blake edwards s/d, rfi

I've never read the book, but I know that they turned it upside down: gay man becomes kept man, hooker becomes..."wild flower," etc. But, same old story, I can only judge it on the film I've seen, not the book I haven't read.

Bus, yes. Doesn't get off the bus, doesn't get thrown under the bus, just sits inside looking sad as it pulls away.

The MSM and fans would howl, but they should film the book someday.

(of course it's set in the late '40s, so too expensive)

(maybe Haynes could do it after Mildred Pierce!)

If they were to give it a try, any thoughts as to who could play Holly? The character is now so completely subsumed into Hepburn's persona, I don't know that it would be possible for anyone else to play her...Like when Frank Langella tried Quilty in the Lolita remake. He never had a chance.

I liked the Adrian Lyne Lolita.

Capote said about 30 years ago he thought Jodie Foster wd be an ideal Holly.

anyway:

TCM will alter its programming on Monday, December 27 to pay tribute to the late Blake Edwards.The new Blake Edwards memorial lineup will be:

8:00 PM Breakfast at Tiffany's
10:00 PM Days of Wine and Roses
12:00 AM The Pink Panther
2:00 AM Victor/Victoria
4:30 AM Operation Petticoat

Haha I was JUST coming here to post that! They replaced Solaris and 2001! Hahahahah!

as much as I like Vic/Vic, that's quite a rote lineup.

Anyway:

https://www.youtube.com/watch?v=LTP-cSaYbrE&feature=related

and one of my fave lines ever in S.O.B. in the scene beginning around 0:45: "LIV ULLMANN!"

https://www.youtube.com/watch?v=9nfNitcjGJQ&feature=related

These stories in the NYT obit have the touch of Clouseau:

A lifelong depressive, Mr. Edwards told The New York Times in 2001 that at one point his depression was so bad that he became “seriously suicidal.” After deciding that shooting himself would be too messy and drowning too uncertain, he decided to slit his wrists on the beach at Malibu while looking at the ocean. But while he was holding a two-sided razor, his Great Dane started licking his ear, and his retriever, eager for a game of fetch, dropped a ball in his lap. Trying to get the dog to go away, Mr. Edwards threw the ball, dropped the razor and dislocated his shoulder. “So I think to myself,” he said, “this just isn’t a day to commit suicide.” Trying to retrieve the razor, he stepped on it and ended up in the emergency room.

...Having joined the Coast Guard after high school, Mr. Edwards was seriously injured when, after a night of alcohol-fueled partying, he drunkenly dived into a shallow swimming pool. He spent five months in traction at the Long Beach Naval Hospital.

“That particular mix of pain and pratfall is the trademark of all the great Blake Edwards comedies,” Vanity Fair wrote of his accident and of the comic consequence that Eleanor Roosevelt, who was visiting the hospital, solicitously asked how he had been wounded.

http://www.nytimes.com/2010/12/17/movies/17edwards.html?ref=obituaries&pagewanted=print

Switch is BAD.

I really LOL'd this time at S.O.B. when a soused Robert Webber asks Robert Preston how they're gonna break into the funeral home, and Preston says "Knock on the door and tell them you're dead."

Mulligan's remake within the film needed to be dirtier, though.

as you can see on Dave Kehr's site (and his linked NYT column), you can order an archive burn of Wild Rovers:

http://www.davekehr.com/?p=943

'a shot in the dark' is perfect from beginning to end. i espec love this bit:

guy: would you care to examine the body?
clouseau: (smiling) i would be DELIGHTED!

Micki & Maude the best of the eighties films, and while I can't find anything terribly wrong with it (Ann Reinking and Amy Irving are ideal foils for Dudley Moore) it doesn't impress either. There's a TV pace to the thing that flattens the okay jokes.

He always had more misfires than hits. (haven't seen Micki & Maude since it was released, but c'mon, V/V is much funnier just for Robert Preston)

I haven't seen That's Life!.

I just saw this, which James Coburn ALMOST saves. It's the movie then sent Edwards into exile in the UK for about 6-7 years.

http://www.filmcomment.com/entry/the-carey-treatment-blake-edwards

yeah, it's an interesting failure--same goes for a whole bunch of his movies in the 60s, i think.

do you know wild rovers? that's a great one IMO. he was a protean talent; hard to get a handle on him as an "auteur" (favored themes and all that).

the party is all-time.

oh hai i don't even remember starting this thread

one of the figure skaters in this year's olympics danced to ravel's bolero and stupid me i kept thinking of the bo derek bedroom scene in "10" and couldn't stop laughing

I saw Wild Rovers in the '90s, and currently have had the DVD out of the library for about 6-9 months.

Is it true that the DVDs of Wild Rovers and Darling Lilli are director's cuts that restore the movies to Edwards' original intentions? That's what wikipedia suggests, but it's not entirely clear.

I think for Wild Rovers, it's "somewhat." Runs 2+ hours anyway.

it is definitely a cut that edwards approved, but it doesn't have every scene he shot/in the script/he intended to include.

very strange and powerful mix of tones in that film.

I saw Breakfast at Tiffany's so many times in my 20s, I stayed away from it for a long time. Saw it at a theatre for the first time in years last night.

Some points I made above, expanded a little...The many and sometimes drastic changes from the book came up in the post-film discussion. (Part of a book-into-film series.) I still haven't read it. It was mentioned that George Axelrod knew he couldn't adapt it as is, until he woke up one night thinking he finally figured out how to change it. Also that Capote hated the film. Which doesn't really bother me. I only know the film.

Rooney and Edwards regretted Yunioshi for years afterwards. He doesn't have much bearing on how I feel about the film either. I mean, I wish the character weren't there, but he gets maybe five minutes of screen time.

The four scenes I consider brilliant, in order:

1) The party. Even Kael wrote that it "ranks with the best screen parties of the era," and she's otherwise lukewarm on the film. I'd say that whole sequence is perfect from start to finish.

2) Buddy Ebsen leaving on the bus. Peppard's obvious empathy for Ebsen comes through nicely.

3) Getting the ring engraved at Tiffany's. I quote John McGiver from that scene all the time.

4) The ending--everything after Peppard's big speech, which is okay but overly clever. The rain, the cat, and the song are great.

Roman Holiday's my favourite romantic-comedy of the '50s, Tiffany's would be my pick for the '60s. It was a bit depressing watching it last night, though--a film for your 20s, not your 50s.

Nice revive, clemenza, and I just rewatched the ring engraving scene inspired by yr choice of it; so great, and a beautiful performance from JM.

It's an obvious choice, but I've always loved the opening credits: the gorgeous orchestral arrangement of the theme, the flup-flup of Holly's dress when she walks, and more than anything the magic hour location shots of empty streets in early '60s New York. Also, the fade to Holly's street and four note musical motif gets me every time.

isn't twilight the Magic Hour? that was clearly shot at 6am.

Read the book.

I've always understood the magic/golden hour to be at each end of the day i.e. dawn AND dusk. But yeah, obviously shot in the morning rather than evening given the emptiness.

Bill -- love the opening credits too; among my favourite. They set up the whole film.

yeah the "magic hour" is more like "magic hours," plural

i should watch this again, i recall it as a mixed bag but the good parts were very very good

did you know that frankenheimer was going to direct this? he and axelrod (who later collaborated on manchurian candidate) put it together as a package. but when the studio engaged audrey hepburn to play the lead, she said she didn't want to work with some (relative) unknown so they got blake edwards to direct.

no one will ever pony up the period budget to do an adap of Capote's plot in the future, sadly

According to the woman who spoke the other night, Capote wanted Marilyn Monroe for Holly, but Lee Strasberg told Monroe she couldn't play a call girl. So she did The Misfits instead.

Only knowing the film, I can't even begin to imagine Monroe in the role. Which I guess again points to how radically different the book must be.

you could be on Chapter 5.

Rooney claimed well into his elder years that Japanese people loved his performance.

Japanese people are notoriously polite.

mickey rooney claimed a lot of things, it should be said.

Take his word on some on other matters but not that.

Blu-ray of The Party now out on Kino. Reviews are still skittish about Sellers' casting as an Indian actor, if less so than Rooney's act in BaT.

how are those mid eighties films: A Fine Mess, That's Life, Sunset?

only saw That's Life when it came out, sort of a middling late-middle-aged dramedy version of ... Cleo from 5 to 7?! It helps if you like Andrews and don't mind late Lemmon.

Those other two are very hard to find fans of.

Yes, TL looks like the sort of thing of which Oscar and Golden Globe dreams are made.

oh I think B.E. knew by that point he wasn't really an awards guy -- V/V got there cuz it was a mildly surprising hit + homosocial value, and lingering heat from the success of "10".

Blind Date was a hit and – wow – so was Skin Deep.

Saw The Party last night for the first time in ages... It wears out its welcome when Sellers is hunting for a bathroom for 10 minutes, but yeah, "birdie num num." It was conceived of as a silent film, but Sellers balked at the last minute. Tati influence pretty clear.

The guy who plays the best drunken waiter ever is Steve Franken, who was an older cousin of Al.

http://2.bp.blogspot.com/-hzRg3Zoawik/UEAq_RmuovI/AAAAAAAAJ68/XTBIzdISt5s/s1600/the-party-steve-franken-tries-to-pry-off-cornish-hen-by-dvdbeaver-800x346.jpg

Watched Victor/Victoria for the first time ever tonight. It is a good 20 mins too long, and much of the slapstick feels tacked on, but its queer-positivity feels remarkable for the time (although I am reminded of a review that I once read of Making Love which suggested that the immediate pre-AIDS era produced a minor, and sadly aborted, golden age for such things). I appreciated that it was Robert Preston's Toddy that provided the arc for the story much more so than Andrews, the film opening not with her but rather with a melancholy scene between Toddy and his young lover and then progressing through his various personal triumphs. Its a lovely performance, justifiably nominated (the only way I can account for Warren's nom, on the other hand, is that the Academy seems to have a thing for these Madeline Kahn in Paper Moon/Mira Sorvino in Mighty Aphrodite types), and if i never for a moment bought Andrews as a man, I not sure that I was really supposed to. I do wish the film hadn't felt the need to let Garner's character off the hook re: his attraction to Andrews so quickly, though I realize that in making this complaint I may be asking a bit too much of a (progressive, but still) mainstream Hollywood comedy from 1982.

I had forgotten that William Peter Blatty had co-adapted A Shot in the Dark, one of 4 scripts for Edwards. Still have never seen 'What Did You Do in the War, Daddy?

Coincidentally was thinking of watching Days of Wine and Roses tonight - but don't see much love for it here...

i believe i saw the original TV play long ago, never the film

(Cliff Robertson, Piper Laurie, John Frankenheimer)

Did watch it.

It's one of the films in David Thomson's 'Have You Seen...?' book. Thomson says that Frankenheimer was too busy to make the movie version, and that Lemmon pushed hard for the lead role, and also suggested Lee Remick as his co-star (tho Edwards had recently worked w/ her on Experiment in Terror, so not sure about that - anyway, she's fantastic in it). First half hour plays like a semi-sequel to The Apartment - Lemmon is a hard-drinking Public Relations man, essentially acting like a pimp for wealthy clients, who introduces secretary Remick to the pleasures of a Brandy Alexander (she likes chocolate not booze when they first hook up.) Film then charts the different stages of their mutual descent into alcoholism, naturally getting progressively darker (literally so - early scenes are all bright West Coast exteriors, later scenes dark, shabby apartments and motels). Some of the writing is a bit too on-the-nose (Remick's father literally grows roses, which at one point are destroyed by Lemmon in drunken desperation) and you need to be fairly pro-Lemmon (I am) to stomach the full-on scenes of him in a strait-jacket, detoxing (def shades of Lost Weekend there). You might also say that the film is unfairly harsh on the Remick character - she turns out to have less willpower than Lemmon - but it provides the film with a pretty bleak ending that still seems desperately sad, and is true to the larger theme of the way that you can corrupt even someone you love. The black and white photography is beautiful and crisp (by Philip H. Lathrop) and the Mancini score is suitably restrained, aside from the rather corny theme song.

So, good movie, well worth watching.

it's OKKKKKKKK

I saw our KJB's extravagant praise a decade ago and figured I could play you two off each other.

not takin' the bait

Great score. John Barry?

That's Life! is one of the worst films I've ever seen. Jack Lemmon should've been frogmarched to The Hague.

Experiment in Terror bangs so hard

I was at my mother's house the other day and it's quite a clutter zone. One thing that stood out was a dvd of Darling Lili on a table. It's a garbage movie but she has an attachment to it because her fave little brother who drank himself to death two decades ago is an extra in it. I'm keen to find the scene he's in it to get a grab but even she doesn't know. She doesn't even own a dvd player.. lol