In the book by Lucille Fletcher the leading male character (played in the film by Rock Hudson) doesn’t own a horse so he doesn’t go riding in Central Park. The leading female character (Claudia Cardinale in the film) doesn’t own a bicycle and so doesn’t collide with Rock Hudson in Central Park. The man isn’t a playboy, he’s not dubbed “Bluebeard” by the media and he doesn’t have a commitment phobia. The woman isn’t the secreted-away patient’s sister – she’s his wife and she doesn’t work in burlesque.
About the only places where the screenplay by Philip Dunne and W.H. Menger touches base with the Fletcher novel is in the basic premise of psychiatrist recruited to treat an atomic scientist who may be in danger of kidnapping and in the business of the hero working out the secret location through auditory clues.
Names have been changed wholesale. The book’s Dr Richard Fenton turns into the film’s Dr. Benjamin Snow (Hudson); likewise the book’s Angela Mallory becomes the film’s Vicky Vincenti (Cardinale). The General in the book is anonymous but, for the sake of a mild pun, is called General Prat (Jack Warden) in the film.
So basically pretty much everything in the film is the invention of the screenwriters. In the book, Fenton carries out all the investigation on his own until assisted late in the day by Mrs Mallory and there is a brief hint of potential romance at the end because by this time the scientist is dead and they were a mismatched couple anyway.
Two of the cleverest and most intriguing elements of the film were nothing to do with the book. The first was how the psychiatrist (Hudson) was able to analyze many of the characters with whom he came in contact, both good guys and bad guys. The second element was how it was impossible, given government penchant for secrecy, for Hudson to determine if any of the people who claimed they were from the National Security Council, the FBI or the CIA, actually belonged to those organisations.
While we’re at it, there was no Detective Harrigan (Brad Dexter) in the book either. Nor did the heroine, for lack of a better word, have an endearing family. Hudson’s secretary Smitty (Anne Seymour in the film) is an amalgam of his housekeeper Louisa and his secretary Edna in the book, neither of whom possesses Smitty’s dry wit. Even the dubious Fitzpatrick (Guy Stockwell) underwent a name change, if only partially, in the book called Fitzgerald. And I’m sorry to disappoint you but the book did not boast a mule called Henry.
Lucille Fletcher, as it happened, was a very distinctive personage in the creative world. She had originated Sorry, Wrong Number, one of the most famous and enduring crime tales ever written. Sorry, Wrong Number first appeared a 22-minute radio play, a monologue by Agnes Moorhead with sound effects, on CBS in May 1943, so successful it was broadcast seven times in five years. The author wrote the screenplay for the 1948 film noir starring Barbara Stanwyck and Burt Lancaster. Three times it was turned into a television drama – in 1946, 1954 and 1958. Prior to Blindfold, she had only written three novels, a novelization of Sorry, Wrong Number with Allan Ullman, Night Man also with Ullman, and The Daughters of Jasper Clay.
The Oscar nominations for the best adapted screenplay in the Blindfold year were for Doctor Zhivago (the winner), Ship of Fools, The Collector, and A Thousand Clowns. The first two certainly required considerable condensation and the others must have endured surgery of some kind, but I doubt very much if they had to discard virtually the entire source material and begin all over again, bringing a different tone, plot and character to the proceedings.
Philip Dunne was a double Oscar nominee in the screenplay department but for films – How Green Was My Valley (1941) and David and Bathsheba (1951) – that could not have been further from this one and he had written pictures as diverse as The Rains Came (1939), The Ghost and Mrs Muir (1947), Pinky (1949), The Robe (1953) and The Agony and the Ecstasy (1965) but nothing hit as sweet a spot as Blindfold with its mix of romantic thriller and comedy.
The screenplay comes with another mystery. Who is W.H. Menger the co-writer? I can find nothing relating to this person beyond that he/she co-wrote Blindfold.
Anyway, kind of the point of writing these non-film reviews of the screenwriting process of various films is to examine a largely unexamined aspect of turning books into films. Original screenplays tend to get greater coverage. Adaptations, unless sourced from difficult subject matter, tend to pass under the radar. This, along with Fathom and The Venetian Affair (1967) are, in my opinion, classic examples of adaptations of novels which have some intrinsic cinematic interest but lack the story/character values necessary to turn them into watchable films and therefore require full-on assistance from a screenwriter.