Tuesday, August 31, 2021

‘Picnic’ 1955

William Holden & Kim Novak as the drifter & the beauty queen in 1955's "Picnic."


Picnic portrays the lives of quiet—or raucous, in the case of Roz Russell—desperation. Set in a small Kansas town during the 1950s, the story revolves around the effect that a charismatic young drifter has on the repressed townspeople one sizzling Labor Day.

Picnic is the Pulitzer Prize winning play by William Inge, at the height of his acclaim. The domestic drama was a huge Broadway hit that was brought to the screen by its stage director, Joshua Logan. Noteworthy about the stage version were some up-and-coming actors: Ralph Meeker as drifter Hal Carter; Paul Newman in his Broadway debut as rich kid Alan; Janice Rule as beauty queen Madge; and Kim Stanley at age 28, as kid sister Millie! Eileen Heckart portrayed Rosemary, the spinster teacher who spins out of control on Labor Day evening.

William Holden's "boyishness" act as Hal is as awkward as Kim Novak's acting. 

I’m sure Columbia Studios paid William Inge a pretty penny to bring his play to the big screen. Columbia head honcho Harry Cohn was giving Kim Novak a huge build up and decided this property would be perfect to launch her as a leading lady. Therefore, a “name” leading man was needed. Instead of going off the studio lot for a suitable male star to play the sexy young college dropout/drifter—say Brando?—Cohn chose studio homeboy William Holden to play Hal. And Harry didn’t have to pay a pretty penny for Bill, because it was the last film on Holden’s old studio contract. It’s a shame Marlon Brando did Guys and Dolls instead of Picnic. Brando was six years younger than Holden, far more boyishly charismatic.

William Holden was a fine actor, but too careworn & not carefree as Hal in "Picnic.

While Holden was an especially subtle male actor for the era, he was a decade too old for the part. What made this especially noticeable was that while Bill’s bod was still in fine form, Holden’s face was already showing signs of alcoholic dissipation at just 37. When Holden acts like an over-aged teenager, it’s especially awkward as he tries to impress Madge, played by 22-year-old Novak.

William Holden's form was fine, but his close-ups showed hard living in "Picnic."

Still, Bill had charisma, authority, and “rugged” sex appeal, so Holden as the young stud wasn’t a total dud. Hal Carter reminds me of Tennessee William’s later character, Chance Wayne, in Sweet Bird of Youth. They’re golden boys who come to a small town and stir things up, and both want to make off with the lovely ingénue. Both are Peter Pans, star athletes with aspirations of movie stardom, but neither have never amounted to anything. Ironically, Paul Newman was the same age as Holden in Picnic when he played Chance in ’62. While Newman liked his beers, it didn’t show, like the effects of whatever Holden hoisted.

Rosalind Russell lets rip on William Holden's shirt, as passions get heated in "Picnic."

An amused eye roll comes when Columbia cut the line from Picnic’s climactic dance scene: “I feel just like Rita Hayworth!” I guess they were more concerned with shining a spotlight on Columbia’s new love goddess, Kim Novak!

Cliff Robertson as the rich beau that Kim Novak's Madge "should" want, in "Picnic."

Kim as Madge is a contradiction, as often is the case with Novak’s acting. Kim’s shyness and uncertainty works for the character, and she was often cast thusly. I’m sure playing a girl who is valued mainly for her looks hit home for insecure Kim, who was treated like an object by Harry Cohn. Yet, Novak’s studio-trained mannerisms and dazed demeanor reminds me of another actress who often felt uncomfortable in front of the camera, Jennifer Jones, thrust into the spotlight by her Svengali, David O. Selznick. Kim’s Madge is an uneven performance, yet her vulnerability goes a long way, and she and Holden have a strong chemistry. Kudos to whoever decided that Novak temporarily drop her “lavender blonde” look. With her simple makeup and a long reddish brown wig, Kim looks pretty yet realistic as the local beauty queen.

Columbia Studios' blonde bombshell Kim Novak was toned down
for the small town drama "Picnic."

Rosalind Russell as Rosemary, the middle-aged teacher who boards at the Owens’ home, is another mixed blessing from the leads. Eileen Heckart was said to be a wow in the role on Broadway, though she was known to play big, too. While Roz bravely goes glamour-free and plays her age, unlike most of her contemporaries, Russell plays to the rafters far too often. It’s a tricky role, because Rosemary is an over the top character, which can be problematic when played by an actress who is often the same. As often the case with a “big” performance, Roz fares best in the smaller moments, when her Rosemary shares the fear of growing old alone. Russell is obviously a skilled actress and a smart one, but like the other lead actors in this film, she would have benefited from a more experienced film director, and not a theater director whose film work showed a heavy hand.

Rosalind Russell emotes as Rosemary, the desperate school teacher in "Picnic."

Arthur O’Connell is appealing and effortlessly believable as Howard, the store owner across the river, who sees Rosemary, but from a safe distance. Betty Field doesn’t play brassy for a change, as Madge and Millie’s mother. Field’s Flo has been deserted by her husband to raise the two girls the best she can. Betty is totally natural as a woman whose dreams are now for her daughters. Only in a ‘50s movie would Susan Strasberg be cast as the “plain” sister. Susan’s naturalistic as the brainy kid sister (with eyeglasses!). Strasberg’s as emotional as Novak is remote as the pretty sister, Millie’s outburst—“Madge is the pretty one!”—was the “Marcia, Marcia, Marcia” of the ‘50s!

Lovely Susan Strasberg is Millie, Kim Novak's "bookworm" kid sister in "Picnic."

Cliff Robertson does what he can with the role Alan, the rich, weak kid.

In the smaller supporting roles, Nick Adams is cockily amusing as Bomber, the brash neighborhood teen; Verna Felton is most endearing as the neighbor lady who’s the first to befriend Hal; and Reta Shaw is salty as a fellow teacher. The entire supporting cast is strong, but it’s the three leads that are a mixed bag.

The superb supporting cast of "Picnic" bring reality to this slice of life drama.

Others have noted that Inge, just as popular as Tennessee Williams in the ‘50s, with a string of hits, isn’t as well remembered. Well, Williams went through a period where he was considered passé, too. I’ve read that it’s perhaps that Inge’s dialogue wasn’t as poetic and quotable. Still, William Inge did write plays about real people and their problems, often small town people. Come Back, Little Sheba, Bus Stop, Picnic, The Dark at the Top of the Stairs were huge hits. On film, he wrote screenplays for Splendor in the Grass and All Fall Down. Not too shabby!

Playwright William Inge & Director Joshua Logan surely loved this opening title!

Director Joshua Logan had an incredible string of musical, comedy, and dramatic successes on Broadway. That’s probably why Logan was asked to recreate some of those stage hits on film, as well as other blockbuster productions. That said, most films I’ve seen directed by Joshua Logan all seem a bit off-kilter: Picnic, Sayonara, South Pacific, Camelot, and Paint Your Wagon. The man had mad stage credentials, but I don’t think Logan was in film making on a regular basis to learn its intricacies. In Picnic, that’s apparent with the uneven lead performances and the very intrusive music score.

Madge gets out of Dodge at the finale of 1955's "Picnic."

Picnic is one of those movies which are frequently labeled dated. Indeed a product of its time, the drama is a snapshot of the repressed ‘50s. However, how much has really changed in small towns since then? We are obviously less repressed and are able to communicate through the internet and social media. Still, how many people feel stuck and stifled in small towns, with dreams that don’t come true? As someone who lives in rural Upper MI, I see it all the time. In that sense, Picnic is timeless.

My look at Kim Novak, teamed with Sinatra, in The Man with the Golden Arm: https://ricksrealreel.blogspot.com/2018/07/the-man-with-golden-arm-1955.html

And here’s my take on Rosalind Russell, in her signature role as Auntie Mame: https://ricksrealreel.blogspot.com/2020/12/rozs-signature-role-auntie-mame-1958.html

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

The poster of "Picnic" promises more than it delivers--typical of the era!

Tuesday, August 17, 2021

Redford & Newman’s Star Power: “The Sting” 1973


Paul Newman & Robert Redford re-team for their greatest hit, 1973's "The Sting."

I hadn't seen The Sting again since it was released, back in Christmas of ‘73. I was a young teen when the smash con man caper finally came to my Upper Michigan town’s theater later that winter. Ironically, the only thing that I remembered now about The Sting is the super sting finale.

During the first half of the '70s, the nostalgia boom was in full bloom in movies, TV, theatre, and music. I think about half of the movies from Robert Redford during the mid '60s and early '70s were period pieces! The Sting was the biggest hit for stars Paul Newman and Robert Redford, even bigger than Butch Cassidy and the Sundance Kid. Part of it was that audiences had loved their teamwork from four years before. Also, people were tired of inflation, Vietnam, and Watergate. Most of all, while The Sting is total cinematic fluff, it was also an extraordinarily well-crafted confection.

Robert Redford & Paul Newman seek elaborate $$$ revenge in 1973's "The Sting."

Deftly done on all counts, The Sting has a clever story, fine acting, stylish production and costumes, and a great score of Scott Joplin music, adapted by Marvin Hamlisch. Watching it again in the summer of '21, The Sting still has snap.

Recall this great art work? The music of Scott Joplin was rediscovered in "The Sting."

The Sting was a coup of an Oscar win for George Roy Hill as director, against a diverse group of nominees: Ingmar Bergman, Cries and Whispers; Bernardo Bertolucci, Last Tango in Paris; William Friedkin, The Exorcist; and George Lucas, American Graffiti. This was Edith Head's 8th and last Oscar win, who accepted by saying that The Sting was her dream assignment, dressing the two most handsome men in the world.

Snapshot of designer Edith Head with Robert Redford, from "The Sting."

Robert Redford has only been nominated once for Best Actor Oscar, for The Sting, which is a bit surprising in itself. And while Johnny Hooker is one of his warmest leading man performances, Redford really should have been nominated for his more in-depth performance in The Way We Were that same year. James Caan, who was shut out for one of his best performances—Cinderella Liberty—snarked at the time that Robert Redford got nominated for being cute!

Robert Redford's big year was 1973, with "The Sting" & "The Way We Were."

Paul Newman, as veteran conman Henry Gondorff, eases into his star character actor era here, and loses some of his studied cool and mannerisms from the '60s. Almost 50, Newman is also quite the silver fox here. As Henry, Newman finally seems naturalistic as an actor, and not so posturing as his previous anti-hero era. Newman’s laid-back humor also felt more organic than in past heavy-handed attempts, as in Harper. Need I really point out that Newman and Redford have a great screen rapport?

Paul Newman, moving into his star character actor era with ease, in "The Sting."

The story was based on two real-life brothers that David S. Ward was inspired by, from David Maurer’s 1940 book The Big Con. Ward claimed he used a number of sources in his research, was upset by the charges of plagiarism, and didn’t want Universal to pay out. The studio was already citing the book in its movie promotion and it didn’t help that Ward named Newman’s character after the last name of the con brothers Maurer wrote about. Universal quickly settled. TV writer/producer Roy Huggins later noted that The Sting also borrowed plot elements from a classic episode of his Maverick series: “Shady Deal at Sunny Acres.” This isn’t to take away from Ward’s tight, zingy script, but why is it so hard for Hollywood talent to give others credit where it’s due?

Robert Redford, as the con man whose biggest con is nearly complete, in "The Sting."

The Sting made a fortune and was a real feel-good picture—but an Oscar winner for Best Picture? Well, far lesser films have won and who says that Oscar winners have to be dramatic, groundbreaking, etc. Sometimes Oscar-winning films and performances can just be entertaining!

The Sting boasts a terrific supporting cast all the way down the line. With two beautiful leading men to compensate, Hill’s cast looks like an idiosyncratic cast from an old Warner Brothers movie. Robert Earl Jones (James’ father!) resonates warmly as Redford’s first partner in crime, who gets rubbed out by heavy Doyle Lonnegan, which sets in motion the elaborate plot of Hooker and Gondorff’s revenge. And as Lonnegan, with his icy blue eyes and barely controlled fury, Robert Shaw makes a masterful villain. Charles Durning, Dana Elcar, Harold Gould, and Eileen Brennan lead a marvelous supporting cast, perfectly evoking a previous movie era. A special shout out to Ray Walston, who is colorful but restrained, perfect in small doses as J.J. Singleton.

Robert Shaw makes a very good villain that gets played, in "The Sting."

George Roy Hill, who often directed period films, was meticulous in creating the movie’s style. Hill wanted it to look like a ‘30s movie. And this was one of the first films to actually do so, when ‘60s period TV shows and movies regularly mixed past and current day styles, often looking absurd. To that end, Edith Head’s costumes lent themselves to the sets and movie’s hues. Art director Henry Bumstead mussed up Universal’s back lot and made it look realistic. Robert Surtee’s cinematography is lovely, with a rosy glow to suggest a past era. Jaroslav Gebr’s beautiful title cards that preceded each vignette suggested classic magazine covers by Norman Rockwell.

At nearly 50, Paul Newman is the silver fox in 1973's "The Sting."

And though Scott Joplin’s music was no longer in vogue by the mid-30s, director Hill felt the jaunty ragtime music fit the feel of the movie’s story. Marvin Hamlisch got Oscars galore that year, for both The Sting and The Way We Were, films which were also good to Redford.

The Sting is the ultimate movie-movie. If you’re looking for fine, fun entertainment to take your mind off the woes of the current-day world, escape to the charming conmen and the creative artistry of The Sting. 

Robert Redford hit his stride as leading man in 1973's "The Sting."

For Redford’s other big hit of 1973, here’s my look at The Way We Were:


FYI: I put all the movie overflow on my public FB  movie page. Check it out & join!  https://www.facebook.com/groups/178488909366865/

The stars of "The Sting," captured in the 1973 film's beautiful title cards.