Fifty Years of Film in 50 Weeks, #32: The Bad and the Beautiful, 1952

'Gaucho': Don't talk like that about Georgia - or Jonathan. He's a great man!

Lila: Hah hah. There are no great men, buster! There's only men!

The Bad and the Beautiful, 1952

Director: Vincente Minnelli
Writers: Charles Schnee, from a story by George Bradshaw
Cinematographer: Robert Surtees
Producer: John Houseman for MGM
Starring: Lana Turner, Kirk Douglas, Walter Pidgeon, Dick Powell, Gloria Grahame, Barry Sullivan, Gilbert Roland

Why I chose it
I had tried at least three different times to watch this, and for whatever reason--it being late, or something coming up--I'd never finished it. Now was the time. It didn't hurt that it was a celebrated star-studded MGM feature from the tail end of the Hollywood studio system, a contrast from last week's Italian film.

'No-spoiler' plot overview 
Jonathan Shields (Kirk Douglas) is a powerful Hollywood producer who, during his own career ascent,  helped establish the careers of star Georgia Lorrison (Lana Turner), director Fred Amiel (Barry Sullivan), and writer James Lee Bartlow (Dick Powell). Unfortunately, his Machiavellian motives resulted in him abandoning each of them when they were no longer convenient. Fast forward several years, and Shields has found himself on the outs in Hollywood. Through his second in command, Harry Pebbel (Walter Pidgeon), Shields is desperate to make a comeback employing this aggrieved threesome. With the comeback ploy as a framing device, the film illustrates in sequential flashbacks, the details of his relationships with each of the three.

Harry Pebbel (W. Pidgeon, standing) convenes Jonathan
Shields' former associates Barstow, Lorrison, and Amiel.

Production Background
The original short story that the film was based on a story by George Bradshaw, Memorial to a Bad Man, about a unscrupulous producer on Broadway. It was changed, though, at the request of producer John Houseman at MGM, who had received the film assignment from new studio head Dory Schary. Houseman claimed to be sick of Broadway pictures (from an interview in Film Comment Journal in 1975). Another departure from standard was hiring director Vincente Minnelli, who was better known as a top director of musicals, even though he directed Madame Bovary in 1949. 

Houseman apparently had MGM star Robert Taylor in mind for the pivotal role of Jonathan Shields, but Minnelli wanted Douglas. Minnelli intended that Shields be a three-dimensional character, and told Douglas to play it for charm. Frequently during filming, Douglas would turn to Minnelli and say, "I was very charming in that scene, wasn't I?" (from an 1977 interview with Minnelli by Henry Sheehan).

The film was highly successful, earning over $400K. Gloria Grahame won Best Supporting Actress for her short (9 minutes) of screen time, shortest for an winner in that category for many years. The look of the film had many fans, as it also netted Oscars for screenplay, black-and-white cinematography, black-and-white costume design, and black-and white art direction.

Some other notable film-related events in 1952 (from Filmsite.org):

• The Screen Actors Guild (SAG) negotiated the first contracts in 1952 that granted performers-actors (including singers, announcers, stuntmen, and airplane pilots) residuals paid by studios for feature films sold to television.
• The first film to win a Golden Globe award for Best Motion Picture (comedy or musical) - a newly-created category - was An American in Paris (1951), in the 1952 awards ceremony.
• 1952 was the last year that film comedian Charlie Chaplin produced a US film, Limelight (1952). During post-production, he traveled to Europe for premiere openings of the film in London and Paris. His INS application for re-entry into the US (since he was a resident alien) was revoked by Attorney General James McGranery (who called Chaplin an "unsavory character"), and he would have to submit to questions about his political and moral behavior before being allowed to return.
• MGM's swimming star Esther Williams appeared in her only biographical film role, as Australian swimming star Annette Kellerman in Million Dollar Mermaid (1952) - a title which became her popular nickname (and the title of her published autobiography in 1999).

My Random Observations

• Having watched so many different types of older films over the couple of decades, I sometimes forget how special it is to view a quality studio-era film that is bursting with stars--not just one or two A-listers, but a bushelful. That's what you get here. To the point that I was surprised that lesser star Barry Sullivan won one of the parts in the trio of characters spurned by Kirk Douglas's Jonathan Shields. And Gloria Grahame's Oscar-winning performance came only in the last third of the film. Folks, there is no doubt that this is truly a "classic Hollywood" gem.

Director Amiel (B. Sullivan, left) realizes he's getting the
shaft from Shields (K. Douglas).

This time it's Georgia Lorrison (L. Turner) who gets
rejected in dramatic fashion by Shields.

Gloria Grahame plays the loyal if flighty wife
of writer James Lee Barstow (D. Powell).

• I loved how this film made you feel that you were walking around an active film studio in late 1940s Hollywood. From the opening shot showing a film in production, to inner office meetings with moguls, it was just ... real. I suppose it didn't hurt that characters in the film were inspired by real folks ranging from directors Josef von Sternberg and Alfred Hitchcock, producers Val Lewton and David O. Selznick, to one-time star Diana Barrymore. 
  

In the opening scene, director Amiel (B. Sullivan) zooms in
on his star in a scene in progress.

A car approaches the gates of Shields Studio in Hollywood.

• One of my favorite Hollywood all-star blockbusters is All About Eve (1950). Watching this one gave me distinct vibes from that classic from just a couple years earlier. From the casts of luminaries, to the dry humor, the skewing of parts of the entertainment business, the melodrama, and of course top notch production teams, these two films seem as kissing cousins.
  
  Both of these films kept the skewering from going over the top, with just enough wit and fun to keep you enjoying your experience watching them. For a completely different portrayal of Hollywood's golden age, watch The Big Knife (1955). You'll feel that you had a knife inserted somewhere in your body after. I wrote about that film here.

Hollywood studio executives and creatives confer in 
The Bad and the Beautiful

The principal stars in All About Eve (from criterion.com)

• For my second installment of "Bit Player Bingo", I spied character actor/forever-associate-of-leading men Paul Stewart here. He had a great mug, a sharp Brooklyn accent perfect for noirs and urban procedurals, and a long resume of films and TV. His first credited role was in none other than Citizen Kane. Second and in an even smaller, and uncredited, role, is everyone's favorite 1950s mom with pearls (Leave It to Beaver), Barbara Billingsley.

Paul Stewart (right) looks on, at his usual position behind
the star Douglas.

Barbara Billingsley (standing) as a studio employee in the
costume department.

Where to Watch
Warner Archive released a blu-ray in 2019. Or you may stream the film on a number of platforms for a small fee. 

Further Reading
Fellow CMBA blogger Leah at "Cary Grant Won't Eat You" wrote an insightful analysis of the themes of the film here.
More background and production information can be found on Albany.edu film notes section here.