In the News – August 1960

CLEOPATRA VERSION ONE

Producer Walter Wanger headed for Britain to oversee the start of production for Twentieth Century Fox’s Cleopatra. Before the movie was bogged down in illness and budget scandals, Elizabeth Taylor’s co-stars in this initial version were Stephen Boyd, fresh from Ben-Hur, and Peter Finch.  Wanger was mulling over taking the production to Egypt where he also intended to film the adaptation of Lawrence Durrell’s Justine. Rouben Mamoulian was the director of Cleopatra. Durrell had written the screenplay for this version. Fox was promising the movie would be on screens in June 1961. Joseph L. Mankiewicz, at this point down as writer of Justine, would later end up in charge of Cleopatra version two with Richard Burton and Rex Harrison replacing Boyd and Finch.

HITCHCOCK FESTIVAL

Although Alfred Hitchcock Festivals would become one of the major reissue talking points of the 1980s and while Rebecca (1940) had been successfully revived in the 1950s, the director’s first major commercial – as opposed to arthouse – retrospective was in the planning stage courtesy of David O. Selznick. He had in mind a rotating double bill based around three features to which he owned the rights – Spellbound (1945) with Ingrid Bergman and Gregory Peck, Notorious (1946) with Bergman and Cary Grant and The Paradine Case (1947) with Peck and Ann Todd. The project would be marketed as an “Alfred Hitchcock Festival.” Interest in the director was at all-time high after the double whammy of the previous year’s North by Northwest and current box office sensation Psycho. The fact that all three movies had already been shown on television was not seen as a deterrent. Selznick aimed to use as a promotional tool that moviegoers could see the pictures without irritating commercial breaks and on a much larger screen than television would afford.

IN THE PIPELINE

Montezuma was scheduled as Kirk Douglas’s follow-up to Spartacus with a budget in excess of the $12 million spent on the slave revolt epic. John Huston would pen the script and director. Douglas would play Cortez with Marlon Brando being wooed for the title role… Darryl F. Zanuck was setting up The Day Christ Died based on the Jim bishop bestseller in competition to George Stevens’ planned The Greatest Story Ever Told… Steve McQueen was planning to make The Captain under his own production company with Henry Fonda and Ernest Borgnine playing major parts… In fact, only The Day Christ Died ever saw light of day and  then only as a television film in 1980.  

IN OTHER NEWS

Critic Bosley Crowther declared war on subtitles, an unusual move for a writer long considered a purist where foreign movies were concerned…Pope John XXIII ordered a permanent projection room with air conditioning to be installed in the Vatican on the third floor of the Apostolic Palace because he liked movies more than his predecessor…La Dolce Vita was the top grossing film of the 1959-1960 Italian season with $1.125 million, well ahead of the closest runner-up Some Like it Hot with $725,000…Universal ordered a record fifty 70mm prints for SpartacusCharlton Heston was announced as El Cid for the forthcoming Samuel Bronston production…John Wayne held a sneak preview of The Alamo at the 900-seat Aladdin theater in Denver on August 5 with Can-Can kicked off the screen for the night…U.S. movie receipts were up for the first time in five years with the week of July 30 1960  the best since August 4 1956…In Britain, Hercules broke records in 36 of the 39 cinemas in its initial playoff.

SOURCES: “Wanger to Britain as Cleopatra and Justine Both May Shoot in Egypt,” Variety, Aug 3, 1960, p3; “Selznick Plotting Hitchcock Festival,” Variety, Aug 10, 1960, 7; “Kirk Douglas Outlines Plans for Mexican Biopic on Montezuma’s Life,” Variety, Aug 3, 1960, 4; “Zanuck Signs Gallico to Write The Day Christ Died,” Variety, Aug 10, 1960, 10; “Reisner-McQueen- Elkins Co-produce Captain,” Variety, Aug 17, 1960, 4; “Crowther’s Subtitles Must Go Stirs Trades, Uh-Huh but on the Other hand,” Variety, Aug 17, 1960, 4; “Vatican Getting Its Own Projection Room,” Variety, Aug 13, 1960, 13; “Italo Film in sharp Upbeat at ’59-’60 B.O.,” Variety, Aug 24, 1960, 11; “UI’s Big 70M Print Order for Spartacus,” Variety, Aug 24, 1960, 13; advertisement, El Cid, Variety, Aug 3, 1960, 16; “Wayne Sneaks Alamo,” Variety, Aug 10, 1960, 5; “Pictures $82,831,000 Take for Week Jul 30 Best Since Aug 4 1956,” Variety, Aug 10, 1960, 3; “Hercules Sets 36 New House Records out of 39 Spots in England,” Variety, Aug 10, 1960, 10.

Manny Farber, Critic’s Critic

Gunning for You – Manny Farber

You wouldn’t want to pick a fight with Manny Farber, generally considered along with Andrew Sarris, the godfather of serious film criticism. “Visceral” was the word most commonly associated with his writings.

He came to movies from an unusual perspective. He was a painter, one of the most celebrated still life artists of his generation. He never worked for a big paper like the New York Times or a stylish magazine like the New Yorker. Instead, his work appeared in Film Culture, Artforum, The Nation and men’s magazine Cavalier.

An early advocate of the work of Howard Hawks, Anthony Mann and Raoul Walsh, he was also inclined towards lean B-films over more profligate big-budget pictures.

Chances are you will disagree with everything he said, especially when he was slicing-and-dicing one of your favorites, but it is equally guaranteed that you will marvel at his prose. His work had punch and clarity and it might just make you laugh.

Here are some of his musings on the 1960s movie scene:

Easy Rider (1969): “Dennis Hopper’s lyrical, quirky film is better than good in its handling of death…The death scenes, much more heartbreaking, much less programmed than Peckinpah’s (The Wild Bunch), come out of nowhere…The finality and present-tense quality of the killings are remarkable: the beauty issues from the quiet, the damp green countryside and a spectacular last shot zooming up from a curving road and a burning cycle.”

Lawrence of Arabia (1962): “The most troublesome aspect of Peter O’Toole’s Lawrence is that the story moves faster and further than the actor who is not unlike the Tin Woodsman of Oz (O’Toole starts with a springing outward movement, to walk over the world, then turns into a pair of stilts walking in quick, short strides.)”

On Albert Finney: “The Big Eat is a growing factor in films, in effect probably invented by Finney in his Saturday Night. In his case, it was a combination effect, involving a big chomp, heavy breathing, slashes of braggadocio, a side swivel, and baring of teeth. This emphasized eating has been fined and slowed down in his latest work, but within the timespan of four Finneyfilms it has taken hold, cementing a new convention for giving an underside, the animalistic traits, to character.”

The Ipcress File (1965): “This is a Chandleresque thriller that has no thrills, with an antihero who is more like a sugary flavor than an actor doing a Philip Marlowe…the only suspense is how slowly a knight (non-played ‘superbly’ by Michael Caine) can put dimes in a parking meter, crack eggs in a skillet or flatfoot his way through a library.”

The Rounders (1965): “Fonda’s entry into a scene is of a man walking backward, slating himself away from the public eye. Once in a scene, the heavy jaw freezes, becomes like a concrete abutment, and he affects a clothes-hanger stance, no motion in either arm.”

Who’s Afraid of Virginia Woolf (1966): “The most famous scene is an erotic nondancer, which is neither erotic nor dancelike, in which Elizabeth Taylor suggests a gyrating milk-bottling mechanism.”

The New York Film Festival 1968: “In the category called Bloody Bores, the Festival offered Capricious Summer, Hugo and Josefin and Twenty Four Hours in a Woman’s LifeHugo and Josefin is life as seen through the eyes of a Kodak camera ad.”

On Rita Tushingham: “An even worse example of megalomaniac star who can make the simplest action have as many syllables as her name. The myth that a director makes or breaks a film is regularly disproved by this actress who…carries on a war of nerves against the other actors.”

The Graduate (1968): “Benjy…leads a split life on screen; half the time he’s hung up between Mrs. and Miss Robinson; the other half he’s at half mast; a flattened silhouette…Dustin Hoffman is laid out like an improbably menu. People are always darting into his periphery to point him out as a boy wonder…Benjamin, as it turns out, is Bill Bradley crossed with Denny Dimwit.”

It is unlikely you’ll get hold of this book Movies at a decent price since it is long out-of-print and a collector’s item but you can easily find Farber on Film, a whopping 800-page tome which covers his compete writings.