To round off my week of celebration of The Magnificent Seven, I’ve made a 10-minute video for Youtube (link below). A number of people contacted me to ask why I wrote the book in the first place. As that was quite unusual in itself, I thought i would explain myself.
A decade ago as a treat to myself I purchased an annual subscription at considerable expense to the archive of daily trade magazine Variety. This allowed me to look back at over 100 years of this legendary publication. I used to just pop around the archive wherever fancy took me. At the time I was – and still am – a box office hound. Every week Variety published upwards of three pages of box office stats, listing how movies performed in all the major cities in America. I was poking around the stats for Butterfield 8 (1960) which delivered sensational figures wherever it opened. Every now and then I would come across a listing for The Magnificent Seven and since that was one of my favorite pictures I back-tracked a few months to see how well it had opened in New York.
I must have spent well over a week going over again and again three months of box office figures. Again and again because I couldn’t find any mention of how well the movie had done in New York. I went through the pages with a fine tooth comb, thinking I must just have missed it. But once I had done that, I came to the conclusion that the movie had not opened in New York at all. In those days, every big picture opened at one of the top theaters in or around Broadway. And The Magnificent Seven counted as a big picture. When I got to the year-end results – Variety published an annual chart – I realized the movie had not done well at all. It was, in fact, a flop.
So I began to wonder why a movie that I had always considered a big hit had been the reverse. I judged it a hit because it was reissued several times. It popped up every time there was a sequel, sometimes in a double bill with another from the series, sometimes dualed with a separate picture. For about 15 years after its release it made regular appearances on the reissue circuit – and this was even after being shown on television in the United States as early as 1963.
It didn’t make any sense. Who would reissue a flop? Why would a flop inspire sequels?
So I dug around a bit more and eventually found out all about the tortuous release history of The Magnificent Seven and my research revealed more of its dramatic history. I became fascinated by the flop that became a hit. It took me more than three years to find out as much as I could about the film from a variety of sources – including the United Artists and Mirisch archives held at the University of Wisconsin, and other trade publications like Box Office, Motion Picture Daily and Motion Picture Herald – and conversations with the screenwriter Walter Bernstein and anybody else I could find who had anything to do with the film. And then it took another year to write the book.
The story behind the making of The Magnificent Seven could have been a thriller itself. Filming was delayed for two years and on the eve of the shoot nearly halted by an actor’s strike, a writer’s strike, interference by the Mexican government and two million-dollar lawsuits. Spencer Tracy, Clark Gable, Marlon Brando and even Swedish boxer Ingemar Johansson (then world heavyweight champion) were all considered for roles. Anthony Quinn was fired.
The book also reveals how Brynner became the biggest independent producer in Hollywood, why United Artists hated it and denied it a prestigious premiere in New York and why it subsequently flopped at the box office. Also revealed is the truth behind the Brynner-McQueen feud and the scene-stealing battle among the actors. The landmark study also forensically examines the screenplay and shows for the first time who – out of the seven screenwriters involved – wrote what, as well as providing a critical examination of the direction.
Youtube Link below.