The Professing of Emotions and Courtship in the Films of Stanley Donen
unspokenwords.info
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For me directing is like having sex: when it’s good, it’s very good; but when it’s bad, it’s still good. — Stanley Donen
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THE FILM FESTIVAL Welcome Los Angeles, CA Grauman’s Chinese Theatre Festival Schedule Lodging & Eating Beyond the Films
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THE FILMS On the Town Royal Wedding Singin’ in the Rain It’s Always Fair Weather Seven Brides for Seven Brothers Funny Face
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STANLEY DONEN Biography Filmography Interview
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THE FILM FESTIVAL Unspoken Words 7
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WELCOME THE “UNSPOKEN WORDS” FILM FESTIVAL IS PROUD TO BE CELEBRATING THE LIFE AND THE FILMS OF ONE OF THE MOST LEGENDARY MOVIE DIRECTORS OF ALL TIME; STANLEY DONEN. Appointed the master of the movie musical, Stanley Donen worked with America’s greatest dancers, including Fred Astaire and Gene Kelly, and created some of the most memorable moments on film. In an extraordinary career spanning over forty years, Donen has remained a key figure in the transformation of the postwar American cinema, producing iconic films, such as On the Town, Seven Brides for Seven Brothers, or Charade, that inimitably captured the contemporary zeitgeist and injected a new energy, poise and wit into popular film genres. During the heyday of the classical Hollywood studio system, Donen helped reinvent the musical, bringing the genre to new artistic heights in the 1940s and 1950s with such pivotal films as Singin’ in the Rain and Funny Face. In celebration of the 60th year anniversary of Singin’ in the Rain, the festival will pay homage to some of Stanley Donen’s most important and defining movies.
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LOS ANGELES, CA LOS ANGELES, WHICH IS WRITTEN LOS ÁNGELES, SPANISH FOR THE ANGELS, OFTEN KNOWN BY ITS INITIALS L.A., IS THE MOST POPULOUS CITY IN THE STATE OF CALIFORNIA AND THE SECOND IN THE UNITED STATES, AFTER NEW YORK CITY.
Los Angeles has an area of 469 square miles and is located in Southern California. The city is the focal point of the greater Los Angeles area region, which contains nearly 18 million people as of 2010, making it one of the most populous metropolitan areas in the world and the second largest in the United States. Los Angeles is also the seat of Los Angeles County, the most populated and one of the most ethnically diverse counties in the United States, while the entire Los Angeles area itself has been recognized as the most diverse of the nation’s largest cities. The city’s inhabitants are referred to as Angelenos. Los Angeles was founded on September 4, 1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence. In 1848, at the end of the Mexican–American War, Los Angeles along with the rest of California, were purchased as part of the Treaty of Guadalupe Hidalgo, thereby becoming part of the United States. Los Angeles was incorporated as a municipality on April 4, 1850, five months before California achieved its sought after statehood.
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Nicknamed the City of Angels, Los Angeles is a leading world center of business, international trade, entertainment, culture, media, fashion, science, sports, technology, education, art, medicine and research and has been ranked sixth in the Global Cities Index and 13th in the Global Power City Index. The city is home to renowned institutions covering a broad range of professional and cultural fields and is one of the most substantial economic engines within the United States. The Los Angeles combined statistical area (CSA) has a gross metropolitan product (GMP) of $831 billion (as of 2008), making it the third largest in the world, after the greater Tokyo and New York metropolitan areas. Los Angeles includes Hollywood and leads the world in the creation of television productions, video games, and recorded music. It is also one of the major leaders in motion picture production. Additionally, Los Angeles hosted the Summer Olympic Games in 1932 and 1984.
Los Angeles has more than 80 stage theaters and 300 museums, more than any other U.S. city.
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FESTIVAL SCHEDULE Thursday, April 12 5 pm 7 pm 8 pm 10 pm
Welcome to Unspoken Words Film Festival Dinner Film Screening: On the Town End of the day cocktails
Friday, April 13 8 am 9 am 11 pm 12 pm 4 pm 7 pm 8 pm 10 pm
Breakfast Sightseeing Lunch Film Screening: Royal Wedding Film Screening: Singin’ in the Rain Dinner Film Screening: Seven Brides for Seven Brothers End of the day cocktails
Saturday, April 14 8 am 9 am 11 pm 12 pm 3 pm 5 pm
Breakfast Sightseeing Lunch Film Screening: It’s Always Fair Weather Film Screening: Funny Face Farewell Unspoken Words 13
GRAUMAN’S CHINESE THEATRE IT WAS ONCE STATED THAT “ TO VISIT LOS ANGELES AND NOT SEE THE CHINESE THEATRE IS LIKE VISITING CHINA AND NOT SEEING THE GREAT WALL.” GRAUMAN’S OPULENT, AWE–INSPIRING PRESENCE AND HISTORY HAS BEEN A CORNERSTONE OF HOLLYWOOD FOR OVER 75 YEARS.
The grand opening of Grauman’s Chinese Theatre on May 18, 1927 in Hollywood, was the most spectacular theatre opening in motion picture history. Thousands of people lined Hollywood Boulevard and a riot broke out as fans tried to catch a glimpse of the movie stars and other celebrities as they arrived for the opening. The film being premiered that night was Cecil B. DeMille’s The King of Kings, which was preceded by Glories of the Scriptures, a live prologue devised by master showman Sid Grauman. A Wurlitzer organ and a 65 piece orchestra provided music for the prologue. The theatre opened to the public the following day, May 19, 1927. Previously, Sid Grauman built the Million Dollar Theatre in downtown Los Angeles and the lavish Egyptian Theatre a few blocks from the Chinese, but he wanted to build his dream theatre. Real estate mogul C.E. Toberman helped him secure a long term lease on a piece of property on the boulevard and Grauman developed the plans for the theatre with architect Raymond Kennedy. Norma Talmadge turned the first spade full of dirt in January 1926 and beautiful Chinese actress Anna May Wong drove the first rivet in the steel
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girders. Built at a cost of $2,000,000, eighteen months later the Chinese Theatre opened. Authorization had to be obtained from the U.S. government to import temple bells, pagodas, stone Heaven Dogs and other artifacts from China. Poet and film director Moon Quon came from China, and under his supervision Chinese artisans created many pieces of statuary in the front work area that eventually became the Forecourt of the Stars. Most of these pieces still decorate the ornate interior of the theatre today. Protected by its 40 foot high curved walls and copper topped turrets, the theatre’s legendary forecourt serves as an oasis to the stars. Ten foot tall lotus shaped fountains and intricate artistry flank the footprints of some of Hollywood’s most elite and welcome its visitors into the magical world of fantasy. The theatre rises 90 feet high and two gigantic coral red columns topped by wrought iron masks hold aloft the bronze roof. Between the columns is a 30 foot high dragon carved from stone. Guarding the theatre entrance to this day are the two original giant Heaven Dogs brought from China.
Grauman never owned the theatre outright, but held a one third interest with his partners, Howard Schenck, Douglas Fairbanks and Mary Pickford. Sr. Grauman sold his share to Fox West Coast Theatres in 1929 and was the Managing Director of the theatre until his death in 1950. The Chinese Theatre is the most sought after theatre in Hollywood for studio premieres. Fans flock to these events to see the celebrities arrive and walk up the red carpet into the theatre. Rich in movie tradition, with its cement handprints and footprints in the forecourt, the Grauman’s Chinese Theatre immortalizes the brightest stars. More than four million visitors from all over the world visit the iconic Chinese Theatre every year. Grauman’ Chinese Theatre was declared a historic–cultural landmark in 1968, and there has always been a restoration program in process to maintain the theatre’s beauty. With these every so often face lifts, the Chinese Theatre will continue to be the preferred location for the industry’s most prestigious premieres for years to come.
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The exterior of the theater is meant to resemble a giant, red Chinese pagoda. The architecture features a huge Chinese dragon across the front, two Authentic Chinese Ming Heavens dogs guard the main entrance, and the silhouettes of tiny dragons up and down the sides of the copper roof.
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LODGING & EATING Chateau Marmont Boutique/Design
Spago Beverly Hills Fine Dining
8221 Sunset Blvd Hollywood , CA 90046 www.chateaumarmont.com
176 North Canon Drive, Beverly Hills CA 90210 www.wolfgangpuck.com/restaurants/fine-dining/3635
The Beverly Hills Hotel Classic Luxury
Pig ‘N Whistle Old Style
9641 Sunset Boulevard Beverly Hills , CA 90210 www.beverlyhillshotel.com
6714 Hollywood Blvd Los Angeles, CA 90028 www.pignwhistlehollywood.com
W Hollywood Classic Luxury
Philippe The Original Lunch Spot
6250 Hollywood Boulevard Hollywood , CA 90028 www.whollywoodhotel.com
1001 N. Alameda St. Los Angeles, CA 90012 www.philippes.com
Hollywood Roosevelt Hotel Luxury
Pink’s Famous Hot Dogs Casual
7000 Hollywood Blvd Los Angeles, CA90028 www.thompsonhotels.com/hotels/la/hollywood-roosevelt
709 N. LaBrea Ave. Los Angeles, CA 90039 www.pinkshollywood.com
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BEYOND THE FILMS Getty Center Art Museum
The Viper Room Music Club
1200 Getty Center Dr. Los Angeles, CA 90049 www.getty.edu
8852 W. Sunset Blvd. West Hollywood, CA 90069 www.viperroom.com
Hollywood Bowl Music Venue
Hollywood Walk of Fame Tourist Attraction
2301 N. Highland Ave. Los Angeles, CA 90068 www.hollywoodbowl.com
7018 Hollywood Blvd. Los Angeles, CA 90028 www.walkoffame.com
Universal Studios Hollywood Theme Park
The Rodeo Drive Walk of Style Luxury Shopping
100 Universal City Plaza Universal City, CA 91608 www.universalstudioshollywood.com
N. Rodeo Drive & Dayton Way Beverly Hills, CA 90212 www.rodeodrive-bh.com
The Studios at Paramount Film Studio Tour
Hollywood Sign Iconic Landmark
5555 Melrose Ave. Los Angeles, CA 90038 www.paramountstudios.com
3204 Canyon Lake Dr. Los Angeles, CA 90068 www.hollywoodsign.org
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ON THE TOWN Film Cast
Gene Kelly Gabey
Frank Sinatra Chip
Betty Garrett Brunhilde Esterhazy
Ann Miller Claire Huddesen
Jules Munshin Ozzie
Vera-Ellen Ivy Smith
Florence Bates Mme. Dilyovska
Alice Pearce Lucy Schmeeler
George Meader Professor
Murray Alper Cab owner
Tom Dugan Cop
Robert B. Williams Cop
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1949 Film Synopsis
Chip, Gabey and Ozzie, three sailors on a twenty four hour shore leave, look for adventure and romance in New York City and seek out the city’s best known attractions. Following a whirlwind tour of Manhattan that includes stops at the Empire State Building, Central Park and Rockefeller Center, Ozzie and Gabey decide to forgo sightseeing and instead pursue the beautiful women of New York. While riding on a subway, the three sailors see a poster of Ivy Smith, “Miss Turnstiles” for the month of June, and fall instantly in love with her. As they gaze dreamily at the poster, they imagine Ivy coming to life and revealing her life story in a dance. Although they all are taken with her beauty, Gabey is smitten with Ivy and vows to find her. Gabey, Chip and Ozzie pile up into a taxicab driven by the flirtatious Brunhilde Esterhazy, who tries to seduce Chip. With the facts on the poster about Ivy’s life as their only clues to her whereabouts, Gabey and his pals search for her in places she is likely to be found. Accompanied by Brunhilde, who is determined to snare Chip, the sailors look for Ivy at the Museum of Natural History, where Ozzie meets Claire Huddeson, a beautiful and opinionated anthropologist who quickly succumbs to his witty charms. The search for Ivy continues at various museums around the city. Finally the group decides to split up and search for her separately, agreeing to meet at 8:30 that evening at the
Empire State Building. Alone at last with Chip, Brunhilde takes him to her apartment. Meanwhile, Gabey finds Ivy in a dance studio, and she consents to go on a date with him that evening. As she owes her dance instructor, the unpleasant, dipsomaniacal Madame Dilyovska, a great deal of money, Ivy promises to return from her date at 11:30, in time to make her performance as a cooch dancer at Coney Island.
made her keep her job a secret from him. Gabey and Ivy soon resume their romance, but they only have a few hours remaining before the end of Gabey’s shore leave. Ivy, Claire and Brunhilde bid their sailors farewell at the shipyard.
At 8:30, Chip, Brunhilde, Ozzie, Claire and Gabey meet at the top of the Empire State Building. When Ivy arrives, the three couples begin their wild night on the town. The merriment soon comes to an end, however, when, at 11:30, Ivy vanishes without explanation, leaving behind only a brief farewell note. Although his pals try to cheer him up, Gabey gets drunk and sadly recalls his time with Ivy. Later, acting on a tip from Madame Dilyovska, Gabey and his pals find Ivy at Coney Island, where she admits that shame
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When Gene Kelly dismisses the beauty of a passing New York girl, Jules Munshin asks, “Who you got waiting for you in New York, Ava Gardner?� Frank Sinatra was having an affair with Ava Gardner at the time.
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ROYAL WEDDING Film Cast
Fred Astaire Tom Bowen
Jane Powell Ellen Bowen
Peter Lawford Lord John Brindale
Sarah Churchill Anne Ashmond
Keenan Wynn Irving/Edgar Klinger
Albert Sharpe James Ashmond
Viola Roache Sarah Ashmond
Henri Letondal Purser
James Finlayson Cabby
Alex Frazer Chester
Jack Reilly Pete Cumberly
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Film Synopsis
1951 As soon as brother and sister dance team Tom and Ellen Brown’s long running Broadway show closes, they learn from their agent, Irving Klinger, that the show has been booked by his London-based brother Edgar to play at the Mayfair theater during the festivities surrounding the wedding of Princess Elizabeth. A few days later, Ellen and Tom set sail for England. As she boards, Ellen catches the eye of Lord John Brindale. During the voyage, Johnny and Ellen begin a romance. Once in London, on the way to auditions for the show, Tom encounters Anne Ashmond on the street. She is surprised when she discovers that he is the show’s star. Tom immediately hires her for a part in the show, then asks her out that night. During the evening, Anne takes Tom to a pub run by her American–hating father James, who is easily won over by the friendly Tom. Anne admits to Tom that she is engaged to American Hal Rayton, who lives in Chicago, but they enjoy each other’s company and agree to go out again, without the pressure of a romance. The day before the opening, John goes to see Ellen and Tom at their hotel and promises to be in the theater the next night. That evening, though, Ellen is heartbroken when she receives flowers and a card from John saying that he cannot be at the opening because he has to attend a party for the royal couple. Tom is also blue because Anne will not be at the
opening night party, but will be home waiting for a call from Hal, who has not written in months. The next night, the show is a hit, and Ellen is overjoyed when John leaves a royal party to be with her. Now alone, Tom wanders over to the pub and learns from James that Hal did not call. Walking home, Tom passes by the theater and takes a photograph of Anne from a lobby display. In his hotel room, Tom gazes lovingly at the photograph and imagines himself dancing on the ceiling. Meanwhile, Ellen and Johnny decide that they are in love and John asks her to marry him. The next morning, Tom asks Edgar to call Irving in New York and see if he can find any information on Hal. Before the performance that night, Edgar tells Tom that Irving learned Hal has been married for several months. After the show, Tom confesses to Anne what he has learned and is surprised to find that she is happy about the news. They admit that they love each other. At the hotel later that night, Ellen and Tom
nervously reveal the news of their respective romances, but talk each other out of marriage and agree to keep the act together, just as it has always been. On the morning of the royal wedding, everyone in London is celebrating, except Tom and Ellen, who downheartedly view the parade together. Inspired by the jubilation of the crowd, Tom and Ellen realize that they cannot be happy unless they get married and determine to do so immediately. Edgar agrees to arrange everything while Tom finds Anne and Ellen finds Johnny. That afternoon, the two couples are married and walk arm–in–arm through the throng of celebrating Londoners.
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The “You’re All the World to Me” dance was accomplished by putting a whole room, attached camera and harnessed cameraman inside a 20 ft. diameter rotating “squirrel cage.”
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SINGIN’ IN THE RAIN Film Cast
Gene Kelly Don Lockwood
Donald O’Connor Cosmo Brown
Debbie Reynolds Kathy Selden
Jean Hagen Lina Lamont
Millard Mitchell R. F. Simpson
Cyd Charisse Dancer
Douglas Fowley Roscoe Dexter
Rita Moreno Zelda Zanders
Madge Blake Dora Bailey
King Donovan Rod
Robert Watson Diction coach
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Film Synopsis
1952 In 1927, fans gather at Hollywood’s Chinese Theatre for the premiere of Monumental Picture’s latest romantic epic, starring the popular silent screen couple Don Lockwood and Lina Lamont. The audience applauds enthusiastically at the end of the film and asks for speeches from its stars, whom they think are a couple off screen as well as on, but Don, who loathes his screechy voiced co–star, insists that Lina merely smile. Assisted by studio boss R. F. Simpson, Don slips away from the cloying Lina and drives with his best friend, studio pianist Cosmo Brown, to the premiere party. On the way, Cosmo’s car breaks down, and Don is surrounded by fans. To escape the screaming mob, Don jumps onto a passing car driven by Kathy Selden. She is frightened at first, but when a policeman tells Kathy who Don is, she offers him a ride to his house in Beverly Hills. Although Kathy says that she is a stage actress, who has seen only one of Don’s films, she is actually a chorus girl at the Cocoanut Grove nightclub. After dropping Don off to change his clothes, Kathy drives to the party at R. F.’s house, where she will be performing. Don arrives at the party in time to see a short talking picture. When the entertainment starts, Don is surprised, but happy to see a scantily clad Kathy jump out of a cake, and tries to talk with her, but she thinks that he only wants to ridicule her and she quickly runs away. For the next weeks Don looks for Kathy, without luck.
Some weeks later, The Jazz Singer is a box office smash and audiences are clamoring for more talking pictures. As Don and Lina start their next film, R. F. announces that they are shutting down production and will resume in a few weeks as a talking picture. Some time later, when a musical number is being filmed for another picture, Cosmo sees Kathy in the chorus. When Don shows up just as R. F. is about to offer Kathy another part, she confesses what happened at the party. Later, when Kathy and Don are talking, he tells her that his “romance” with Lina is completely fabricated by fan magazines and Kathy confesses that she has seen all of his pictures. Don has difficulty revealing his feelings to Kathy until he takes her to a romantic setting on a sound stage.
to speak into the microphone, but the picture is completed. When it is previewed on a rainy night in Hollywood, the audience laughs at Lina’s voice, howls at synchronization problems, and leaves the theater saying it was the worst film ever made. Later that night, Cosmo and Kathy try to console Don, who thinks his career is over until Cosmo comes up with the idea to turn the film into a musical comedy and have Kathy dub Lina’s voice. Don worries that this plan is not good for Kathy, but she convinces him by saying it will be for just one picture. The next day, R. F. loves the idea and they all conspire to keep Lina from finding out. After the picture is finished, Don tells Kathy that he wants to tell the world how much he loves her.
Soon preparations for film begin with diction lessons for Lina and Don. Although Don is fine, Lina’s voice shows little improvement. When filming resumes, director Roscoe Dexter becomes increasingly frustrated by Lina’s voice and inability
At the picture’s premiere, the audience loves “Lina’s” voice. Feeling triumphant, Lina boasts that Kathy will keep singing for her, and Don is furious. When the audience clamors for a song, Don hatches the idea of having Kathy stand behind
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Filming of the Cyd Charisse dance number had to be stopped for several hours after it was discovered that her pubic hair was visible through her costume. When the problem was finally fixed, the film’s costume designer Walter Plunkett said, “It’s OK, guys, we’ve finally got Cyd’s crotch licked.”
a curtain and sing into a microphone as Lina pantomimes the words. While Lina silently mouths “Singin’ in the Rain,” Don, R. F. and Cosmo pull the curtain and the audience laughs hysterically when they realize that Kathy is actually singing. Lina does not know what is happening until Cosmo takes the microphone from Kathy and starts singing himself. Lina runs off screaming, and an embarrassed Kathy starts to leave the theater, until Don tells the audience that she is the real star of the film and has her join him in a song. Finally, a billboard proclaims that Don and Kathy are co–stars of the new film Singin’ in the Rain.
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The “Singing in the Rain” number took all day to set up, and Gene Kelly was very ill (some say with a fever over 101). When it was all set up, Kelly insisted on doing a take, and Donen was ready to send him home. He ad–libbed most of it and it only took one take, which is what it is seen on film.
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SEVEN BRIDES FOR SEVEN BROTHERS Film Cast
Howard Keel Adam
Jane Powell Milly
Jeff Richards Benjamin
Russ Tamblyn Gideon
Tommy Rall Frank
Marc Platt Daniel
Matt Mattox Caleb
Jacques d’Amboise Ephraim
Julie Newmeyer Dorcas Gaylen
Nancy Kilgas Alice Elcott
Betty Carr Sarah
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Film Synopsis
1954
In the Oregon territory in 1850, farmer Adam Pontipee comes into town to trade and announces to the shopkeepers that he is in the market for a wife to keep house for him and his six younger brothers. He quickly becomes enamored of Milly, a pretty, hardworking young woman who cooks for the local boardinghouse. Explaining that the responsibilities of running a farm do not allow for a lengthy courtship, Adam proposes to Milly, and they are married right away. When they reach the farm, Milly is stunned at the sight of all the rough–and–tumble Pontipee brothers, but she promptly sets about putting their backwoods home in order. That night, however, the brothers’ appalling table manners infuriate Milly, and she reproachfully tells Adam that he all he ever wanted was a servant, not a wife. The following morning, Milly begins the task of civilizing the brothers, forcing them to submit to underwear laundering and a shave before giving them breakfast. She also instructs them in the etiquette of courting women, and after a month, they all attend a barn raising dance. Despite the brothers’ efforts to be on their best behavior, they are drawn into a brawl by the men from town. Winter comes, and the brothers find themselves lonesome and pining for female companionship. When one of the brothers announces his intention to leave the farm, Milly tells Adam that the brothers are grieving for the women they met
at the dance. Determined to keep his family together, Adam hatches a plan and tells them they should follow the example of the ancient Romans with the Sabine women by carrying off their future brides. The Pontipee men go into town and abduct the women of their dreams, then ride off with the townspeople in pursuit. After getting through a mountain pass, the brothers fire their guns, causing an avalanche that prevents the townspeople from following them. Milly is shocked when the brothers show up with their captives, and sends all the men to live in the barn. Stung by Milly’s harsh words, Adam goes to spend the rest of the winter in his trapping cabin in the mountains. The snowbound women soon begin to moon over the brothers, and when Milly announces she is going to have a baby.
Adam returns when the pass reopens. After making up with Milly, Adam announces that the women will be returned to their families at once. The brothers oppose this plan, and while the men are sorting it out, the women run away. The brothers set about recapturing the women, who struggle fiercely as they now wish to stay. The women’s kinfolk from town arrive in time to witness the fracas, and the brothers are quickly overpowered. Just as the townspeople are about to hang the brothers, the baby’s cries are heard from inside the house. The women simultaneously claim to be the mother. A shotgun wedding is performed at once, and all the happy couples kiss.
Spring finally arrives, and the brothers and their girlfriends happily pursue romance. Milly gives birth to a daughter, and
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The film was originally going to be titled The Sobbin’ Women, but MGM executives thought that audiences would not be interested in seeing a film with this title. It was first retitled A Bride for Seven Brothers, but the censors thought it sounded too risquÊ, so it was altered to a safer Seven Brides for Seven Brothers.
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IT’S ALWAYS FAIR WEATHER Film Cast
Gene Kelly Ted Riley
Dan Dailey Doug Hallerton
Cyd Charisse Jackie Leighton
Dolores Gray Madeline Bradville
Michael Kidd Angie Valentine
David Burns Tim
Jay C. Flippen Charles Z. Culloran
Steve Mitchell Kid Mariacchi
Hal March Rocky Heldon
Paul Maxey Mr. Fielding
Peter Leeds Mr. Trasker
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Film Synopsis
1955 After the end of World War II, soldiers Ted, Doug and Angie return to their favorite neighborhood bar in New York. They grow sentimental when they realize that as civilians, they will have to part ways. Vowing that they will always remain friends, the three men make a pact to meet at the bar in exactly ten years. As the years pass, each man marries and settles into regular work, however, Ted abandons his plans and spends the years amusing himself with gambling and women. When the anniversary date comes around, Ted is working as a fight manager, having won a boxer, Kid Mariacchi, in a crap game, and Doug is a successful advertising executive in Chicago, while Angie is a family man with a roadside diner. At the appointed time the three men walk into the bar and have an awkward reunion. Doug insists on treating the others to lunch in a fancy club, but they are unable to regain their old camaraderie. They are about to part ways when Doug encounters Mr. Fielding, an executive with the ad agency’s New York office, and Jackie Leighton, the program coordinator for the agency’s biggest television show. Fielding invites Doug and his friends to attend a rehearsal of the show, and they reluctantly agree. Instantly attracted to Jackie, Ted contrives to be alone with her in a cab urging her to come by the boxing gym later. Rehearsal gets underway, and temperamental star Madeline Bradville threatens to walk out unless Jackie finds her a
better subject for the show’s “surprise guest” segment. Jackie comes up with the idea to feature the three war buddies on the show, without informing them in advance. Jackie goes to the gym, and misleads Ted into thinking that she is doing research about the world of boxing. Ted talks with boxer Rocky Heldon, who is scheduled to fight Kid Mariacchi that evening. Rocky blurts out that he and racketeer Charles Z. Culloran have arranged for Kid Mariacchi to throw the fight. Ted grows morose thinking about his estranged friends and failure to live up to his youthful potential. Back at the gym, Ted encounters Culloran, and before the fight begins, he and Jackie go into the dressing room and knock Kid Mariacchi unconscious.
and tells his friends that he hopes to win back their respect. He then walks off the show, followed by Doug and Angie, just as Culloran and his thugs enter the club. From the control booth, Jackie orders the house cameras trained on Culloran, and the racketeer unknowingly admits to fixing the fight on live television. When Culloran realizes what has happened, he slugs Ted, and a huge brawl erupts, recorded by the television cameras. The three old war buddies battle Culloran’s men until the police arrive, then march exultantly into their neighborhood bar. The men are happily reminiscing when Jackie walks in and kisses Ted. As the bar closes up, the men drink one last toast to friendship.
Later, Ted, Angie and Doug show up separately to watch the broadcast, and are shocked to find themselves brought on stage. Ted sadly admits that the reunion was a failure,
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Betty Comden and Adolph Green originally conceived this musical as a sequel to their smash, On the Town, having the new film reunite Gene Kelly, Frank Sinatra and Jules Munshin. The concept was changed somewhat because was Mr. Sinatra was unavailable to reprise his role.
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FUNNY FACE Film Cast
Audrey Hepburn Jo Stockton
Fred Astaire Dick Avery
Kay Thompson Maggie Prescott
Michel Auclair Prof. Emile Flostre
Robert Flemyng Paul Duval
Dovima Marion
Suzy Parker Specialty dancer
Sunny Hartnett Specialty dancer
Jean Del Val Hair dresser
Virginia Gibson Babs
Ruta Lee Lettie
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1957 Film Synopsis
In the Manhattan offices of Quality Magazine , editor Maggie Prescott and her band of assistants brainstorm to come up with an inspirational theme for the latest issue of their fashion publication. She decides it will be dedicated to “clothes for the woman who isn’t interested in clothes.” In his studio, photographer Dick Avery is having little luck in capturing Maggie’s concept, so they all decide to change locations and do the fashion shoot inside a bohemian local bookstore. Maggie and her troupe proceed to take over a the bookstore, and lock Jo Stockton, the store’s clerk, out of the shop. As the bookstore is in shambles following the photographic session, Dick stays behind to help Jo pick things up. The two soon begin talking about Paris, but while Dick extols the beauty of the French city, Jo tells him that she wishes to go there merely to meet a philosopher she admires Professor Emile Flostre. Later, Maggie decides to create “the Quality Woman,” a model who will have a collection of clothes designed especially for her by the noted couturier, Paul Duval. Dick suggests Jo, but neither she nor Maggie are initially enthusiastic about his idea, until Jo learns that the job will entail a trip to Paris. As soon as they arrive in France, Jo misses her first costume fitting and Dick finds her in a bohemian café. The next day, after hours of hair and makeup, Jo is transformed from a plain bookworm into a high–fashion butterfly.
For the next week, Dick and Jo travel throughout Paris, as he photographs her in Duval’s new collection. Overcome with emotion during the final shoot, in which she finds herself wearing a wedding gown, Jo professes her love to Dick, and though the older photographer is surprised, he admits he feels the same way toward her. Later, Maggie coaches Jo on how to act during the upcoming fashion show. The night before the show, however, Jo learns that Flostre is appearing at the café, and is overwhelmed upon first meeting the handsome, young French philosopher. Dick then embarrasses Jo by dragging her out of the café, arguing that Prof. Flostre is more interested in her body than her mind. Jo and Dick continue their fighting backstage at Maggie’s press party, with disastrous results.
leaving both Jo and Paris to return back to New York. Soon thereafter, Flostre attempts to make love to Jo, and the disillusioned girl rushes out of his house, arriving at Duval’s salon just in time to appear in the fashion show. Dick meets Flostre as they board the same plane, and upon learning that Jo rejected the Frenchman, Dick rushes back to Duval’s. Told that Jo has already left the show, Dick rushes to finds Jo, still wearing Duval’s wedding dress, and the two lovers are once and for all united.
Dick and Maggie crash Prof. Flostre’s party and after a brief skirmish with Flostre, a frustrated Dick announces that he is
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Fred Astaire’s character is based on photographer Richard Avedon. In fact, it is Avedon who set up most of the photography for this film, including the famous face portrait of Audrey Hepburn unveiled during the dark room sequence.
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BIOGRAPHY BETWEEN 1949 AND 1959, STANLEY DONEN WAS EITHER THE KEY CREATIVE FORCE BEHIND OR AN ESSENTIAL ELEMENT IN THE PRODUCTION OF SOME OF THE MOST CRITICALLY ACCLAIMED MOVIE MUSICALS IN HOLLYWOOD HISTORY. A former dancer, he befriended Gene Kelly, who joined forces with Donen on Broadway and later in feature films for the dancing legend like On the Town (1949) and what was widely considered the most popular musical ever made, Singin’ in the Rain (1952). Donen also directed his idol Fred Astaire in Royal Wedding (1951) and Funny Face (1957), and helmed such crowd-pleasing titles as Seven Brides for Seven Brothers (1954) and Damn Yankees (1958). In later years, he showed a deft touch with light comedies like Indiscreet (1958), as well as thrillers like Charade (1963). Though his directorial career wound down in the early 1980s, the visual and technical brilliance of Donen’s body of work, which was rightfully feted with an honorary Academy Award in 1998, ensured that he would remain in the upper reaches of Hollywood’s pantheon of musical directors. Born April 13, 1924 in Columbia, SC, Donen struggled to grow up Jewish in a region marked by intolerance for his particular faith. He found refuge at the movies, and fell in love with dancing after viewing one of Fred Astaire’s effortless performances. He took tap lessons in his home town and graduated early from high school at 16, whereupon Donen lit out for
New York City to make his way in show business. He earned his first Broadway credits as a member of the chorus in 1940’s Pal Joey, starring Gene Kelly. The veteran dancer befriended the younger man and later called on him to assist with the choreography for the play Best Foot Forward. When Kelly lit out for Hollywood, he brought Donen with him, and the pair began their collaborations in film with the movie version of Best Foot Forward (1943). Donen soon began accumulating choreography credits on countless musicals, both with and without Kelly, including Cover Girl (1944), The Kissing Bandit (1948) with Frank Sinatra, and Take Me Out to the Ball Game (1948) with both Gene Kelly and Frank Sinatra. The following year, he and Kelly shared directorial credit on On the Town (1949), a sprightly Comden and Green tune fest with Kelly, Sinatra and Jules Munshin as sailors on leave and in love in New York City. The Big Apple locations, the first for a movie musical, and memorable song tunes such as “New York, New York” made it a box office and critical hit, as well as an Oscar winner for Best Music. The picture established the Donen–Kelly team as one of the freshest and most innovative in Hollywood, and together, they
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“All I ever knew, was that the camera was like a constant companion. It allowed me to withdraw into myself”
were responsible for some of the genre’s most enduring classics. Singin’ in the Rain (1952) was perhaps the most iconic of these; an unflaggingly charming take on Hollywood’s transition from silent pictures to talkies, it featured what was unquestionably one of the most indelible screen images of all time — the sight of Kelly crooning the title song while dancing through a studio — produced downpour. So great was its impact upon generations of viewers, many of whom were moved to explore dance and musicals after seeing the film, that it was later placed at #1 on the American Film Institute’s Top Films of All Time and the top spot on its list of 100 Greatest Musicals. Had Stanley Donen stopped directing musicals after Singin’ in the Rain, his legacy would have been ensured for time in memoriam, but he continued to work on some of the form’s best efforts for the better part of the next decade. Donen directed Fred Astaire, arguably the greatest of all musical film performers, in two projects. Royal Wedding (1951) was his first turn as a solo director, and featured the spectacular number,“You’re All the World to Me”, which saw Astaire literally dancing up the walls and across the ceiling of a room.
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Stanley Donen directing Two for the Road (1967)
It would later serve as the inspiration for countless scenes in other films and television shows, as well as the 1986 music video for Lionel Richie’s pop hit “Dancing on the Ceiling,” which Donen also directed. Donen also helmed Funny Face for Astaire and Audrey Hepburn, which earned him a Golden Palm nomination at the 1957 Cannes Film Festival. The success of his efforts with Kelly and Astaire made Donen one of the top and more sought out musical directors of the fifties, with perhaps only Vincente Minnelli ranking above him. As a solo director, he helmed such hits as Seven Brides for Seven Brothers (1954) and The Pajama Game (1957) with Doris Day. Having firmly established himself as a top director of musicals, he was reluctant to rejoin Kelly in 1955 for It’s Always Fair Weather, and the experience, already tainted by Kelly’s disintegrating relationship with MGM, was reportedly an unpleasant onefor both of them. But Damn Yankees (1958), which Donen co–directed with the director of the Broadway production, George Abbott, brought the most active phase of his musical career to a close on a high note, as well as his fourth of five nominations from the Directors Guild of America, which had previously honored
“I could not stop watching Fred Astaire dance. I was mesmerized. When Fred Astaire danced, everything in the world was perfect” Unspoken Words 55
Fred Astaire and Stanley Donen on the set of Royal Wedding (1951) (Right) Donald O’Connor, Stanley Donen, and Gene Kelly on the set of Singin’ in the Rain (1952)
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him for films such as Singin’ in the Rain, Seven Brides for Seven Brothers, and Funny Face. With the decline of the Hollywood musical in the late1950s, Donen began making inroads to other genres. He made his first foray into romantic comedies with the delightful Indiscreet (1958), which marked the reunion of Notorious co–stars Cary Grant and Ingrid Bergman. The film was nominated for Best Picture at both the Golden Globes and BAFTA Film Awards. His next collaboration with Grant, 1960’s The Grass is Always Greener, was a critical and financial flop, but their third go–round was Charade (1962), an engaging polished thriller marked by Grant’s repartee with co-star Audrey Hepburn and a terrific score by Henry Mancini. Arabesque (1966) attempted to recreate that film’s chemistry with Gregory Peck and Sophia Loren, but not even their star power could elevate the ponderous end result. Donen reunited with Hepburn for Two for the Road (1967), a bittersweet comedy–drama that explored the dissolution of a marriage between two seemingly hopeless romantics (Hepburn and Albert Finney). Told in a non–linear fashion that evoked the arthouse scene of Europe, the film was praised as Donen’s boldest non musical effort. He followed with Bedazzled (1967), a cult favorite built around the then popular comedy duo of Peter Cook and Dudley Moore. A colorful pop revamp of the Faustian legend. Moore starred as a short order cook who is granted his every wish, including a bedroom romp with Raquel Welch as the embodiment of lust. The film was a sizable hit with college audiences, who appreciated its fractured structure and nose–thumbing attitude towards religion.
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Stanley Donen rehearses Indiscreet (1958) with Ingrid Bergman and Cary Grant
Stanley Donen and Michael Caine between takes of Blame it on Rio (1984)
“We don’t have a sense of theatricality and literary background in movies anymore. And that’s a great loss for the entire world.”
Bedazzled would prove to be Donen’s last successful film. His follow-up, Staircase (1969), was a comedy–drama with Richard Burton and Rex Harrison as an aging gay couple. The Little Prince (1974) failed to generate the same sense of wonder as the classic Antoine de Saint–Exupery book on which it was based, despite the presence of Gene Wilder and Bob Fosse in its cast. Lucky Lady (1975) squandered the star power of its leads — Gene Hackman, Burt Reynolds and Liza Minelli — in a moribund dramedy about romance between bootleggers in the 1930s. Movie Movie (1978) was the sole standout of the decade for Donen, an amusing send–up of genre pictures from the 1930s by Larry Gelbart, the film’s two-movies-in-one structure offered some terrific comic turns from the likes of George C. Scott and Eli Wallach. Sadly, the momentum it generated was squelched by Saturn 3 (1980), an ill–advised foray into science fiction with Kirk Douglas and a badly miscast Farrah Fawcett as astronauts
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“Movies should not pretend to be more important than the people watching them. It’ not human, it’s not nice. I think of myself as a “meat and potatoes” kind of director and the characters in my movies as struggling.” terrorized by a dubbed Harvey Keitel and his colossal, amorous robot. The film did manage to generate some attention for brief nude scenes by Fawcett, who at the time was still riding high on her post Charlie’s Angels popularity. Donen’s final turn in the director’s chair for a major motion picture was Blame It on Rio (1984), an uncomfortable sex comedy which asked viewers to find Michael Caine’s attempts to seduce his daughter’s nubile teenage friend (Michelle Johnson) amusing. The abundance of nudity helped to make the film a modest hit, but Donen’s heart and head were clearly not in the picture. He was absent from directing for most of the 1980s, save for a lovely musical number on an episode of Moonlighting in 1986. Donen also lent his name and legacy to the Academy Awards telecast by serving as producer of the 58th annual ceremony that same year.
Steven Weber and Laura Linney as the lovers whose romantic history is played out over the course of several decades’ worth of correspondence. As befitting a director of his stature, Donen received his share of lifetime achievement awards in the 1990s, which culminated in an honorary Oscar from the Academy of Motion Picture Arts and Sciences in 1998. His acceptance speech was marked by the charm and grace that he brought to his classic musicals — upon receiving his award, he executed a gentle dance with the trophy while crooning Irving Berlin’s “Cheek to Cheek.” The moment served as a heart–warming reminder of Donen’s legacy, as well as the whimsy and joy he brought to moviegoers throughout his career.
In 1993, Donen made his stage musical directing debut with an adaptation of Michael Powell’s classic ballet, The Red Shoes, but the production was not a success. He returned behind the camera for the 1999 TV movie Love Letters, with
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INTERVIEW AN INTERVIEW WITH RAYMOND DE FELITTA FROM THE DGA ORAL HISTORY PROJECT. JANUARY 27, 2004
Do you have any regrets about coming back to New York? No, I happen to like New York.
Since we just mentioned New York, and I’m so astounded by the beginning of your career, it appears from the very moment you got here you immediately met two gigantic figures, Gene Kelly, George Abbot, wondered if you could talk a little bit about Pal Joey?. Yea, I have been very fortunate in that the cliché everything seems to be for the best is what seems to happen to people. Events take you in a direction so that’s the way you go. As you say in Pal Joey, 1941 or 1940, I came to New York to go into theater and musicals. I was from the south, very thick accent. I got hired to be in Pal Joey as a dancer. Wonderful experience, remarkable men. I was 16, had to be 1940. World War II began while I was in Pal Joey. What can I say?
You expect too much of a 16 year old from South Carolina. I just knew I wanted musicals, theater, and film. I had been infected by seeing Fred Astaire in Flying Down to Rio when I was nine. South Carolina, where young boys weren’t interested in music and dancing. All I knew was I started dancing lessons, continued to take dancing lessons after that movie to New York seven years later. I could dance, couldn’t talk very well, I talked very Southern.
Came by yourself? Came by myself. My family had nothing to do with theater or movies. My father ran the ladies dress shop. They never said it wasn’t a good idea, the only thing my father wanted was I should go to a university, which I didn’t do. They didn’t think it was going to happen, he bought me a ticket on the train. Gave me 15 dollars and I came here, got a job right away in Pal Joey.
Did you have any clue that Gene Kelly and you would be linked through eternity?
Was your ambition to perform or direct already? Unspoken Words 63
Of course not, we weren’t linked in that show. He was Pal Joey, we got to know each other very well. I was this very long man, and Abbot who you mentioned was doing another show. Pal Joey, wasn’t a gigantic hit, never was, he was doing a second musical called Best Foot Forward about young boys in military school. I left Pal Joey and went into rehearsal and the choreographer of the show whose name escapes me, George didn’t like him. After a week of rehearsals we fired him, went to Gene who was still in Pal Joey and said would you like to choreograph Best Foot Forward. He said yeah while he was in another play. He knew me and said why don’t you be my assistant. Sort of the beginning of us working together.
Did you go to Hollywood with him then? No. Nobody took me to Hollywood. He went to Hollywood and I stayed on in Best Foot Forward, went into a third show called Beat the Band where I replaced the choreographer, asked me to redo the numbers. Gene was a year in Los Angeles. I saved enough money to buy a ticket to Los Angeles, war was well on. I got on an airplane buying my own way. I got bumped off the plane. World War II was on, I was 17, they had the right to kick off civilians if the military needed a seat. Kicked off in Chicago. This was early 1942, I took a train to Hollywood, knocked on the door to get a job. Hired at MGM as a dancer. Gene was already there, nothing to do with me coming there. I was there in a lot of movies, dancing, became assistant choreographer to god knows how many. Chuck Walters, Jack Donohue. Assistant to a lot of directors like George Abbot and Richard Thorpe. I worked on 30 movies or more. Gene got hired to do Cover Girl at COLUMBIA,
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said would you come with me and we’ll do my musical numbers together. MGM lent me. And that was how we started working together, I was 19 by then.
Amazing to me that Cover Girl is the only great musical COLUMBIA ever made in the alter ego musical number? That was fun. I liked The Jolson Story. Musical is an odd word. What constitutes a musical? Are there any rules to how you can define a musical. The only thing you can really say is that a musical is a film that has a lot of music in it, beyond that there is nothing you can say. How much music, how it’s done, as soon as you limit that I don’t think its possible.
I think The Jolson Story was really good. Larry Parks was wonderful. I liked that. That’s very generous of you, I think Cover Girl has such a… It’s a different kind of music. Is The Jolson Story a musical? I guess so, but it’s not thought of that way.
Getting back to MGM for a bit, you said you worked with a lot of directors…? You’ll have to forgive me, you sit there so comfortably like you know a lot about what you’re saying and I’m astounded because I can’t believe …
Do I intimidate you?
It was tough shooting in New York. It wasn’t a routine, the city wasn’t out to help you like they are today. Frank Sinatra was like The Beatles, everywhere he went was chaos. It was madness. Unspoken Words 65
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No just that you know it all seems to be amazing, why?
When I was growing up everybody was watching Star Wars, I was at home watching your movies. But you know a lot about studios and shows.
I’m interested that you worked with so many different directors at MGM and COLUMBIA. The sense is that movies then were more compartmentalized with more than one director at the helm. Is that fair or accurate? Well there was no rule. The way it worked for me, and I assume it worked for some other people, I was employed by MGM and they couldn’t know what they were going to do with me. How could they know what films are going to be made, you are sort of thrown into a big pot. Whatever you can figure out to do, you still scrounge for yourself. I ate film, I just love movies. I use to see everything, I was mostly involved in musicals although I did numbers, one with Mickey Rooney in Killer McCoy. I got nothing to do with the musical movie. I did what I could do, people got to know me, because of my interest and enthusiasm. I worked on a lot of pictures. It wasn’t as compartmentalized as you said. Gene and I wrote a story, made into a movie, worked in sound and editing. I worked everywhere. Soon I worked in the cartoon department. My education in film, I had much more of a possibility of working with everything than film students. I was into making it in a real way. Today film students are limited, asked to write, edit, photograph their own movie. That’s not going to happen.
They’re going to work with a lot of other people, that’s what I was able to do. Broad education in films. Six years of constant hard work in the trenches.
I think that must account for the great confidence of On the Town? I was far more confident then than I am today. Fools rush in, I thought I knew everything.
What was it like getting them to shoot in New York? It was tough shooting here, it wasn’t a routine, the city wasn’t out to help you like they are today. Frank Sinatra was like The Beatles, everywhere he went was chaos. It was madness. Fun, I knew what I wanted to do, we didn’t shoot much here. Maximum of two weeks. Then a studio in Los Angeles. In those days MGM thought musicals could only be done on a sound stage. I suspect because, let me make a lecture here. Silent films could be made anywhere. Camera was all you needed. Went all over the world. When sound happened in 1929–30, sound controlled making films. That’s when all the sound stages were insulated. Otherwise you heard noise on the outside street. The early musicals and talkies, they could only record in these walls. They didn’t realize that was the limiting thing. Somehow the idea got confused that there was some magic about a musical in an enclosed place. By the time we were doing On the Town, the early days orchestra and sound were recorded live. Song and dance to live music. I didn’t know how to edit music, how to record it on disc. By the time we filmed On the Town, all the music Unspoken Words 67
was prerecorded. The sound wasn’t controlling at all. We recorded it separately. When you’re making a movie about New York City, it seems ludicrous to reproduce this amazing city on a sound stage, particularly in those days there was no computer generated imagery. They really believed you couldn’t shoot it anywhere but on stage. The only reason it happened was that Gene was a star, said we have to shoot. To actually do it was not easy, New York wouldn’t help you and Sinatra was of the magnitude that made it difficult.
It’s interesting your mention of the early talkies, was that a subject you were interested in prior to Singin’ in the Rain? Absolutely, I ate film. I was five years old when the transition from silent to sound happened. As a child I had an 8mm projector. You could buy three and four minute clips in the store in 8mm with Keystone Kops or whatever. I had a collection with a hand cranked projector. I was familiar with every kind of movie. When Singin’ in the Rain came, the reason it’s about silent to sound is because Arthur Freed who wrote the picture and lyrics, preeminent musical producer in film, he said to Gene and me, I produced pictures with Rodgers and Hart, Jerome Kern. No one made a picture with the songs I wrote with Herb Brown. These are the songs we wrote, play them and see what kind of movie we make. When you play the songs, it’s clear those old period songs were written for early talking pictures. The way to use them was in a movie about early talking pictures. That’s why it was placed in the background. None of us, that’s Kelly, Betty Comden, Adolph Green and me, none of us had to do any
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research on movies, we were all movie nuts. We were the geeks. That was our life blood the movies.
There were a couple of directors still at MGM, Robert Z. Leonard, did you speak to him? Pop Leonard and I worked with Sidney and Richard Thorpe, they would have me come and do whatever. There were others, Clarence Brown made silents, they had a man there who was a producer trying to be a director. MGM like all studios was a silent movie factory.
Did you speak to any of them in your research? We didn’t do any research, that’s what I’m saying, we just knew. Buster Keaton worked on the movie, on Singin’ in the Rain, he was there. Just because we all admired him. MGM paid him a weekly sum. Wanted to charge it to something, Arthur said let Buster be around. Just being there. He was only silent movies.
He had nothing to do with “Make ‘Em Laugh”? No.
I’m amazed, you know whenever I watch Singin’ in the Rain, a new number is my favorite. Last time I saw it I was taken with Broadway Ballet. You wrote that it was too long, but the beginning is beautifully staged and edited?
That’s the problem about making movies. You have to respond to the reality and the possibility. You have to be informed and intelligent, but also unafraid to go in a way that is unexpected. You have to believe in your own sensibilities. Unspoken Words 69
It’s not too long within itself. By the time you go into the number and run it, I think it’s 17 minutes long. You’re in another world, it’s not that I think it doesn’t sustain itself, it’s what it does to the other part of the picture. That’s over 50 years ago, now you can’t change the picture. I actually did change it once. Very friendly with Jules Dassin. He lived in Paris, I was in London. He called me and said I have a wonderful idea for a movie with Melina, his wife. Silent movie actress when talkies happen. I knew he wasn’t being funny. I said I made a picture like that. This was 1960, he said I never saw it. I would show it to him. I said I would bring you a print, I took it and edited the Broadway Ballet for this one screening. Made it like five or six minutes long. That’s the only time I saw it.
Do you think that maybe your attitude changed when you started making non-musical films?
Did you, I wonder about your process in directing a number like that, did you storyboard, they certainly feel so integrated?
I think that is very interesting. I as a director went through this a few months ago directing a movie, realized it wasn’t important how I was going to shoot the scene, it was more important that I watch them. It’s the final dispensing of your ego?
No, the trick of everything is I think rehearsal. In rehearsal it gets done. By the time we rehearse, I just made a list. That was what we would shoot. When I made the first 15 movies there was nothing left over. I thought that was the best way, the only way. I don’t feel like that any longer. It’s not true of course. I’m not even sure it was true then. Planning what you’re going to see, photographing physical movement like in a dance, how does it look the best form where. How close, what light, where is the camera, across the screen. When you choreograph it yourself, you know what the power you want it to be because you’ve struggled to get it there. I never heard of storyboarding, they were all done like that.
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I remember the specific scene in Indiscreet. Cary Grant and Ingrid Bergman. She wants him to move with her in London. He is married. Its an unhappy situation, they still love each other. He is a diplomat. She invites him to breakfast. He is telling her he is taking a job near London. They don’t talk much. She fixes breakfast, puts the plates and things, it’s all about how they are feeling about each other. I realize I had to get that, I couldn’t just stage the physical places. I shot it totally different. That was 1957. Long time, 18 years of directing by then. I shot it like I realized there were other ways. That’s why I say in On the Town I thought I knew everything.
Yea, but that’s only true in some scenes. That’s the problem about making movies. It’s a problem about all art, maybe about everything in the world. You have to be able to respond to the reality and the possibility. You have to be informed and intelligent, but also unafraid to go in a way that is unexpected. You have to believe in your own sensibilities.
It’s so interesting just to jump 15 years ahead, I ran Two For the Road last night, I was amazed at the cutting, and the staging is very elaborate, yet at the
end you are left with a simple story of two people. However your style is not simple at all. Was that a conscious choice on your part? Of course it was conscious, people said to me did you shoot it and put it together, I said you haven’t looked at it. Everything has something to do with something in a later moment. It’s a wonderfully fun movie. Using the part of the magic of what movies can be in that conception. That’s a lot of fun to do that. Marshall Mcluhan said the medium is the message. Not really, if it’s too much of the message it’s a pain in the neck. How much and where has to do with what’s the story and scene, what’s important. If we could make rules everybody could learn, then we can make great movies. It’s not always
the same, we’re left to make a decision and choice which is not what we have done in the past.
And yet when I look at your MGM musicals, they are definitely different. So many things suggested by your excitement of film that I don’t see in other directors at the time? It’s the truth. It’s what I understood, what I loved, what I thought could be brought to the film. Even if we were making a movie, something that was generic to the way of telling it, I loved movies.
I guess I need to, I’m sure you explained this, but I need to ask you about Fred Astaire and Royal Unspoken Words 71
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Wedding. Before the dancing on the ceiling number, what did it mean for you to work with him, you mentioned Flying Down to Rio. I never thought that would happen, and he was in the true sense of the word, he was my idol, still is. The way it came about is Arthur Freed was the producer, I had only directed Singin’ in the Rain, sorry On the Town. It was before Singin’ in the Rain. Freed said I was going to make it with Judy Garland and Astaire with Charles Walters. He just finished doing Summer Stock with Garland, he said I can’t do another picture, I barely lived through Summer Stock. He said would I like to direct them. I said are you crazy, there is nothing more I would rather do. I was around because of my deep appreciation of him. I was nine, Royal Wedding was around 1950. Seventeen years later I was directing him.
So young, Orson Welles is the only one; Spielberg was another one too. It’s not all that unusual, films today more than ever they want to make movies for young people. Their points of view are more in common than making a film than older people. I was very lucky in that things always happened easily for me. I had the opportunity to do what I wanted to do. Not many people had that chance.
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FILMOGRAPHY 1949
On the Town
1960
Once More, with Feeling!
1951
Royal Wedding
1960
Surprise Package
1951
Love Is Better Than Ever
1960
The Grass Is Greener
1952
Singin’ in the Rain
1963
Charade
1952
Fearless Fagan
1966
Arabesque
1953
Give a Girl a Break
1967
Two for the Road
1954
Seven Brides for Seven Brothers
1967
Bedazzled
1954
Deep in My Heart
1969
Staircase
1955
It’s Always Fair Weather
1974
The Little Prince
1957
Funny Face
1975
Lucky Lady
1957
The Pajama Game
1978
Movie Movie
1957
Kiss Them for Me
1980
Saturn 3
1958
Indiscreet
1984
Blame It on Rio
1958
Damn Yankees!
1999
Love Letters
Reminiscent of Fred Astaire’s routine in Donen’s 1951 film Royal Wedding, in 1986 he directed the music video Dancing on the Ceiling for Lionel Richie. Unspoken Words 75
BIBLIOGRAPHY BOOK Silverman, Stephen M. Dancing on the Ceiling: Stanley Donen and his Movies. New York. Alfred A. Knopf Inc. 1996.
ARTICLES www.dga.org/Craft/VisualHistory/Interviews/Stanley-Donen.aspx?Filter=Full+Interview movies.yahoo.com/person/stanley-donen/biography.html www.imdb.com/name/nm0002045/ www.tcm.com/tcmdb/title/2942/Royal-Wedding/ www.tcm.com/tcmdb/title/355/On-the-Town/ www.tcm.com/tcmdb/title/418/Singin-in-the-Rain/ www.tcm.com/tcmdb/title/1568/It-s-Always-Fair-Weather/ www.tcm.com/tcmdb/title/16147/Seven-Brides-for-Seven-Brothers/
PHOTO CREDITS 6 8–9 10 13 14 17 18–19 20 22 24–25 27 28
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Flora Cruells Benzal Flora Cruells Benzal Flora Cruells Benzal www.etsy.com/listing/25431437 Flora Cruells Benzal theatrehistoricalsociety.wordpress.com/2013/01/11/ kristitisorambriz.blogspot.com/2012/08/ Flora Cruells Benzal www.picstopin.com/1509/ Flora Cruells Benzal weheartit.com/entry/525869 flixposed.blogspot.com/2012/08/ moviereviewbylindsey.blogspot.com/2012/09/
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acertaincinema.pemomo.com/browse/person/gene-kelly/ wondersinthedark.wordpress.com/2011/09/22/ www.flickr.com/photos/sweetsundaymornings/5191017921/ www.flickr.com/photos/sweetsundaymornings/5191017589/ tutcht.blogspot.com/2012_08_01_ vintagebel.blogspot.com/2011/03/ thekrav.blogspot.com/2012/07/ news.directv.com/2012/08/22/ literarystitchingleague.blogspot.com/2011/05/ www.slantmagazine.com/house/2011/12/ www.imdb.com/media/rm3942234112/tt0047472 alsolikelife.com/shooting/2009/06/973-115 brightlightsfilm.com/53/weather.php filmfanatic.org/reviews/?p=1083 dcairns.wordpress.com/2008/03/page/2/ www.flickr.com/photos/dinahdk/3654310490/ doctormacro.com/Movie%20Summaries/F/Funny%20Face Flora Cruells Benzal www.ioffer.com/offer_transactions/show/6ytchnqr retroactivecritique.blogspot.com/2013/02/ colettesaintyves.tumblr.com/page/363 vickielester.com/2012/11/13/ acertaincinema.com/media-tags/stanley-donen/ cscottrollins.blogspot.com/2012/03/ Flora Cruells Benzal Flora Cruells Benzal Flora Cruells Benzal Flora Cruells Benzal Flora Cruells Benzal Flora Cruells Benzal
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COLOPHON BOOK AND COVER DESIGNER Flora Cruells Benzal
BINDING Flora Cruells Benzal
TYPEFACES Bodoni Akzidenz–Grotesk
PAPER Epson 4 Star
COURSE Integrated Communications Academy of Art University Spring 2013
INSTRUCTORS Christopher Morlan and Hunter Wimmer Copyright © Flora Cruells Benzal
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