out (1943)
• Mystery of the 13th Guest (1943)
• What a Man! (1944)
• Voodoo Man (1944)
• Hot Rhythm (1944)
• Detective Kitty O'Day (1944)
• Follow the Leader (1944)
• Leave It to the Irish (1944)
• Oh, What a Night (1944)
• Shadow of Suspicion (1944)
• Bowery Champs (1944)
• Crazy Knights (1944) a.k.a. Murder in the Family (TV title)
• Mom and Dad (1945)
• Adventures of Kitty O'Day (1945)
• Fashion Model (1945)
• Blonde Ransom (1945)
• Swingin' on a Rainbow (1945)
• Come Out Fighting (1945)
• Black Market Babies (1945)
• Girl on the Spot (1946)
• The Face of Marble (1946)
• One Exciting Week (1946)
• Don't Gamble with Strangers (1946)
• Behind the Mask (1946)
• The Shadow Returns (1946)
• Below the Deadline (1946) a.k.a. Jumping Joe (TV title)
• Spook Busters (1946)
• Mr. Hex (1946)
• Philo Vance Returns (1947) a.k.a. Infamous Crimes (TV title)
• Hard Boiled Mahoney (1947)
• Too Many Winners (1947)
• Killer at Large (1947) a.k.a. Gangway for Murder and Syndicated Murder
• Gas House Kids Go West (1947)
• News Hounds (1947)
• Bowery Buckaroos (1947)
• The Chinese Ring (1947)
• Angels' Alley (1947)
• Jinx Money (1948)
• The Shanghai Chest (1948)
• The Golden Eye (1948)
• Smugglers' Cove (1948)
• Incident (1948)
• Kidnapped (1948)
• Jiggs and Maggie in Court (1948)
• The Feathered Serpent (1948)
• The Lawton Story (1949)
• Tuna Clipper (1949)
• Forgotten Women (1949)
• Trail of the Yukon (1949) as William X. Crowley
• Jiggs and Maggie in Jackpot Jitters (1949)
• Tough Assignment (1949)

6.5. 1950s

• Blue Grass of Kentucky (1950)
• Blonde Dynamite (1950)
• Jiggs and Maggie Out West (1950)
• Lucky Losers (1950)
• County Fair (1950)
• Second Chance (1950)
• Blues Busters (1950)
• Again Pioneers (1950)
• A Wonderful Life (1951)
• Bowery Battalion (1951)
• Cuban Fireball (1951)
• Ghost Chasers (1951)
• Let's Go Navy! (1951)
• Havana Rose (1951)
• Crazy Over Horses (1951)
• The Congregation (1951)
• Rodeo (1952)
• Hold That Line (1952)
• Jet Job (1952)
• Here Come the Marines (1952)
• The Rose Bowl Story (1952)
• Bela Lugosi Meets a Brooklyn Gorilla (1952)
• Feudin' Fools (1952)
• No Holds Barred (1952)
• Jalopy (1953)
• Born to the Saddle (1953)
• Roar of the Crowd (1953)
• Murder Without Tears (1953)
• Yukon Vengeance (1954)
• Paris Playboys (1954)
• Pride of the Blue Grass (1954)
• Disneyland (TV program, 1954)
• Lassie (TV series, 1954-1960s, selected episodes)
• High Society (1955)
• The Mickey Mouse Club (TV series, 1955)
• Jail Busters (1955)
• Westward Ho, the Wagons! (1956)
• Up in Smoke (1957)
• In the Money (1958)

6.6. 1960s

• Ten Who Dared (1960)
• Billy the Kid Versus Dracula (1966)
• Jesse James Meets Frankenstein's Daughter (1966)
• The Green Hornet (TV series, 1966-1967, selected episodes)

6.7. 1970s

• The Green Hornet (compilation of TV episodes, posthumous release, 1974)