Clarence G. Badger

There were also two back-to-back box office flops, the Herbert Fields musical The Hot Heiress (1931) and the woefully under-acted melodrama Woman Hungry (1931). These failures may have persuaded Badger to leave the industry.

Pick of the bunch among his last few directorial efforts (under contract to Warner Brothers/First National) was the high-spirited first-time screen adaptation of the Broadway hit musical No, No, Nanette (1930).

He has directed two films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Hands Up! (1926) and It (1927).

During the 1920's, he worked for Paramount and Metro, where his best films were the Civil War romp Hands Up! (1926), Potash and Perlmutter (1923), and the romantic comedy that made Clara Bow into a major star, It (1927). During the remainder of the decade, Badger directed some of the biggest names in the business, from Colleen Moore and Betty Compson, to Jack Buchanan and Bebe Daniels.

Badger was lured away from Sennett by Samuel Goldwyn in 1917, to direct a series of comedies with Will Rogers, including the small town farce Jubilo (1919), Doubling for Romeo (1921) and Honest Hutch (1920).

A graduate of the Boston Polytechnic Institute, Clarence Badger had a varied early career as an artist, stage actor, editor and journalist with several newspapers and magazines (including "The Youth's Companion"), before entering the film business with Mack Sennett in 1915. At Sennett's Triangle-Keystone, his qualifications ensured rapid promotion to writer/director of numerous two-reel situation comedies. Badger's style was gentler, more subtle and based on character development, rather than on the prevalent visual slapstick. Several of his early shorts featured a young Gloria Swanson in the first stages of her climb to stardom.

Badger was working in a photoengraving studio in San Francisco in 1906 when the Great Quake hit. Among the buildings destroyed was the one that housed the studio he worked in. Now unemployed, he drifted to Los Angeles and got a job at another photoengraving studio, this one just down the street from the Mack Sennett studios. He got to know Sennett, and eventually he was hired away from the photo studio as a gag writer and later director for Sennett.