Malcolm St. Clair

About Malcolm St. Clair

Who is it?: director, actor, writer
Birth Day: May 17, 1897
Birth Place: USA
Height: 6' 3" (1.91 m)

Malcolm St. Clair

The son of a famous architect, California-born and -educated Mal St.Clair worked as a cartoonist for the Los Angeles Express before his first movie job as an extra and gagman at Keystone in 1915. After service in World War I, he returned to the film business, this time as a director alternating between Fox and Mack Sennett.
Malcolm St. Clair is a member of Director

Does Malcolm St. Clair Dead or Alive?

As per our current Database, Malcolm St. Clair is still alive (as per Wikipedia, Last update: May 10, 2020).

🎂 Malcolm St. Clair - Age, Bio, Faces and Birthday

Currently, Malcolm St. Clair is 124 years, 6 months and 10 days old. Malcolm St. Clair will celebrate 125rd birthday on a Tuesday 17th of May 2022. Below we countdown to Malcolm St. Clair upcoming birthday.

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Hours
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Popular As Malcolm St. Clair
Occupation Director
Age years old
Zodiac Sign Taurus
Born May 17, 1897 (USA)
Birthday May 17
Town/City USA
Nationality USA

🌙 Zodiac

Malcolm St. Clair’s zodiac sign is Taurus. According to astrologers, Taurus is practical and well-grounded, the sign harvests the fruits of labor. They feel the need to always be surrounded by love and beauty, turned to the material world, hedonism, and physical pleasures. People born with their Sun in Taurus are sensual and tactile, considering touch and taste the most important of all senses. Stable and conservative, this is one of the most reliable signs of the zodiac, ready to endure and stick to their choices until they reach the point of personal satisfaction.

🌙 Chinese Zodiac Signs

Malcolm St. Clair was born in the Year of the Rooster. Those born under the Chinese Zodiac sign of the Rooster are practical, resourceful, observant, analytical, straightforward, trusting, honest, perfectionists, neat and conservative. Compatible with Ox or Snake.

The son of a famous architect, California-born and -educated Mal St.Clair worked as a cartoonist for the Los Angeles Express before his first movie job as an extra and gagman at Keystone in 1915. After service in World War I, he returned to the film business, this time as a director alternating between Fox and Mack Sennett. He proved to have a talent for slapstick farce, as well as for elegant domestic comedy, but could also handle action films. Moreover, when the occasion demanded, he was able to keep a tight reign on some of Hollywood's more temperamental movie queens: Pola Negri in A Woman of the World (1925), Clara Bow in The Fleet's In (1928), Joan Crawford in Montana Moon (1930), and others.

His most fruitful collaborations were with Harold Lloyd and Buster Keaton in the 1920s. One of his best films with Keaton was The Goat (1921), a break-neck farce based on mistaken identity. He also produced the hit social comedies Are Parents People? (1925) and The Grand Duchess and the Waiter (1926). Of the latter, Mordaunt Hall of the New York Times (2/9/26) commented that "dull moments" were "conspicuous by their absence". Mal directed an early version of Gentlemen Prefer Blondes (1928), but no copies of this film are known to have survived. One of his notable non-comedic efforts was the Philo Vance mystery The Canary Murder Case (1929), which starred William Powell, Jean Arthur and Lupe Velez, and which won critical plaudits for the director. The New York Times commented (March 11,1929) "his flashes of the canary swinging on a trapeze in a theatre are so excellent that they bring to mind the photographic feats in Variety".

St. Clair's career began to falter with the advent of sound, but was somewhat reinvigorated with the all-star Hollywood Cavalcade (1939), for which he directed the Keystone Kops chase sequences. Between 1943 and 1945 he presided over four Stan Laurel and Oliver Hardy features when the team left Roach and MGM for 20th Century-Fox, but the studio's attempt to revive the great slapstick comedies of the 1920s was spectacularly unsuccessful. After that his output declined somewhat, except for a few minor films he made for Sol M. Wurtzel's B-unit.

At 6'3" (some accounts say 6'7"), St. Clair had the distinction of being known as "the tallest director in Hollywood".

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