Fred and Ginger. Bogart and Bacall. Hepburn and Tracy. Those are just a few of the famous on-screen couples of the golden era of Hollywood. Their chemistry kept audiences entertained, intrigued, and begging for more. In old Hollywood, when it became clear that two actors had a great on-screen magic- and more importantly box-office success - studio heads did not hesitate to find more opportunities to pair their two stars and milk the chemistry for all they could. William Powell and Myrna Loy were no exception. Starring in over a dozens films together, 6 of which were part of The Thin Man series, Powell and Loy re-defined modern marriage and provided an idealized marital romance for audiences everywhere.
Great Cover for Dashiell Hammett's novel The Thin Man.Via.
It all started thanks to Dashiell Hammett, the American novelist known for his hard-boiled detective crime novels. In 1934 Hammett introduced the world to Nick and Nora Charles; the sophisticated, high class couple who also solve crimes on the side. Hammett's novel, The Thin Man, quickly became a literary hit, and fell into the hands of MGM director W.S. Van Dyke. As a fan of mystery novels, Van Dyke devoured the book and knew immediately that Nick and Nora's story would make a terrific film. After finding out that MGM had already acquired the story rights, Van Dyke quickly began campaigning to head the film.
William Powell, Myrna Loy, and director, Van Dyke. Via.
Van Dyke's dream finally came to fruition later that year when MGM approved the film adaptation. Van Dyke immediately knew who he wanted to take on the married detective duo: William Powell and Myrna Loy. Van Dyke had just collaborated with the pair earlier that year on the film Manhattan Melodrama. He had been completely charmed and inspired by Powell and Loy's chemistry both on screen and in between takes. He knew they would be able to perfectly portray the Charles' loving, but banter-filled relationship.
MGM however did not agree. Having both got their start in the silent pictures of early Hollywood, Powell and Loy were considered veteran actors by 1934. Loy, who was only 29 years old at the time, was looked at as old and washed-up. Typical Hollywood. The studio heads also couldn't picture either actor as glamorous socialites. Powell had been typecast throughout the silent era as the perfect villain, and transitioned to the other side of the law in a series of B-movie detective talkies. Loy's career had been crippled by typecasting as well, known for portraying vamps and Oriental seductresses (leave it to Old Hollywood to be ever so racist). The Thin Man was the perfect opportunity for Powell and Loy to breakout of these typecasts and try their hand at new characters. Thanks to Van Dyke, who wasn't afraid to pull his weight with the studio heads, Powell and Loy finally got that chance.
Casting wasn't the only thing Van Dyke immediately decided on. He also directed screenwriters, Albert Hackett and Frances Goodrick (a married duo themselves), to play up Nick and Nora's quirky relationship and their witty banter in the script. This move made the story's crimey case a secondary subplot, focusing instead on the couple and their modern marriage.
"You know, that sounds like an interesting case. Why don't you take it?" - Nora
"I don't have the time. I'm too busy seeing you don't lose any of the money I married you for." - Nick
Prior to the release of the first Thin Man movie, marriage had two primary roles in film plots. It was the end-goal of light romances and comedies, where the couple finally ends up together and the picture closes with a shot of them walking down the aisle. Or marriage was the catalyst for conflict in tense melodramas, where the married couple wrestles with infidelity, financial issues, or marital discontentment. The Thin Man however introduced a new type of marriage.
"Let us eat, drink, and be merry, for tomorrow we die."
"You give such charming parties, Mr. Charles."
"Thank you, Mrs. Charles."
Nick and Nora hosting an extravagant Christmas party. Via.
Nick and Nora Charles are rich, glamorous, and very much in love despite being in an established marriage. Instead of dealing with infidelity or unhappiness, they enjoy one another's company and have fun together. They are also childless (at least for the first few films), which means their only charge is their dog, Asta. With no responsibilities besides their pooch, and no financial worries thanks to Nora's considerable inheritance, the Charles' have quite the idyllic situation.
Introducing Nick and Nora Charles.
"Do you want a drink." - Nora
"What do you think?"- Nick
The Charles' instead spend their time gallivanting around town enjoying drinks (oh so many drinks!) in the chicest nightclubs, and taking on the occasional detective case for fun. Enjoying dual residency between NYC and San Francisco, they are cross-country travelers who enjoy the finest in life along the way. Nick and Nora made marriage fun- something audiences at the time we're not used to seeing in film. They teased and bickered, but they also worked together and genuinely loved each other.
Also, despite their lofty status, the Charles' still had colorful friends from not-so-glamorous backgrounds, thanks to Nick's past career as a private eye. Crooks, criminals, and mob members all visit the Charles', some lending a hand in their latest case and others asking the couple for their help. For the depression era, I think this was a key factor to Nick and Nora's likability; sure they are living the worry-free good life, but they're also down-to-earth at the same time, instead of being stuck-up and snobby.
"We want to go someplace and get the taste of
respectability out of our mouths." - Nick
Powell and Loy continued to entertain through 5 Thin Man sequels, not to mention 8 other non-Thin Man films. They made 14 successful movies together, and although their on-screen chemistry never permeated their off-screen relationship, Powell and Loy still portrayed the perfect, happily married couple.
An example of Nick and Nora's quirky and playful relationship. Via.
Audiences, in fact, were so convinced by their on-screen romance, that many believed Powell and Loy were married in real life. When the pair first arrived in San Francisco to begin filming the first Thin Man sequel, the management at the hotel where the entire cast was staying excitedly handed over a key to their finest penthouse suite, for "Mr. and Mrs. Powell." The situation was awkward not just because they weren't actually married, but also because Powell's finance at the time, Jean Harlow, had accompanied him on the trip. Thankfully Harlow found the situation hilarious and announced that she and Loy would share the suite together. Powell was moved to the only other available room- a much less extravagant single room several floors down.
Loy, Powell, and Jean Harlow arriving in San Francisco. Unfortunately one of the last pictures of Harlow before her unexpected death. Via.
Nick and Nora's relationship wasn't just fun for audiences, it was also fun for Powell and Loy. It was so easy for them to portray Nick and Nora because, despite being just friends, they had a unique companionship. Throughout the filming of all the Thin Man series, Powell and Loy both experienced misfortunes in their personal lives. Shortly after the second Thin Man film, Powell's finance Jean Harlow died very unexpectedly and tragically. Not long after, Powell was diagnosed with cancer and had to undergo extensive medical treatment. Loy went through a series of husbands and very public divorces throughout her Thin Man days, which started to become a professional issue considering her "perfect wife" film personae. Together they comforted one another, and saw each other through dark times by teasing, bickering and goofing around- just like Nick and Nora.
Powell and Loy goofing around together on set. Via.
This ease and comfort between the two of them transitioned seamlessly onscreen. As Powell said, "We weren't acting. We were just two people in perfect harmony." Similarly, Loy said "I never enjoyed my work more than when I worked with William Powell." Together they revived their careers, broke out of their respective type casts, and made a life-long friendship. They also introduced the world to a new type of movie marriage based on love, humor, and adventure- and kept the audiences laughing the entire time!
I was hoping to have this post ready yesterday in honor of Veterans Day, but better late than never. Besides, our veterans should be celebrated every day, not just on Veterans Day. With that in mind, I bring you, The Great Escape;John Sturges' 1963 film that's not only a fantastic movie, but is also a great tribute to the men and women who served, and continue to serve, our country.
"...It is the sworn duty of all officers [POWs] to try to escape. If they can't, it is their sworn duty to cause the enemy to use an inordinate amount of troops to guard them, and their sworn duty to harass the enemy to the best of their abilities." - Capt. Ramsay
Based on true events, The Great Escape tells the story of a Nazi-run prisoner of war camp during WWII which confined hundreds of Allied officers. Labeled as security risks by the Nazis for their numerous escape attempts, these British and American soldiers were rounded up and taken to a maximum security, "escape-proof" POW camp. The Nazis' idea was to put "all their bad eggs in one basket;" what they didn't realize however, was that by putting all of the Allies' greatest escape artists together, this would also give the officers the opportunity to pull off one of the greatest POW escape plans in history.
The film introduces you to several different POWs, all with different skills, different challenges, and different motives for wanting to escape. Flight Lieutenant Hilts, played by film's star actor Steve McQueen, is the main American soldier the story follows inside the camp. After quickly partnering up with British POW, Ives, Hilts begins to devise a series of ingenious, yet simplistically absurd escape plans. When these harebrained plans are consistently foiled, Hilts earns himself the nickname "The Cooler King," for the extensive time he spends in and out of isolation.
Hilts' Blitz Out: "It's so stupid, it's positively brilliant."
"I haven't seen Berlin yet, from the ground or from the air, and I plan on doing both before the war is over." - Hilts
Meanwhile, British Squadron Leader Roger Bartlett, nicknamed Big X, (played Richard Attenborough- AKA John Hammond in Jurassic Park!!) has an escape plan of his own. "No half-measures this time," as Bartlett says. He devices a plan to dig three tunnels all leading out of the camp in different directions. His goal: breakout two hundred and fifty men. Quite the lofty goal, when the average POW escape usually freed around three or four officers. Although Bartlett asks for Hilts' (McQueen) help, Hilt is too cynical to believe this mass breakout plan will work; his mission is to find a way to blitz himself out and back to front lines as soon as possible.
"We're going to devote our energies to sports and gardening, all the cultural pursuits as far as their concerned. In fact, we're going to put the goons to sleep. Meanwhile, we dig. - Big X Bartlett
As work begins on the three different tunnels, the film takes a closer look at the various prisoners: Bartlett who's motive is to handicap the Nazis as much as possible; Hilts who's plan is to get back to the front lines; Flying Officer Ives who's numerous failed escape attempts have him close to cracking; Flight Lt. Blythe who's deteriorating vision may jeopardize his opportunity to escape, and Flight Lt. Danny who's continuous tunnel digging has inflicted him with crippling claustrophobia. Those are just few of the numerous soldiers working and striving to escape. The Great Escape gives us a glimpse at their struggles and challenges both leading up to, and after, their escape.
Danny starts his 17th tunnel.
Although Sturges' received the story rights for The Great Escape by promising to be faithful to the actual events, he didn't quite live up to that promise. As the title page explains several circumstantial details, characters, time frames, and places were changed in the film. Stalag Luft III, the mission, and the method of escape, however, were all factual. For me, that's what made the various characters' stories so moving. Although they might be fictionalized, the situations they found themselves in were very real. It's amazing that despite having the opportunity to live out to rest of the war reading, gardening, and generally relaxing, these soldiers remain faithful to their oaths; instead of giving up and waiting out the war, they risked their lives to escape and continued to contribute to war effort.
James Coburn, John Sturges, Steve McQueen, and Charles Bronson on the set of The Great Race. Via.
Since I don't want to spoil the ending in case any readers haven't seen the film yet, I will just say that the film goes full circle back to Capt. Ramsay's first explanation of the captured officer's duty. While watching the escape plan unfold, I forgot about that statement and found myself disappointed and frustrated by some of the final scenes. By the end however, the film reminds us that a soldier puts aside his personal feelings and desires for the greater good of the mission- that's what makes them heroes.
"Do you think it was worth the price?" - Hendley
"Depends on your point of view."- Ramsay
Boasting an all-star cast, The Great Escape has some excellent performances. It's still considered one of Steve McQueen's greatest films. Shooting The Great Escape was definitely fun for McQueen as well; known to be something of a daredevil in real-life, he was able to do many of his own stunts. He even got to fill in as one of the Nazis during the motorcycle race towards the end of the film. So, thanks to the magic of Hollywood editing, McQueen is technically chasing himself in that scene.
Steve McQueen isn't the only actor that shines in The Great Escape; James Garner also gives an excellent portrayal of Flight Lt. Hendley; as the mission "Scrounger" he uses his wits and charm to obtain all the supplies necessary for the escape. He is also the honorable escapee who volunteers to help Flight Lt. Blythe, who's macular dystrophy prevents him from escaping alone. All the actors offer realistic and honest portrayals of the POW soldiers. Their performances remind us of the suffering and sacrifices our veterans have made for our country.
Although the mission did not free the 250 as planned, 76 Allied officers still escaped. The the real-life mission was one of the largest mass POW escapes throughout the entire second World War. The Great Escape is a well-acted and well-produced tribute to all the officers who were held at Stalag Luft III and all other POWs. As the film's epilogue reads:
"This is a Halloween tale of Brooklyn, where anything can happen--
and it usually does."
13 dead bodies + 2 sweet yet murderous old maids + 1 overwrought Cary Grant. These ingredients all add up to equal the perfect black comedy, Arsenic and Old Lace. It all takes place on a seemingly ordinary Halloween day in Brooklyn. However, it turns out to be a pretty rough day for dramatic critic and marriage condemner, Mortimer Brewster (Cary Grant). First he finds himself laying aside all his criticisms and diatribes on marriage, and marrying the girl next door, Elaine Harper (Priscilla Lane). After which he has to find a way to break the nuptial news to her disapproving Reverend father.
Oh, and then he finds a dead body in his Aunts' window seat.
Grant's priceless facial expression as he discovers the dead body. Via.
Mortimer's discovery of Mr. Hoskins (the stiff in the window seat), quickly uncovers many more family skeletons-- pun intended. After a distressing conversation with his two saintly Aunts, Mortimer learns that Mr. Hoskins not only died at their house, he was in fact poisoned- by his two sweet, innocent Aunts. And, Mr. Hoskins is unfortunately not the first gentlemen they've poisoned; he is number 12, making a perfect dozen that they've killed. His Aunts, seeing no problem whatsoever with the situation, nonchalantly explain that it's one of their charities; they invite lonely old gentlemen who have nothing left to live for into their home for tea and a seemingly innocent glass of elderberry wine.
"For every gallon of elderberry wine, I take one teaspoon full of arsenic, then add half a teaspoon full of strychnine, and then just a pinch of cyanide."
Problems for poor Mortimer don't end there! While trying to figure out what to do with his benevolently murderous Aunts, Mortimer is also trying to get his younger brother Teddy (who hilariously believes himself to be President Teddy Roosevelt) committed to a sanitarium. Then his estranged and criminally insane older brother, Jonathon, shows up on the Aunts' doorstep along with his partner-in-crime, Dr. Einstein, and a dead body of their own! When he realizes that Jonathan and Dr. Einstein are hoping to dispose of the body at the Aunts' house, Mortimer suddenly finds a baker's dozen of dead bodies on his hands. Mortimer, who is supposedly the only sane character, is slowly but surely loosing his mind too throughout the day's events.
"Look Aunt Martha, men don't just get into window seats and die!" - Mortimer
Mortimer: "Aunt Abby, how can I believe you? There are twelve bodies in the cellar and you admit you poisoned them!
Aunt Abby: "Yes, I did. But you don't think I'd stoop to telling a fib!"
Through all these entertaining plot twists and turns, the comedy does not let up. Arsenic and Old Lace is a hilarious slapstick comedy with the perfect macabre twist added to it. Cary Grant's facial expressions and reactions are absolutely priceless. If you are used to seeing Cary Grant as a suave and sophisticated gentleman, watch Arsenic and Old Lace; he is anything but cool, calm, and collected in this film- and the results are hilarious. The other character who never fails to make me laugh is poor Teddy "Roosevelt" Brewster (John Alexander). He is completely delusional and completely dedicated to maintaining that delusion. His trips to "Panama" and charges up the stairs are laugh-out-loud funny no matter how many times you've seen the movie!
"The stairs are always San Juan Hill." - Aunt Abby
Based on the Broadway play of the same name, Arsenic and Old Lace was filmed in 1941. At the time, Frank Capra was one of Hollywood's most successful directors. After three Best Picture wins and numerous box office hits, Capra could pretty much afford to make any movie he wanted to. In the 1930's and early 40's, Capra was known for his "American values" films, which celebrated the every-man and combined light comedy with social commentary. In 1941 however, Capra was looking to make something different with his next film. He wanted to make a movie without a message or moral lesson, just pure entertainment and escapism. When Capra attended a performance of the hit play Arsenic and Old Lace, Capra knew immediately he'd found his next project. Capra quickly went to work to make what he called, "an anything goes, rip-roaring comedy about murder."
A photo of the entire cast, appropriately taken in the cemetery. Via.
Due to a contractual agreement made with the still-running play production, the film wasn't actually released until 1944 to prevent the movie taking sales away from the play. When it did finally premiered, it was welcomed with big laughs and huge commercial success. Critics' responses varied however, some feeling that certain lead performances, namely Cary Grant's, came across too exaggerated and overplayed. Grant personally hated his performance in Arsenic and Old Lace. Having not done much physical comedy before making this film, Grant was uncomfortable with the type of over-the-top comedy and expressive acting Capra expected of him. When Grant saw his final performance, he agreed with the critics admitting his performance was overplayed and embarrassing; for the rest of his life he would say Arsenic and Old Lace was his least favorite film he was in.
At least Grant and Lane seemed to have a good time on set! Via.
Grant may have considered his performance to be a disaster, but many people consider Arsenic and Old Lace to be one of his funniest performances. What Grant saw as overplayed, audiences saw (and still see) as a hilarious and skilled performance that is the primarily source of comedy in the film. For me personally, it's definitely one of the funniest black comedies I have ever seen. The physical and slapstick humor is absolutely timeless and still keeps me laughing today. Every Halloween Arsenic and Old Lace is on my "must watch" list. Despite being over 70 years old, the film never gets old and never stops being funny. That's what makes Arsenic and Old Lace the perfect example of a classic film: it's both of its time, and timeless. If you have never seen this film, I highly recommend you watch it this Halloween; it will not disappoint!
"What a costume designer does is a cross between magic and camouflage."
- Edith Head
Today's Google Doodle inspired me to write a quick post about the famous Hollywood costume designer, Edith Head.
Today's Google Doodle in honor of Edith Head's 116th birthday.
Head's career in Hollywood spanned over 50 years and includes over 400 film credits as Head Costume Designer, 35 Oscar nominations and 8 Academy Award wins. She is still to this day the most honored costume designer and woman in the history of the Academy.
Ironically Head had very little art and design experience- let alone costume design experience- when she began her Hollywood career back in 1924. She actually was a French teacher with a masters degree in romance languages from Stanford. Her first job was teaching French at the Hollywood School for Girls. Looking to make a little more money, Head also offered to teach art in addition to French despite having only studied the subject briefly in high school.
A young Edith Head, mostly likely taken around the start of her Paramount career. Via.
While taking college art classes at night to polish up her skills for her teaching position, Head discovered a passion and talent for design. In 1924 she applied for a costume sketch artist position at Paramount Pictures using, she admitted in late years, a fellow student's art portfolio. Despite having no professional experience and submitting someone else's portfolio, Head earned the job.
"You can have anything in life, if you dress for it." - Edith Head
She started off designing costumes for silent movie pictures, with her first credit being The Wanderer in 1925. By the 1930's- just a few short years later- she had established herself as one of Hollywood's leading costume designers.
Actress, Natalie Wood's eyes go round with excitement while looking at Head's costume sketches. Via.
She costumed numerous leading ladies and men, with her costumes completing the illusions they portrayed on screen. Head quickly became a favorite among the Hollywood stars, known for dressing actors impeccably, and for a diverse range of characters. Some of her films include: The Lady Eve, Sullivan's Travels, Holiday Inn, Sunset Boulevard, All About Eve, A Place in the Sun, Roman Holiday, Rear Window, To Catch a Thief, The Sting, and many, many more.
Head with Elizabeth Taylor at a costume fitting for A Place in the Sun. Via.
"Your dress should be tight enough to show you're a woman,
and loose enough to show you're a lady."
- Edith Head's words of wisdom
Head worked for Paramount Pictures for 43 years, before moving to Universal Studios, a move many attribute to her frequent partnership with director Alfred Hitchcock, who was at Universal as well. She continued to work in film throughout the rest of her life, taking on smaller projects in her later years such as made-for-TV movies. The last film she worked on was the Steve Martin and Carl Reiner comedy, Dead Men Don't Wear Plaid; it premiered shortly after her death in 1981 and was dedicated in her memory.
Today, October 28th, 2013, Edith Head would have been 116 years old. She will always be remembered for her immense design talent, and for the crucial role she played in making the Golden Era of Hollywood the epic generation of film its known as today.
A picture of Edith Head at work, from a LIFE magazine spread. Via.
Lisa Helene.
Sources: 1 and 2. Visit both for more information on Edith Head's life and career.
To me, Howard Hawks' 1940 film, His Girl Friday is quite a unique movie for its time. This film, which is based on the play The Front Page, delves into the fast-paced world of journalism. As the title screen explains, it depicts the "dark ages of the newspaper game" when "getting that story justified anything short of murder." The journalists in His Girl Friday are the now-cliche "old time-y" newspapermen wearing their fedora hats and talking in a funny accent with a cigarette clench between their teeth. I can't say for certain if in 1940 this was an accurate depiction of journalists, or if it was Hollywood doing what it does best- exaggerated and romanticizing reality for dramatic effect. Either way it is a thoroughly entertaining film that keeps you laughing with its jokes, your head spinning with the crazy-fast dialogue, and, if you watch closely, an interesting representation of a modern and independent woman for the 1940's.
Cary Grant as Walter and Rosalind Russell as Hildy. Via.
At the beginning of the film you are quickly introduced to Hildy (Rosalind Russell), an ex-newspaper gal who's dropping by her old stomping grounds in order to tell her ex-editor, who is more importantly also her ex-husband, that she is getting married and quitting the newspaper racket for good. Of course Walter (Cary Grant) has no intention of letting her go- from the newspaper or from his life.
The ex-husband coming between the soon-to-be newlyweds. Via.
Although very similar to the original play, Front Page, Howard Hawks' made one major adjustment to the screenplay- a change that came about by complete accident. In the original story, the character of Hildy Johnson is a male. During early screenplay readings, Hawks had his secretary read Hildy's lines, which made him realize that the fast witty dialogue sounded even better with a female in the mix.
Rosalind Russell was just the actress to be added to the mix. Via.
Hawks took a witty and fast-talking male character and turned him into one of the most clever and modern parts written for a woman. At the time His Girl Friday was released, Hildy was one of Hollywood's few female movie characters who was equal to her male counterpart. Hildy can give as good as she gets, never letting her ex-husband Walter get the upper hand despite all his tricks and schemes.
Not only can Hildy banter with the best of them, she also is unique in the sense that she's not the typical 1940's housewife. As much as she tries to convince Walter- and, more importantly herself- that she really does want to quit the newspaper biz and settle down as housewife, it's clear that it's not what she really wants. Hildy repeatedly says that she wants to have a "normal" life, but what is normal? I find it fascinating that this 1940's movie features a woman who doesn't end up as the "normal" housewife. Instead it shows an alternative lifestyle that involves chasing down witnesses and hunting down exclusives. One of the main themes of the film is that Hildy, a woman, not only survives in a man's industry, but flourishes in it.
It's also obvious that she doesn't want to be taken care of or treated with kid gloves like the way her new finance (Ralph Bellamy) treats her. She's the one who always trying to take charge in their relationship and tell him what to do; Hildy is definitely the pants-wearer in the relationship. Walter, however, knows that Hildy doesn't need to be taken care of. He knows she can handle anything that's thrown at her- and Walter throws a lot of trouble her way.
The original trailer for His Girl Friday gives you a sneak peek at this hilarious screwball comedy.
Hawks, who was known for featuring strong female characters in all his films, actually insisted that he was not a feminist nor a feminist supporter. Ironically however, he did admit that strong, independent, and ambitious females were the type of women he was attracted to, which explains why he spotlighted them so often.
Grant, Russell, and Hawks onset of His Girl Friday.Via.
No one could have pulled off the character of Hildy with such sass and conviction as Rosalind Russell, but it's actually luck that she won the part at all. Russel was far down on Hawks' list of possible lead actresses. And, unfortunately, Russell knew she was no where near the director's first choice. This led to her being very self-conscious and insecure at first on set. After the first few stressful days of filming, Russell had had enough. In a very Hildy fashion, she marched up to Hawks and said, "You don't want me, do you? Well, you're stuck with me so you might as well make the most of it." From then on, Hawks took her more seriously.
Another challenge for Russell was Hawks' encouragement for the actors to ad-lib and improvise during filming, which Russell wasn't use to or comfortable with. The other lead actor however was more than comfortable with ad-libbing; Cary Grant was known for his improvisation skills and used them to the fullest while filming His Girl Friday. One of my personal favorites is his line "Listen, the last man who said that to me was Archie Leach just a week before he cut his throat." For those of you who might not know, Cary Grant's birth name was Archie Leach. (Fun fact: Grant also slyly referenced his 'real name' in a improvised line for the film Arsenic and Old Lace.)
This clip gives you a glimpse at Grant's hilarious improve skills.
Russell however did not have such skills. So to keep up with Grant's extemporizing, Russell secretly hired someone to write jokes into her scenes for her. Each day Russell would show-up on set with her pre-planned "ad-libs" for the scene they were scheduled to shoot. Although Hawks never caught on to Russell's setup, Grant did. After the first couple days, Grant started to greet her each morning with a smile saying, "Well what have you got today?"
In addition to improvising, Hawks also directed the actor to cut each other off and talk over each other to keep the fast-paced dialogue more realistic. Shortly before he started working on the script for His Girl Friday, Hawks had the realization that in real life people don't wait for others to finish talking before starting themselves, especially when arguing. It's only natural to have conversation that's overlapping. After realizing this, Hawks and his screenwriting team purposely "wrote the dialog in a way that made the beginnings and ends of sentences unnecessary," in order to facilitate fast-paced and natural conversation flow. The dialogue is actually so fast-paced that the substantial 191-paged screenplay translated into a film that is only 92 minutes long. The quick banter also led to a breakthrough in sound recording for film; because His Girl Friday was filmed before multi-track sound recording, they used multiple microphones which had to be continuously turned on and off in time with the flow of the dialogue. Some scenes required the sound mixer to make over 35 switches during a single shot.
This hilarious (albeit blurry scene) is a great example of the fast-paced dialogue of His Girl Friday.
To this day His Girl Friday is a charming and funny film. The jokes still make you laugh and the fast dialogue still keeps you on the edge of your seat. Hawks' film is a classic screwball comedy, and a rare example of a modern 1940's woman who proves she's equal to her male counterpart.
Since its release in 1960, Alfred Hitchcock’s Psycho has shaped, inspired, and
completely permeated pop cultural. It has influenced numerous film makers, and
has become so ingrained in our film and cinematic culture that it’s
recognizable even to people who have yet to even see the movie. Famous scenes
from this film are still used and parodied in movies and TV shows today, over
50 years later. Psycho turned two
shrill notes on a violin into the haunting sound of a killer looming into the scene.
It made a swinging ceiling light bulb the perfect addition to a cinematic standoff
with death. And of course, it made a porcelain white shower the perfect locale
to commit murder. These, and other horror flick trademarks, all affectionately
hark back to Hitchcock’s Psycho, the
film that set the standard for horror thrillers.
In 1959 prolific crime novelist, Robert Bloch published the
novel, Psycho, which was loosely
based on the real-life story of an obscene small-town murderer, Ed Gein. Alfred
Hitchcock’s personal assistant discovered the novel and brought it to
Hitchcock’s attention. After he read the novel himself, Hitchcock anonymously bid
on the rights, acquiring the story for a mere $9,000. Hitchcock’s initial idea
for Psycho was actually inspired by the
series of bad, inexpensively-made “B” horror flicks that were so successfully
at the time. Hitchcock was curious to see what would happen if he made a good,
inexpensively-made horror flick. He shot the entire film using the film crew
from his television show, Hitchcock Presents, and chose to film in black and
white to cut costs. Shooting in black and white would also help tame the gory scenes
in the script, and make it (a little) easier to pass through the censorship.
The novel itself was actually much more gory and gruesome
than Hitchcock’s film. Hitchcock and screenwriter Joseph Stefano worked through
the novel, changing and adapting the story into a script. Stefano was actually in
Freudian analysis himself at the time, and greatly relied on his own
experiences in therapy while working on the script, especially when developing the
dark, yet sympathetic, villain Norman Bates. Stefano also quickly impressed
Hitchcock with the idea to deviate from the novel and start the film with
Marion’s story and point of view rather than Norman Bates’. Hitchcock quickly
latched on to this idea, adding that they should get a big-name star to play
that role, in order to shock the audience even more with the character’s sudden
death.
Shocking the audience was always Hitchcock’s main motive.
Once publicity for the film began, Hitchcock designed the promotional trailers
and posters to feature Janet Leigh (Marion), solidifying in the public’s mind
that Leigh was indeed the star of the picture. That way the audience would be
so taken aback by her abrupt murder less than a quarter ways through the film.
Hitchcock even filmed a scene of co-star Vera Miles screaming in a shower just
for the trailer, making the shower sequence even more unexpected.
Hitchcock's very long and very droll original trailer for Psycho.
See 6:00 mark for Vera Miles shower cameo.
Leigh’s death wasn’t the only secret Hitchcock had to keep.
He also went to great lengths to keep up the idea that there really was a “Mrs.
Bates.” Hitchcock felt that the plot twist involving Norman’s mother was the
true fun and thrill of the story; the audience had to be convinced to the very
end that Mrs. Bates was indeed alive. During pre-production, Hitchcock spread
casting rumors for the part of “Mrs. Bates;” for weeks agents were calling and
sending in their recommendations, vying to get their clients an audition for
the role of “Mother.”
Even after shooting finished, the sly secrecy continued.
Hitchcock refused to have early showings for newspapers and reviewers, making
them see the film with the rest of the public; he feared that early reviews
would spoil the twist ending for the general public. Taking it even one step
further, Hitchcock had posters and cutouts of himself made for all the theaters
that would be showing Psycho. The
signage warned all patrons that “No one… but NO ONE” would be allowed into the
theater after the showing began.
He wanted to make sure everyone saw the film
from the beginning; to Hitchcock’s thinking, if audience members came into the
theater late, they would be sitting there wondering where Janet Leigh was. Hitchcock
also didn’t want anything to distract the viewers from the story being played
out on screen. This led to another concern for Hitchcock- his own role in the
film.
Hitchcock’s signature cameo in all his films actually began out
of necessity back during his silent era. His film budgets back then were much
smaller than the budgets he was granted once he signed with Paramount Pictures.
In order to physically fill up crowd shots, everyone on set- including Hitchcock-
would appear in the scene. Once Hitchcock became more well-known, so did his
face and distinct, rotund figure; audiences began to recognize and pick him out
in his films. This quickly became a game for both Hitchcock and the audience:
when and where would you see Hitchcock in this film? What started out as a
mischievous game however quickly became a complication for Hitchcock. If the
audience was too busy looking for his cameo, then they wouldn't be paying
attention to the story. So with Psycho,
and all of his subsequent films, Hitchcock strategically placed his cameo early
on in the film before any significant storytelling began. This way, he was
still playing this ongoing game of hide-and-seek with the audience, but without
disrupting the mood of the film.
Hitchcock's Psycho cameo. In the first 10 minutes of the film.
Once the scenes were all shot- including Hitchcock’s cameo-
the crew and some of the cast gathered to watch the rough cut. And, according
to screenwriter Stefano, it was horrible. He recalled being so disappointed
after that first viewing, and having no idea how to admit this to his director.
Hitchcock however, just patted Stefano on the leg and reminded him “it’s only a
rough cut.” The film then went on to Bernard Herrmann who performed a miracle;
he wrote and added the now-famous Psycho
theme. His original compositions, made up solely of string instruments,
completed the film. After viewing the film again with the added score, Stefano
described it as being a completely different movie. It made that rough cut into
a cinematic experience.
For its time, the Psycho
had some pretty racy scenes in it. It explicitly discussed and displayed illicit pre-marital sex, nudity, and insanity. Many people were scandalized by the various
scenes of Janet Leigh undressing or laying around in her slip and bra. There
was also a big upset about the use of the word “transvestite” in the
psychiatrist scene. What I find most
entertaining however is the reactions people had to the famous shower scene.
Hitchcock and Leigh rehearsing the shower sequence. Via.
This 3 minute scene required 78 shot set-ups and took 7 full
days to film. It’s a fantastic scene that makes your heart race no matter how
many times you've seen it. What’s most interesting is the illusion of the
sequence. Not once do you ever see the knife actually pierce Leigh’s skin. The
stabbing is instead represented with the rapid cuts in the film; the audience automatically
associates every film “cut” as another literal “cut” with the knife. Audience
members, however, were so convinced by Hitchcock’s cinematic device, that many
left the theater talking about the gory stabbing, describing the knife slashing
through Marion’s skin as if they saw it. One reviewer was so engrossed by the
scene that he actually described Marion’s red blood swirling down the drain- in
the black and white movie. Many audience members however agreed, swearing they
saw the red blood as well.
Hitchcock was such a visionary, making his films not simply
entertainment, but an experience. While all aspects of Psycho are astounding- the story, the characters, the acting- what
really makes this film so prevalent today is the sheer mastery of this film. As
Hitchcock said, when people watch Psycho
they are “aroused by pure film.” Even if you’re not schooled in film technique
or even if you don’t consider yourself a film enthusiast, it’s still impossible
not to notice the how inventive and creative this movie is. All around, it’s an
exceptional example of film at its best.
Lisa Helene.
Just for fun, here are some fan-made, minimalist movie posters for Psycho that I think Hitchcock would have loved:
I love how this one is reminiscent of the opening title sequence. Via.
