In honor of the 4th of July, I wanted to take the opportunity to share one of my personal favorite Fred Astaire dances. The routine is from the 1942 film Holiday Inn, which stars Bing Crosby along with Astaire. It's a great movie musical that, although usually associate with Christmas, actually pays homage to all the year's major holidays, including the 4th of July.
Fred is commonly shown with a partner, whether it be Ginger Rogers, Rita Hayworth, Cyd Charisse, or even a coat rack. In this tap routine however, Astaire takes the stage by himself and blows us all away.
From the 1942 movie musical, Holiday Inn,here is Fred Astaire's famous "Firecracker Dance."
Earlier this year I wrote about Billy Wilder's The Apartment. In 1959, the year prior to The Apartment's released, Billy Wilder and Jack Lemmon worked together for the first time on a hilarious classic: Some Like It Hot. Lemmon and Wilder would go on to work together on 7 different films, but Some Like it Hot marked their first collaboration. While The Apartment perfectly mixed comedy and drama, Some Like it Hot is pure slapstick comedy at its greatest. This film really had everything going for it: a great script, a talented cast, and it's box office insurance: Marilyn Monroe. Rounding out the cast is Tony Curtis and, of course, Jack Lemmon. The three stars carry the film and keep the audience laughing the entire time.
The film follows musician pals, Joe (Curtis) and Jerry (Lemmon) who find themselves in the wrong place at the wrong time on Valentine's Day 1929. The two friends accidentally witness the infamous St. Valentine's Day Massacre in Chicago, and are consequentially on the run from the mob. In hopes of eluding their pursuers, then don dresses, heels, and little make-up, and join an all-girl Jazz band headed to a Miami. Keeping up their disguise however, turns out to be much more difficult than they thought.
Joe and Jerry's alter egos, Josephine and Daphne. Via.
"We got to get out of town! Maybe we ought to grow beards!" - Jerry
"We are going out of town. But we're going to shave."- Joe
With Joe as Josephine and Jerry as Daphne, the girls join Sweet Sue's Society Syncopators on a train headed to Florida. There they meet the band's lead singer, ukulele player, and resident troublemaker: Sugar Kane Kowalczyk (Monore).
How the other half lives. Plus, Marilyn Monroe's first entrance!
"Story of my life. I always get the fuzzy end of the lollipop."- Sugar
Sugar's story.
While Sugar thinks she's found two new gal pals, Joe and Jerry are more than tantalized by the blonde bombshell. But to Joe's dismay, not only does Sugar think he's a woman, she's also only interested in landing a millionaire- a young, cute millionaire with glasses and his own toothbrush. By the time the band arrives in Florida, Joe has already created a plan to land Sugar; he dons yet another disguise, that of a glasses-wearing, yacht-owning, Cary Grant-esque millionaire by the name of Junior.
Tony Curtis as his millionaire personae. I just love Monroe and Lemmon in the background! Via.
Curtis' Cary Grant-inspired Shell Oil Junior.
"Syncopators- does that mean you play that fast music? Jazz?"- Joe/Junior
"Yea, real hot!"- Sugar
"Oh. Well, I guess some like it hot."- Joe/Junior
Joe as Shell Oil Junior has Sugar head over heels. Via.
As Joe is wooing Sugar in his millionaire disguise, Jerry has love problems of his own. In his Daphne garb, he has caught the eye of a true millionaire, Osgood Fielding III (Joe E. Brown). Osgood is a quirky, old man who's been married multiple times, and has Jerry/Daphne in mind for wife ten!
"Dirty old man! I just got pinched in the elevator!"- Jerry/Daphne
"Well now you know how the other half lives." - Joe/Josephine
"I'm not even pretty!" - Jerry/Daphne
Jerry as Daphne dancing the night away with Osgood (Brown). Via.
On top of all their girl/guy woes, the Chicago gangsters they're on the run from show up in Florida at the same hotel the girls' band is staying at. Suddenly it's not just love on the line, it's their lives.
"The cops are going to find two dead dames and they're going to take us to the ladies' morgue and when they undress us, I tell you Joe, I'll die of shame!" - Jerry
Tony Curtis and Jack Lemmon were Wilder's first choices for Joe and Jerry. Curtis had been making movies for years prior, but had only recently found box office success in the 1957 film Sweet Smell of Success, and the 1958 film The Defiant Ones. Lemmon on the other hand, had appeared only in small film projects before Wilder discovered him. He was instantly impressed with Lemmon's comedic talent and wanted to cast him right away in the role of Jerry/Daphne. Shortly after Wilder met Lemmon, however, Frank Sinatra began to express interest in the part; while Wilder wanted to work with Lemmon, he also needed a major movie star who would ensure box office success.
Just cannot see Frank Sinatra pulling off this role.
Fortunately, Sinatra ended up pulling out of the running, allowing Wilder to officially cast the Jerry/Daphne we know and love: Jack Lemmon. And in the end, Wilder ended up with his box office insurance as well; Mitzi Gaynor was Wilder's initial choice for the role of Sugar, but when she became unavailable Marilyn Monroe was given the role. By 1959 Monroe was without a doubt a superstar and held significant box office power. With her name on the cinema marquees, Some Like it Hot was sure to turn a profit. While Monroe brought her best hip-shaking, eye-batting, and her most sultry, breathy voice to the role of Sugar Kane, she was far from pleasant to work with.
Stories of Monroe's unorthodox work ethic and lack of cooperation on movie sets has become the stuff of legends- maybe even as big of a legend as Monroe herself. She was known to be unreliable, moody, and demanding. But based on the stories I've read, she seemed to be at her worst during the filming of Some Like it Hot. Conflict began right off the bat in pre-production, when Monroe refused to be filmed in black and white; she so strongly felt she filmed better in color, that it stated in her contract she would not perform in black and white pictures. Wilder, however, knew from early screen tests that Curtis and Lemmon's drag make-up looked more convincing in black and white. It wasn't until Monroe saw the tests for herself, and could attest to the greenish color the make-up gave the actors, that she agreed to make the movie in black and white.
Monroe's hair and costume being touched up on set. Love her dress here! Via.
Problems continued into filming where Monroe was consistently hours late or wholly unprepared to shoot her scenes. For certain scenes Wilder actually had to tape Monroe's lines to set and prop pieces; a line of dialogue as simple as "Where's that bourbon," took 40+ takes for her to get right. She would argue with Wilder about her character and the script; other times she would get so upset and burst into tears mid-filming, which meant she had to go back into make-up before they could start shooting again.
Monroe's famous performance of "I Wanna be Loved by you."
In Marilyn's defense, she was going through several personal issues during filming- not to mention most of her life. She found out she was pregnant just before filming had started; she had already suffered several miscarriages and was very nervous about miscarrying again (which in fact she did). It was also around this time that Monroe and husband Arthur Miller started having major marital issues, which would soon lead to their divorce. All the same, by the end of filming Wilder announced he was "too old and too rich to ever go through [filming with Monroe] again."
Monroe during the Yacht scene, in one of her famous, sheer gowns. Via.
Monroe's co-stars also became resentful of her; Curtis explained in an interview that by the time Monroe finally delivered her lines successfully, he felt that his performance had lost all enthusiasm. He and Lemmon had to make sure they were at the top of their game for all the 30+ takes it took Monroe. Also, the longer Monroe took to film, the longer the men had to stay in their drag costumes and make-up; usually at the end of filming days, Curtis and Lemmon were soaking their sore and blistered feet in hot water.
Curtis and Lemmon getting glamorized for their drag scenes. Via.
Tony Curtis especially had a difficult time with their cross-dressing costumes. When their were first testing costumes and make-up prior to filming, Curtis was so embarrassed that at first he refused to leave the dressing room; Lemmon, who according to Wilder walked out of the dressing room "floating ten feet high, completely normal and natural," had to take Curtis by the hand and drag him out of the dressing room.
Unlike Curtis, Lemmon approached the crossing-dressing aspect of the role with no holds barred. He worked endlessly with the make-up team trying to achieve the perfect "Daphne look." He even offended the professional female impersonator who was hired to help him and Curtis master how to walk like women. Lemmon denied his help saying he didn't want to walk like a woman; he wanted to walk like a man trying to walk like a woman. He knew that was key to comedy of it all.
Sidney Poitier (Curtis' co-star from The Defiant Ones) visiting Curtis and Lemmon on set. Via.
According to Lemmon, for whatever reason initial screening of the film was a horrible flop; he recalled in an interview that the first test audience was dead silent throughout the entire showing. Thankfully by the next test screening, (after changing literally nothing in the film) the second test audience loved it. They started laughing within the first few minutes and didn't stop for the remaining 115 minutes! In fact, audience members were laughing so hard during certain scenes (such as the scene where Lemmon announces he's engaged to Osgood), that key pieces of dialogue were being missed. Wilder had to re-film certain scenes and add pauses to allow the laughter to die down; that's why in the engagement scene, Wilder gave Lemmon maracas to shake in between his lines. Genius.
"Who's the lucky lady?"- Joe "I am!"- Jerry
In the end, despite all the on-set difficulties, Some Like it Hot was a smashing success. It was considered a true hit by both critics and audiences alike. It went on to be nominated for several awards including several Golden Globes and Academy Awards. While it only won one Oscar (Best Costume design for a Black and White film), it won several Golden Globes including Best Comedy Motion Picture, and Best Actress in a Musical/Comedy for Monroe. It was the only performance-based award she would ever win.
Monroe with her Golden Globe award for Some Like it Hot.Via.
While the stories of Monroe's off-screen behavior sound horrific, she still brought a charm and comedy to the role of Sugar that is undeniably wonderful. It makes me even more sad that she had such a troubled personal life; Marilyn obviously had raw talent that she was never able to fully harness due to personal distractions.
To this day, Some Like it Hot is considered one of the best classic comedies of all time. It has lost none of its charm or humor over the years. The final line of the movie, delivered by Joe E. Brown's Osgood, is always included on lists of the best movie quotes of all time. It is without a doubt one of the best closing lines of a film that was ever written. Like Roger Ebert once said of the closing line, "If you've seen the movie, you know what it is, and if you haven't, you deserve to hear it for the first time from [Brown]."
"There once was a very lonely, very frightened girl.
She lived alone except for a nameless cat."
In today's pop culture, Audrey Hepburn is associated with several things: style, elegance, gracefulness. But more than anything, Audrey Hepburn has become synonymous with her 1961 films, Breakfast at Tiffany's. While I personally consider all of Hepburn's films classics, Breakfast at Tiffany's more than any of her other films remains as well-known and beloved as it was when it was first released.
Breakfast at Tiffany's introduced the world to Holly Golightly: a seemingly-carefree, fun-loving, money-driven playgirl of the NYC society. The story follows Holly and her various exploits as seen through the eyes of her gigolo neighbor, Paul Varjak. Both Holly and Paul (nicknamed "Fred" by Holly) are lost souls, or "two drifters" as the film's famous song, "Moon River," recites. They both have dreams of a better life, and have both resigned themselves to seedy monetary arrangements in hopes of making these dreams a reality.
"You know those days when you get the mean reds? ... The blues are because you're getting fat or maybe it's been raining too long; you're just sad, that's all.
The mean reds are horrible: suddenly you're afraid and you don't know what you're afraid of." -Holly Golightly
Audrey Hepburn and George Peppard on set of Breakfast at Tiffany's. Via.
"I'm crazy about Tiffany's." - Holly
While Paul is being kept by an older woman, Holly has an array of benefactors throughout New York's high society. Each night she gets all her drinks and meals paid for, and $50 for the powder room. In exchange, her patron for the evening accompanies her home. Paul and Holly's friendship forms out of their similar circumstances.
"I don't want to owe anything until I find a place where me and things go together. I'm not sure where that is but I know what it's like. It's like Tiffany's...the quiet and proud look of it. Nothing bad could happen to you there." - Holly Golightly
Paul dreams of becoming a successful author, and Holly dreams of finding her own happy place; her own "Tiffany's" for her and her brother who's currently serving in the army. Paul starts to get in the way of those plans, however, when he falls in love with Holly. But Holly is a self-proclaimed "wild thing," who is afraid of being tied down. When she learns her brother is getting out of the army sooner than she thought, Holly quits the field and resigns herself to finding a rich husband who'll be able to provide for her and her brother.
"I'm not Holly and I'm not Lula Mae either. I don't know who I am! I'm like Cat here, a couple of no-name slobs. We belong to nobody and nobody belongs to us. We don't even belong to each other."- Holly
Holly Golightly and the story of Breakfast at Tiffany's originated in Truman Capote short story of the same name. In Capote's story, Holly is much more of a mercenary and unsympathetic. She's also much more promiscuous and sexually-adventurous than the film ever really let's on. Capote always said he envisioned Marilyn Monroe in the part of Holly. At the time of filming however, Monroe wasn't only unavailable, Paramount also wanted to feature one of their own contracted actors.
Director Blake Edwards suggested Audrey Hepburn for the role, however Paramount studio heads were doubtful she would ever accept a role that, in essence, was a hooker. Contrary to their doubts, Hepburn was immediately intrigued by the role; she saw the role of Holly as a chance to take a big step in her career. Prior to Breakfast at Tiffany's Hepburn had portrayed the most moral and conservative of characters: a young princess, the proverbial ugly ducking-turned-swan beauty, and a nun, to name a few. Holly would be a chance for her to play a character that was so unlike herself, it would demonstrate her true acting skills.
Although Capote was never satisfied with Hepburn as Holly, I personally doubt the film would have had as profound of an impact if Monroe or anyone starred in the role of Holly. While Monroe would have definitely brought more raw sexuality to the role, I think Hepburn brought out Holly's heart and vulnerability. On the page, Holly is an anti-heroine; she's more self-centered and cold. Hepburn made her lovable.
My favorite scene of the entire movie: Moon River.
Yes, film Holly is still consumed by the idea of money and at times thoughtless, but Hepburn brings out her humanity as well. Just below the materialistic surface, Hepburn's Holly is lost, lonely, and trying more than anything to make a new life for her and her younger brother. That's the Holly that her neighbor Paul- and the audience- falls in love with. I think most audience members, both now and in 1961, walked out of Breakfast at Tiffany's not even thinking about the fact that Holly Golightly is a hooker; they are too entranced by Hepburn's ever-present charm and elegance to be even connect with her something so immoral and seedy.
You now what's wrong with you, Miss Whoever-You-Are? You're chicken; you've got no guts. You're afraid to stick out your chin and say 'Okay, life's a fact, people do fall in love. People do belong to each other.'
Because that's the only chance anybody's got for real happiness." - Paul
The character of Holly Golightly is only one iconic aspect of Breakfast at Tiffany's. Audrey Hepburn and designer, Hubert de Givenchy, revolutionized fashion with Holly's array of outfits throughout the film. Together Hepburn, Givenchy, and Holly introduced the world to a modern-day fashion staple: the little black dress. Hepburn was always known for the fashion, especially after her designer-muse relationship with Givenchy began. But more than any of her other films, Breakfast at Tiffany's emphasizes the sleek, simple, and modern elegance that sums up Hepburn's style.
One of my favorite outfits in the entire movie. Via.
See 30 secs in to get a glimpse of the famous, Tiffany's Yellow Canary Diamond
While flashy patterns and bold colors commanded the fashion scene in the 1960's, Hepburn showed us that less could- and still can- be more. Solid prints and conservative colors made up Hepburn's look which is what makes it so timeless and classic. While flashy fads come and go, but sleek and simple will always be in style.
"I'll never let anybody put me in a cage." - Holly.
"I don't want to put you in a cage. I want to love you!" - Paul
Breakfast at Tiffany's is well-worth the watch. It was an enjoyably timeless film with both comedic and dramatic scenes. And in addition, it's pop cultural presence warrants at least one viewing. In the end, I think you'll find it impossible not to fall in love with Hepburn's Holly Golightly.
"In your Easter bonnet, with all the thrills upon it..."
One of my favorite Easter traditions is the annual showing of Easter Parade on Turner Classic Movies (TCM). It's a lighthearted musical inspired by Irving Berlin's catchy tune of the same name. Filmed in 1948, it features two of Hollywood's biggest stars at the time: Fred Astaire and Judy Garland.
Astaire plays Broadway hoofer, Don Hewes, whose long-time dance partner breaks the news on Easter day that she is leaving him to pursue a solo career. His partner, Nadine (Ann Miller) leaves Don broken hearted and partnerless. Don however decides he won't let Nadine's leaving finish him; he immediately starts a (drunken) search for a replacement dance partner.
Garland and Astaire rehearsing for Easter Parade.Via.
He ends up finding Hannah Brown (Garland), a show-girl at a local bar who is more than eager to dance with a Broadway star. The morning after he hires her however, when Don has sobered up, he finds that Hannah is more inexperienced than he thought. Hannah seems unable to mimic the smooth ballroom dancing Don and Nadine were known for. Even worse, Hannah has a small habit of forgetting her left foot from her right foot.
Don (Astaire) "discovering" Hannah (Garland). Via.
Don remains determined however to turn Hannah into a sophisticated and elegant performer, just like Nadine. He selects feathered and bejeweled gowns for her to wear for their performances, in hopes of making her a carbon copy of Nadine. Don then decides that Hannah's stage name will be 'Juanita,' trying to give her a more exotic and mysterious personae.
Don and "Juanita's" first performance in Easter Parade.Via.
As expected, Don's plan is not a success. Their premiere performance is mediocre at best. Don begins to realize that Hannah isn't Nadine- or Juanita! She's a down-to-earth and talented girl who doesn't need feathers or frills to be an entertaining performer. Together they reboot the act to be a more fun and approachable show that highlights both of their talents. In little time, they are a Broadway smash, giving Nadine's solo show a run for its money.
It's your average show biz musical with lots of laughs, a little heartache, and a satisfying happily-ever-after. The real strength of the film is unquestionably the phenomenal talent. Garland and Astaire are simply a marvel as they sing and dance their way through the movie. Astaire obviously exceeds in the dancing, but Garland, as a triple threat, more than holds her own. It's her incomparable voice though, that never fails to bring a smile to my face- or (depending on the song) a tear to my eye. While Astaire might surpass Garland's dancing, Garland downright saves Fred in the singing department.
Astaire and Garland were both major Hollywood stars by the time Easter Parade was released. Surprisingly though, this film was not only the first time the two worked together, but also the first time they met one another. As legend has it, Garland was very nervous about meeting and working with Astaire. The two got along quite well though and had a great time filming Easter Parade together. It was before filming started that all the problems occurred.
Gene Kelly was actually set to star as the leading man, Don Hewes, before Astaire. The studio wanted to put Kelly and Garland together again after the great success of their most recent collaboration, The Pirate (which to me was nothing special- it definitely hasn't stood the test of time the way Easter Parade has). Before filming started however, Kelly broke his ankle. Kelly told the studio that he broke it during rehearsals; years later in an interview however, he admitted that he had actually broke it playing touch football.
The studio couldn't afford to delay filming for the weeks Kelly needed to recover. That's when they decided to bring Fred in as a replacement. Astaire, ever the gentleman, called Kelly before accepting the role. He asked Kelly three things: Would this hurt Kelly's career? Would he be able to learn all the dances? And, was there any way Kelly would still be able to do the film? Kelly put Astaire at ease, verifying that the only way Easter Parade would be made was if Astaire joined the cast. And with that reassurance, Astaire joined the film.
Shortly after Fred signed on, another casting issue surfaced. Cyd Charisse, who was cast to play Nadine announced she was pregnant. The studio found itself scrambling to find another replacement, which is when the relatively unknown Ann Miller was brought in. Although Miller was thrilled to have the part, she also was not at 100% health during filming. She was recovering from a fairly serious back break. She danced her big solo, "Shakin' the Blues Away," in a full back brace. Looking back in interviews, she confessed she was in excruciating pain the entire time.
And to think she was in a back brace through this entire dance routine.
Judy Garland was the only original cast member to actually make the film, but of course even Judy had her troubles. Her husband, Vincente Minnelli, was supposed to direct the movie. However, it was right before Easter Parade that Garland's nervous breakdown began; this was a persisting breakdown that, just a few years later, would be the end of her MGM career. Her psychiatrist thought that her husband was associated with some of her troubles, and recommended that they not work on the film together. With Garland being their headlining star, the studio agreed and found another replacement- Charles Waters as director.
Easter Parade a perfect example of an old Hollywood musical movie. Gorgeous, over-the-top costumes and sets, Irving Berlin music, and, of course, show-stopping talent. If you're looking for a new Easter tradition or if you're just looking for something to do this Sunday, tune into TCM and you will be able to experience the magic of Easter Parade.
Lisa Helene.
I love this Italian poster for Easter Parade! Via.
BODILY RESISTING AND REFUSING TO OBEY AN AUTHORITY
The 1958 film, The Defiant Ones, follows two escaped cons: one white and one black. They are chained together, on the run from the authorities who are tirelessly chasing them. Throughout their journey, the film explores racism, social injustice, and the impact an act of defiance can have.
Noah Cullen (Sydney Poitier) and Joe "Joker" Jackson (Tony Curtis) are chain-gang prisoners in the south. After a prison truck flips over in an accident, the two convicts escape but are unfortunately still handcuffed together. They are forced to work together in order to claim their freedom. The two men however have a mutual disdain for each other. Jackson, as a white racist bigot, hates Cullen because he's black; and Cullen hates Joker for being a white, racist bigot. Throughout their journey to outrun their pursuers, they slowly begin to overcome their prejudices, and an unexpected friendship emerges.
I was surprised when I found out this film was made in 1958. I was sure, based on its brutally honest portrayal of racism, that it had been made at least 10 years later than that. The director, Stanley Kramer, did not shy away from the harsh realities of discrimination: offensive language, unjust punishments, and cruel treatment. But Kramer doesn't include these disturbing examples of racism just for show. Throughout the entire film, he's using these examples to demonstrate the never-ending cycle of racism. He shows us the it takes bold and brave individuals- defiant ones - to put a stop to the cycle.
"What's eatin' you? Just because I called you a n? ... Don't crowd me. I didn't make up no names!... I didn't make any rules!"- Jackson
"No, but you breathe it in when you're born and you spit it out from then on!"- Cullens
I love the quote above. It encapsulates the whole point of the film. No, Tony Curtis' Jackson didn't create racism, but he also does nothing to stop it. He picked it up the day he was born and he continues the sick cycle of racism just because it's the status quo. The Defiant Ones shows us we have to be brave enough to not only recognize when social constructs are wrong, but also be brave enough to stand up and say "No, this is wrong."
One of the most disturbing parts of the movie is this young boy's reaction to Noah (Poitier).
Another example of discrimination starting "when you're born."
Cullen and Jackson are not the only defiant characters in The Defiant Ones. The film presents several different characters who are defiant in their own ways. One example is Big Sam, a resident of the small town Cullen and Jackson pass through in their travels. When the town discovers Cullen and Jackson, they organize an "old fashion prayer meeting;" it turns out, "prayer meeting" is a euphemism for lynch mob. Big Sam stands up to his friends and neighbors for two complete strangers. In a way, I think his act of defiance is even more commendable; it's easy (okay, easier) to stand up to our enemies, but standing up to loved adds another layer of consequences- losing those loved ones. Sam admirably stands up against what he knows is wrong, despite any possible repercussion for himself.
One of my personal favorite scenes in the movies. Big Sam's monologue gets me every time.
Another admirably defiant character is the county sheriff, Max Muller who is heading the manhunt for Cullen and Jackson. While his State supervisors want him to sic the blood hounds on the escapees and shoot them on sight, Sheriff Muller stands by his moral beliefs. He reminds them that it's a manhunt- not a manslaughter; that theses men were sentences to prison-time, not to death. Muller stands up to his superiors and colleagues, and jeopardizes his entire career, to maintain the pillars of justice he believes in.
Defiance played a role behind the scenes of The Defiant Ones as well. At the time of the movie's release, screenwriter credit was attributed to Harold Jacob Smith and Nathan E. Douglas. It wasn't until the 1958 award season rolled around, that it was discovered Nathan Douglas didn't exist. Douglas was a pseudonymous for blacklisted screenwriter, Ned Young.
Anti-Communist propaganda. Their argument was that Communist screenwriters were trying to brainwash the American public through film and television. Via.
Young was blacklisted after refusing to testify during 1953 House Committee on Un-American Activities (HUAC) trials: a nonsensical effort to purge Hollywood of communists and communist-supporters. Because of his defiance, Young was prohibited from writing or acting in Hollywood. Despite his ban, Young continued to write in Hollywood using his pseudonymous. "Nathan E. Douglas" (N.E.D.) actually won an Oscar for his work on The Defiant Ones, even though by then it was common knowledge that Ned Young was the true writer. It wasn't until 1993, however, that the Academy changed the credited to writer's real name- Young had already been dead for 25 years.
Another behind the scenes player who showed his own defiance, was actor Tony Curtis. When Curtis first heard about the part of "Joker" Jackson, he immediately he wanted the role. He begged Kramer to consider him for the part. To Curtis, this was his chance to cast aside his pretty-boy imagine, and show his true acting skills in a gritty, unlikable role. He believed so deeply in the The Defiant Ones, he even helped raise the film's $1 million budget through him and his wife's production company, Curtleigh.
Curtis was finally awarded the role, after several first-choices turned the part down (including Kirk Douglas). He went on to give a spectacular performance as the racist and offensive Jackson. Upon the release of the film, Curtis showed Poitier great respect; according to his contract, Poitier was only to receive supporting billing. Curtis went to director, Kramer, and demanded Poitier share top billing with him. In his own account, Poitier said it was because of Curtis and his act of defiance, that he was able to receive "top billing for the first time in [his] life."
Poitier, Curtis, and Kramer on the set of The Defiant Ones. Via.
Throughout his prestigious career in Hollywood, Sidney Poitier collaborated with writer/directer/producer, Stanley Kramer three times. Kramer was known for using his films as a medium to address social issues of his day including racial discrimination, antisemitism, and nuclear warfare. Poitier also had a social cause driving his career; he was determined to only accept admirable and distinguished roles. He hoped that he could help break the stereotyping that affected so many African American actors in Hollywood. Between Kramer's social cause and Poitier's personal conviction, the pair was destined to make some great movies. And they did, starting with The Defiant Ones.
The Defiant Ones is well worth the watch. It features fantastic acting, directing, and great movie-making overall. It is also, unfortunately, a timeless film- unfortunate because it's timelessness only proves that the film's context is still more than relevant today. Racism, prejudice, and social injustices are still issues our society struggles to overcome. Fortunately, we have filmmakers, like Kramer, Poitier, and Curtis, to make us face our faults and help us define a brighter future with their defiance.
