Jack L. Warner: The Last Mogul

This is an extensive update to a feature-length biography that was released in 1993 and never seen in its entirety by the general public. In celebration of Warner Bros.' 100th anniversary (in 2023,) filmmaker Gregory Orr re-worked the film about his famous grandfather with new material, and a new soundtrack--all mastered in 4K. The film does not pull punches as to Jack Warner's faults--there were many,--but he presents the man as others saw him at the time, which includes admiration for his moviemaking instincts, his tireless energy to promote the industry (and himself) and his remarkable 50 year reign at the helm of Warner Bros. Studios. It's an insider's account of a Hollywood legend told through extensive interviews with family, friends and co-workers, pristine WB film clips, private home movies, photos and rare archival footage that illuminates in depth a towering American figure. Of course I'm biased, I made the film.

This is an interesting period piece on Hollywood but this does not tell the full story of Jack Warner. It barely touched on the strife between the brothers. There is virtually nothing about former colleagues like an Darryl Zanuck or Hal Wallis who left bitterly and became competitors.

There is nothing about the hundreds of starlets he treated like meat, intimidated and forced onto the casting couch. They do touch on one of his mistresses, but that is it.

This was produced by his descendants, so it certainly isn't an expose. It doesn't show his viciousness, nor his vulgarity.

There are a few old stars interviewed but they appear to want attention. I would love to have seen an honest interview with contract player Connie Stevens. Jack had promised her the lead in My Fair Lady. As ludicrous as that sounds, he must have gotten SOMETHING from her to get that false promise.

I think a your of 1801 would be more interesting.

This movie purports to tell the story of Jack Warner, whose name was emblazoned across hundreds of movies in the studio era as "Executive In Charge Of Production." It's written and directed by Gregory Orr, the son of Warner's step-daughter, and that is its weakness: it's full of family legend, with the facts of secondary interest.

Even then, those facts are poorly presented, with focus shifting from the premiere of THE JAZZ SINGER to discussion of whether Joan Blondell should wear a brassiere in 1933 without hesitation. Wrong dates abound, and other studios' are ignored in efforts to bolster Warners' excellence; Warners' CONFESSIONS OF A NAZI SPY was not the first anti-fascist picture produced in Hollywood. The first Mrs. Warner is almost unmentioned, and the stress with Jack Warner Jr. Is laid at the younger man's feet.

There's a worthwhile story to be told about Jack Warner, covering not only his family, but the the management of the studio and stresses of the business aspects of it. Unfortunately, this is not it.