More Random Film Connections

Back in the 1970’s. TV presenter James Burke made a TV show called Connections. It was a really fascinating series which connected various historical events to make a sort of chain which led up to something which was pretty unexpected. The episode which stands out in my memory is one about the atom bomb, various unconnected events and discoveries that together, led to the splitting of the atom. I’ve written a couple of posts in which I’ve tried to do something similar but all relating to the world of classic film so here are another collection of film connections which I hope you will find interesting.

Leslie Howard and Gone with the Wind

I thought I’d start with Gone with the Wind and see where it takes me. Gone with the Wind was a major film adaptation of the book by Margaret Mitchell. The book was a huge hit and producer David O Selznick bought the film rights. Production was delayed for a long while as Selznick was determined to get Clark Gable for the part of the roguish Rhett Butler. Another delay was a distribution deal with MGM which couldn’t be finalised until Selznick’s then current deal with United Artists had expired. Selznick used the delay to begin a huge search for an actress to play the part of Scarlett O’Hara, the spoilt daughter of a plantation owner in the deep south of America. Scarlet has a crush on Ashley Wilkes played by British actor Leslie Howard in possibly his most famous role. The film was one of the major hits of 1939 and was the highest earning film up to that time.

Julie Andrews and My Fair Lady

In 1938 Leslie Howard played the part of Professor Higgins in the film production of Pygmalion based on the play by George Bernard Shaw. A musical version was a big hit on the stage in the 1960s. Julie Andrews played the part of Eliza Doolittle to great acclaim on the stage but when the time came to make a film version in 1964, the producers wanted a major star and so the part went to Audrey Hepburn.

Julie Andrews only had to wait a short time for film stardom though. She appeared in The Sound of Music in 1965. The film was based on the true story of the Von Trapp family singers which was also a hit stage musical. Julie Andrews played Maria, a nun who becomes a nanny to the Von Trapp children, eventually falling for the father of the children played by Christopher Plummer. The film was the hit of 1965 replacing Gone with the Wind as the highest grossing film up to that time. The director was Robert Wise who tried to reduce the amount of sentimentality and sweetness which he had seen in the stage production.

Robert Wise and Citizen Kane

Robert Wise had a great background in the film world. He was a former film editor whose first film as a director was The Curse of the Cat People in 1944. In 1941 he was a film editor at RKO Studios and was the editor on the classic film Citizen Kane.

Orson Welles often boasted about the fabulous contract he had when he arrived in Hollywood. In a BBC interview he stated the terms were not financially brilliant but gave him unprecedented creative powers. His first film for RKO was Citizen Kane. The film opens with the death of Kane, a millionaire newspaper magnate. His last words were ‘Rosebud’. The makers of a cinema newsreel decide to find out what or who Rosebud was.

To do so they research Kane’s life; his inheritance of a huge fortune, his takeover of a newspaper, his great wealth, his power and influence, his marriage and divorce and ultimately his death.

The cinematographer was Gregg Toland, one of the film industry’s top photographers. Toland asked to work on the film and Welles replied ‘Why? I don’t know anything about making films.’ Toland countered that was exactly why he wanted to work on the film because a film by a newcomer would produce something new and original.

There are some fascinating elements to Citizen Kane, especially in the special effects department. A famous one is where the camera flies through a rooftop sign and then drops down through a skylight into a restaurant. The shot was done with a sign that came apart as the camera approached and then a fade from a model shot into the restaurant set disguised in a flash of lightning. Citizen Kane was and is a classic of the cinema.

Orson Welles and Rita Hayworth

Orson Welles in a way experienced his film career in reverse, he started at the top and steadily worked his way down, ending up as an overweight although always entertaining raconteur doing voice overs for Carlsberg TV advertisements.

Welles married Rita Hayworth in 1943. She was one of the great stars of Hollywood’s golden years. She appeared in one of her husband’s films The Lady from Shanghai in 1947 but the film that was considered her greatest success came the year before in Gilda. According to Wikipedia, the film made her into a cultural icon as a femme fatale.

Welles and Hayworth grew apart and finally separated. Rita said that Welles had no idea about married life or even settling down. When she suggested buying a house together, a natural move for a married couple, Welles said he didn’t want the responsibility.

Rita Hayworth as Gilda

After splitting with Welles, Rita became involved with Prince Aly Khan, son of the Aga Khan who later became a Pakistani diplomat. Aly was a socialite and man about town. He and Rita married in 1949 and had a daughter Princess Yasmin Aga Khan. Rita gave up her film career to be with Aly but Khan’s womanising proved fatal to the marriage. Rita moved to Nevada with her daughter in order to set up a legal residence and begin divorce proceedings. The two were finally divorced in 1953. Khan offered Rita a million dollars for her to bring up their daughter as a Muslim but Rita declined.

After her divorce Rita had no income and was forced to return to film acting. Her comeback picture was Affair in Trinidad in which she starred with Glenn Ford. Rita was contracted to Columbia Pictures and fell out with Columbia boss Harry Cohn on numerous occasions during the filming. She was even placed on suspension for a while, however the picture was very successful. Her last picture for Columbia was in 1957 when she starred in Pal Joey with Frank Sinatra. She married again, this time to singer Dick Haymes who was in severe financial trouble. The marriage lasted only a couple of years and ended when Haymes struck her in the face in a Hollywood nightclub. Rita packed her bags and left him.

In the mid 1970’s, Rita’s behaviour began to become erratic. She drank heavily and was even once removed from a TWA flight because of her drinking. It was eventually found that her symptoms were masking the real issue which was the early onset of Alzheimer’s disease. In 1981 when her condition had deteriorated, she was placed under the supervision of her daughter and the two moved into adjoining apartments together in New York. She died aged 68 in 1987. Her former husband Orson Welles, spoke of her in his very last interview, recorded the day before his own death. He called her ‘one of the dearest and sweetest women that ever lived.’

David Niven and Leslie Howard

Just to backtrack a little, in 1958 Rita appeared in Separate Tables. The screenplay was by Terence Rattigan and concerns a group of residents at a small hotel in the south of England. David Niven plays a disgraced former army officer who has been found guilty of apparently sexually harassing young women at a theatre. A news story in the local paper highlights this and he tries to stop the others from finding out, without success. Niven won an Oscar for his performance.

David Niven is one of my favourite actors and he wrote what I’ve always considered to the best book about the golden age of Hollywood, Bring on the Empty Horses.

In 1942 Niven was in England having left Hollywood to sign up with the army. He was asked to appear in what was a propaganda film at the time; The First of the Few, a story about R J Mitchell, the designer of the famous WWII aircraft, the Spitfire. Niven was under contract to Sam Goldwyn at the time but he allowed Niven to appear, in exchange for the US rights to the film. Niven played Squadron Leader Geoffrey Crisp who tells the story of his friend Mitchell beginning with the Schneider Trophy aircraft race of 1922. Later Mitchell visits Germany and sees how the Nazis are rearming and so resolves to design a powerful fighter for Great Britain. Mitchell died just as the government ordered the Spitfire into production and Niven as Crisp, ends his story just as he and his fellow pilots are scrambled into action.

Leslie Howard played the part of Mitchell as well as producing and directing. He was killed when the KLM flight he was aboard was shot down by the Luftwaffe in 1943.

Howard of course played Ashley Wilkes in Gone with the Wind which brings our connections full circle.


Thanks to Wikipedia creative commons for the use of the pictures in this post.


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Getting to the Heart of a Classic Film

Two of my absolute favourite films are Citizen Kane and On The Waterfront. Kane is a masterpiece of  visual brilliance whilst Waterfront is a masterpiece of acting brilliance. Waterfront has at its centre a heart of fire whilst Kane‘s centre is a little cooler. I thought a quick comparison of the two films might be interesting so here we go:

Citizen Kane

Back at home in my default position, in my favourite chair watching TV, I picked up the tail end of an interview with actor Gary Oldman about his new film Mank. Mank sounds like an interesting film in many ways. Firstly, it only had a limited cinema release before being streamed on Netflix. Whether this was a reaction to the global lockdown or an indication of how cinema will work in the future I’m not sure, but if cinemas are unable to open then producers must find other ways to show their films.

Gary Oldman is an English actor with an interesting array of roles behind him. He won the academy award for his role as Winston Churchill in the film Darkest Hour and played assassin Lee Harvey Oswald in Oliver Stone’s JFK. Mank is about Herman Mankiewicz and his writing of the screenplay for Citizen Kane. Kane is one of my favourite films although I haven’t seen it for a long time.

Mankiewicz was asked by Orson Welles to write the script but without a credit, presumably so that Welles himself could use the resulting script as a basis for his own work. Later Mankiewicz changed his mind and decided he wanted a screen credit as he had come to think that the script was his best work. Welles then gave screen credit to both himself and Mankiewicz although it was Mankiewicz himself who accepted the Oscar at the award ceremony in Hollywood.

Just flipping through my extensive back catalogue of VHS documentaries I found one from the BBC about the making of Citizen Kane which I have recently copied to DVD. The documentary covered various areas including the filming, the actors and of course the script. The origin of the script was a contentious subject, especially after film critic Pauline Kael wrote an article in the New Yorker on the subject. She seemed to favour Mankiewicz as writing the lion’s share of the project. Peter Bogdanovich wrote a rebuttal in the Esquire magazine, defending Welles as the screenwriter.

The truth is that Welles, as he said himself, put together a screenplay based on both his version and the one by Mankiewicz. Elements of the story were based on personal experiences of both men, for instance Mankiewicz was friendly with William Hearst who inspired the character of Kane but Welles maintained that tycoons Samuel Insull and Harold Fowler McCormick also inspired parts of Kane’s story.

The cinematographer was Gregg Toland, one of the film industry’s top photographers. Toland asked to work on the film and Welles replied ‘Why? I don’t know anything about making films.’ Toland countered that was exactly why he wanted to work on the film because a film by a newcomer, Kane was actually Welles’ first film, would produce something new and original.

There are some fascinating elements to Citizen Kane, especially in the special effects department. A famous one is where the camera flies through a rooftop sign and then drops down through a skylight into a restaurant. That was done with a sign that came apart as the camera approached and then a fade from a model shot into the restaurant set disguised in a flash of lightning. I could go on and mention plenty of elements like that but if you haven’t seen Citizen Kane let me just explain what it’s all about. The film opens with the death of Kane, a millionaire newspaper magnate. His last words were ‘Rosebud’. The makers of a cinema newsreel decide to find out what or who Rosebud was.

To do so they research Kane’s life; his inheritance of a huge fortune, his takeover of a newspaper, his great wealth, his power and influence, his marriage and divorce and ultimately his death. The reporters never find the answers to their questions but we, the cinema audience, have the secret revealed to us right at the end of the picture. The end is what makes the film really and Welles admitted that Rosebud, and the idea behind it, was the idea of Herman Mankiewicz.

Citizen Kane is a wonderful piece of cinema with an outstanding visual style and the only criticism I can put forward is that for all its visual fireworks it is a film with a cold centre, a cold heart. Does the viewer feel sympathy for Kane? I’m not sure he does.

On the Waterfront

On the Waterfront stars Marlon Brando as dock worker Terry Malloy, brother of Charlie ‘the gent’ who is the right hand man of union boss John Friendly played by Lee J Cobb. Terry unwittingly leads fellow dockworker Joey Doyle into an ambush, thinking Doyle will be threatened to withdraw his statements to the Crime Commission. However, Doyle is murdered leaving Terry shocked and confused. Later he becomes friendly with Joey’s sister played by Eva Marie Saint in her film debut. Charlie, played by Rod Steiger, tries to get Terry back into line in the famous scene with the two in the back of a taxi but fails. After John Friendly has Terry’s brother murdered, the local priest played by Karl Malden convinces Terry to tell everything he knows to the Waterfront Crime Commission. Terry does so but is ostracised by his fellow dockers until Terry forces Friendly into a brutal fight. The dockers then stand with Terry when bruised and battered, he returns to work.

Director Elia Kazan had originally employed Arthur Miller to write the screenplay for On the Waterfront but the two fell out over various things especially the fact that Kazan had identified eight former communists to the House Unamerican Activities Committee. This was the time of the McCarthy witch hunts and careers and livelihoods were on the line when Senator Joe McCarthy asked the question ‘are you now or ever have been a member of the communist party?’

Kazan then asked Budd Schulberg to write the script. There was still some difficulty in getting the film to the screen and eventually Kazan approached Sam Spiegel to act as producer. He was able to set up a deal with Columbia Studios.

The film was thought to be Kazan’s response to criticism of his stand at the HUAC hearings. Arthur Miller in his play A View from the Bridge has his character become an informer but Miller puts a different spin on things, portraying the informing as a betrayal rather than a way of fighting back at crime as Terry Malloy does On the Waterfront.

Either way, On the Waterfront is one of my very favourite films and Brando’s performance as Terry Malloy won him one of the film’s eight Oscars. Forget about Don Corleone, this was Marlon Brando’s finest hour.

It is the performances that are at the heart of this great film. Brando is outstanding but so too are Karl Malden, Rod Steiger, Lee J Cobb and Eva Marie Saint. Kazan was a director who worked well with actors bringing out the best in their performances and respecting the way they worked. He had worked with Brando before in A Streetcar Named Desire and would go on to work with fellow method actor James Dean in East of Eden.

The cameraman, Boris Kaufman had previously worked on documentaries so perhaps that was why Kazan engaged him to film Waterfront as, in a documentary like style, the camera follows Brando as Terry Malloy and watches him become slowly disappointed in the thuggish world he has become part of.

The scene in a taxi with Rod Steiger is clearly a studio set but we don’t care because Steiger and Brando keep the viewer riveted to the screen ignoring the poor lighting and the bad set because the actors take all our attention.

In another scene Brando chats with Eva Marie Saint who plays Edie, the sister of the dockworker who Brando as Terry Malloy had set up for the kill. The two talk as they walk and Edie drops her glove but Terry picks it up and instead of giving it back puts it on his own hand. The glove becomes a focal point holding the two together as they talk. For me it is one of the great scenes in cinema. This is a film with a beating heart at its centre, a heart of fire and emotion and it is Brando with this wonderful performance who is right at the film’s centre.

Next time you see either of these films in your TV schedule, put your phone on silent, settle down and enjoy some great cinema.


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