MGM didn’t know how to sell this. So they came up with three different campaigns. The first was the classical illustration of stars Omar Sharif and Catherine Deneuve about to kiss. This image was used for the film’s launch in the U.K. and at the Radio City Music Hall in New York. The artwork could be augmented if need be by various scenes from the film. You would categorize this as the straightforward romantic sell. Sharif after all was the most famous romantic idol of the decade following the monumental success of Doctor Zhivago (1965).
But this was the more liberalized 1969 rather the restrained mid-decade so MGM offered exhibitors the opportunity to promote the picture as a more salacious number, not overdone sexually since that would defeat the purpose of achieving a rating designed to attract the widest possible adult audience, but nonetheless touching on enough of the risqué to satisfy modern cinemagoing taste.
Of the two alternatives, one was considerably more spicy than the other. Using the tagline “No one woman could satisfy him…until he fell in love” this presented Sharif as wanton playboy, wine glass in hand, cavorting with cleavage-ridden woman. The other approach, though technically more reserved, was as provocative since it highlighted Deneuve’s role as a high-class sex worker in Belle de Jour (1967), the sensational arthouse breakout. The connection would not be lost on the more sophisticated members of the audience.
Nor did the Pressbook avoid the more intimate elements of the drama and in fact the biggest article in the promotional material concerned the “emotional incest” between Sharif as the Crown Prince and his mother played by Ava Gardner – “the abnormally close relationship between the two was noted again and again in records of the era” – and in their first scene together “looked like lovers to the silver screen born.”
Historical films lent themselves to the kind of detail that journalists loved and the Pressbook for a movie set in a magnificent Vienna at the end of the nineteenth century capitalized on this. As you might expect, waltzes played a key role in the social life of high society. The Pressbook introduced newspaper editors to the concept of “left-waltzing,” a particularly energetic form of the dance performed on state occasions. This waltz had a “strict etiquette” in that it is “forbidden to reverse no matter how dizzy one gets,” explained director Terence Young. Auditioning for extras to participate was made simpler by eliminating anyone who collided with another dancer.
The Pressbook, unusually, also casts light on directorial technique, again in reference to a waltz. This is the one where Omar Sharif scandalizes the court by opening a ball by dancing with his mistress Catherine Deneuve. Young wanted to create the effect of the whirling couple revolving into a world of their own. To achieve this the stars had to “dance in a perfect circle, keeping a constant distance in the center of the ballroom floor from director of photography Henri Akedan and his revolving camera.”
Initially, Young resorted to “two elaborate and – as it proved – punishing devices since the dance had to be done over and over.” The first saw camera and stars balanced at opposite ends of a rotating “see-saw.” But this moved so fast Sharif lost his balance and Deneuve suffered from dizziness. Next, they were connected by a lasso but this metal contraption struck them so often in the hips it was abandoned. Finally, they reverted to the simplest of solutions, working round a circle chalked on the floor.
To ensure authenticity, Young was able to film at the Hapsburg Palace, the Karlschirche and the Schonbrunn Palace. However, such was the urge to preserve these antiquities, the stars were not permitted to sit on any of the chairs or even get anywhere close to them, so it was standing room only for days at a time. However, the Vienna Opera House of 1888 was reconstructed on Parisian sound stages.
The marketers were able to take advantage of the current fashion for the vintage look as pioneered by the likes of The Beatles. Under the heading “Groovy Gear,” the promotional gurus encouraged exhibitors to target the university crowd and metropolitan areas with a preponderance of young people who would appreciate the “freaky clothes” and “up-town hippy clothing” like the military garb, long topcoats, high boots and fur hats worn in the film. Even so, the Pressbook originators were remarkably unimaginative when it came to dreaming up stunts and promotional gimmicks. Their best suggestions were a Catherine Deneuve look-alike contest and a competition to list all Omar Sharif’s roles. Rather more ambitious was the idea of inviting high school pupils to write an essay on aspects of the period.