Leisen Reading #1: Hollywood Contract Director: Mitchell Leisen PARAMOUNT PICTURES, a prime representative of the Hollywoo st!

io system in the "#$%s an "#&%s, 'ept !n er its (orporate mantle a phalan) of ire(tors who were on han to e)e(!te with the (!stomary Paramo!nt *loss the vario!s properties ma e availa+le to them, The top of the line--von Stern+er*, .e Mille, /!+itis(h--were *iven, of (o!rse, more latit! e in the sele(tion an the (reative reali0ation of their film enterprises, These men, +e(a!se of the artisti( (ontrol whi(h they maintaine over their films--li'e Hit(h(o(', Haw's, 1or , Stevens, Capra wor'in* elsewhere--were not in the narrowest sense of the term typi(al Hollywoo ire(tors, 2y far the *reatest ma3ority of the Hollywoo pro !(t was t!rne o!t +y the st! io (ontra(t ire(tors who i not possess either the talent, the front4offi(e (lo!t, or, (onse5!ently, the (reative in epen en(e of the men of top level position, It was mainly the Ale)an er Halls, the E ie S!therlan s, the Norman M(/eo s who most a((!rately sym+oli0e the mellow, te(hni(ally p!re, almost (himeri( (on(eption of 6 Hollywood ire(tor,6 This para i*m was the (raftsman with no professe aestheti( vision or so(ial mission, who re(eive ea(h pro3e(t 7for whi(h he was (ons(ripte +y a line pro !(er8 in the spirit of another (inemati( (hallen*e to +e e)e(!te , an who then !s!ally fashione motion pi(t!res 7from sometime fla((i s(ripts8 with effi(ien(y an vis!al polish, total te(hni(al (ontrol--an o((asional pana(he, The epen a+le Hollywoo artisans in the +roa mi le strat!m elevate in !strial pre(ision over 6artisti(6 am+i*!ity9 (ele+rate (onsisten(y of me(hani(al e)e(!tion an symmetry over (onsisten(y of in ivi !al e)pression of i eas, It was in this (onte)t that Mit(hell /eisen 7former ar(hite(t, set an (ost!me esi*ner for .eMille8--while 3!st missin* the s!+tle arti(!lation, the rarefie (on(ept!ali0ation, an perhaps the eli(ate restraint of the front line ire(tors--emer*e as ominant at the mi le level, It was here that /eisen, f!n(tionin* as point4man on Paramo!nt:s velvety pro !(tion line, s!+s!me the attri+!tes of the Hollywoo (ontra(t ire(tor an +e(ame its ar(hetype, 7In p!rely finan(ial terms, however, /eisen was anythin* +!t mi le level; in "#$< his yearly in(ome was hi*her than that of Howar Haw's or Rao!l =alsh,8 /eisen (o ifie his (inemati( approa(h an st! io position, an that of his (ontra(t (ollea*!es as well when he state ;
In my entire pi(t!re (areer I have never ha a esire to tell a story, I have never wal'e in with a s(ript an sai , 6I want to ma'e this,6 To me, they han yo! a pro+lem, How are yo! *oin* to solve it> =hat is yo!r atta('> =hat is yo!r tempo *oin* to +e> How are yo! *oin* to treat this pro+lem to ma'e it fresh, *ive it s!+stan(e> Every pro+lem stri'es me as one in (onstr!(tion, I thin' it all stems from the fa(t that my entire trainin* was as an ar(hite(t, =hat is yo!r fo!n ation *oin* to +e> =hat is yo!r str!(t!re> =hat are yo! *oin* to !se on the o!tsi e for trimmin*s, for froth> Everythin* in motion pi(t!res (omes !p as a new s!+3e(t an has to +e han le in a new way, That:s why I li'e ire(tin* +etter than ar(hite(t!re, ?o! (an *et st!(' in ar(hite(t!re, yo! 'now, ?o! (an sit at yo!r es' +l!eprintin* one home after another, or one +!il in* after another, The only variation is that when yo! *et thro!*h, sometimes yo! is(over yo! left o!t the +athroom, Of (o!rse, in pi(t!res, yo! fin yo! left o!t the plot on(e in a while@ AUnless otherwise attri+!te , all Mit(hell /eisen 5!otations are erive from interviews +y the a!thors with /eisen, (on !(te at the Motion Pi(t!re Co!ntry Home, =oo lan Hills, California, B!ly "#C",D

/eisen ma e more finan(ially s!((essf!l films for Paramo!nt in the "#$%s an "#&%s than any other ire(tor, e)(ept for Ce(il 2, .e Mille, His top *rossers-- The Big Broadcast of 1937, Swing High, Swing Low, I Wanted Wings, Lady in the Dark, rench!an"s #reek, $itty--were not amon* his +est films 7e)(ept for $itty8, +!t were typi(al of his pe(!liar ire(torial style, As most of Paramo!nt:s pi(t!res (ame o!t of the same writin* (!+i(les an were (h!rne in the same ire(torial ran's, it was a tri+!te to an artist:s resilien(y an for(ef!lness to have istin*!ishe any of the pro !(t with a (onsistent personality imprint, /eisen rew on the Paramo!nt sto(' (ompany--espe(ially 1re Ma(M!rray, Pa!lette Eo ar , Ray Millan --the same as the other ire(tors, 2!t a s!rvey of his feat!res, whi(h employe s!+stantially the same te(hni(al reso!r(es an s!pportin* players as those a((or e the rest of the ire(torial for(e, in i(ates a mar'e 5!alitative e *e over his se(on e(helon asso(iates, It is si*nifi(ant that a sense of /eisen:s vis!al am+ien(e is evi ent thro!*h the many similar st! io pro !(tion elements, To appre(iate the infl!en(e of /eisen:s *ossamer presen(e in his films, (ompare the invi*oratin* treatment *iven to his 1re Ma(M!rray vehi(les--Take % Letter, Darling 7"#&F8, &o Ti!e or Lo'e 7"#&$8, an S(ddenly It"s S)ring 7"#&C8 7all with s(reenplays +y Cla! e 2inyon8--with the rather limp ineffe(t!ality of other Ma(M!rray pi(t!res ire(te +y =esley R!**les 7In'itation To Ha))iness, "#$#9 Too *any H(s+ands, "#&%8 an Eeor*e Marshall 7%nd The %ngels Sing, "#&&8--whi(h were also +ase on story an s(reenplay material +y the same Cla! e 2inyon, /eisen +ro!*ht a imension of vis!al (harm an e)(itement to his 2inyon s(ripts whi(h the others never approa(he , A((or in*ly, he s!((ee e in vitali0in* a .arrell =are an Garl T!n+er* s(reenplay in $itty 7"#&H, a eli*htf!l Pa!lette Eo ar 4Ray Millan (o4or ination8, while Si ney /anfiel 7Standing ,oo! -nly, "#&&8 an /ewis Allen 7The I!)erfect Lady, "#&C8 were !na+le to perform a similar res!s(itation for Eo ar an Millan employin* f!rther s(ripts +y the same =are4an 4T!n+er* !o, His +est films--an perhaps the pinna(le of Paramo!nt:s (ome y ma*i( of the "#$%s--were .asy Li'ing 7"#$C8 an ,e!e!+er The &ight 7"#&%8, with two s(reenplays +y Preston St!r*es9 an *idnight 7"#$#8, written +y 2illy =il er an Charles 2ra('ett, Here was a(hieve the s!+lime marria*e of tren(hant (omi( literat!re an /eisen:s omnis(ient ire(tion, WRITER DOMINATED FILM 2!t while these films show /eisen to +e an e)pert interpreter of the material, they are all three what wo!l have to +e (alle writer:s (inema, To a far *reater e)tent than is tr!e in most ire(torial (areers, /eisen:s filmo*raphy (an +e i(hotomi0e into the films ominate +y stron* s(ripts an those ominate +y ire(torial personality, The first *ro!p falls *enerally in the

"#$%s--with the St!r*es, =il er, an 2ra('ett entries--fortifie +y #radle Song 7"#$$, Mar( Connelly8, Death Takes % Holiday 7"#$&, Ma)well An erson8, o(r Ho(rs To $ill 7"#$I, Norman Grasna8, These films were an inte*ration of a!thor:s (on(eption with ire(torial (ontrol, The "#$%s films th!s en3oye a literary an ire(torial harmony, +!t, para o)i(ally, the in i*eno!s /eisen pi(t!re i not o((!r !ntil (ir(!mstan(es enie him the s(reenplays whi(h ma e for the wholeness of the early tri!mphs, =ith perhaps only one or two e)(eptions-- Hands %cross The Ta+le 7"#$I8 an possi+ly Swing High, Swing Low 7"#$C8--the era of the /eisen pi(t!re was the e(a e of the "#&%s, It was then that /eisen, +ereft of the pivotal s(reenplay material, attempte to ivert the viewer:s eye from narrative 3e3!nity to mise4en4s(Jne, This assertion of vis!al e)pertise, !nfort!nately, i not ma'e the film prefera+le to those of the "#$%s9 it simply ma e them a more a((!rate refle(tion of /eisen:s !ni5!ely versatile (inemati( reso!r(es, The spe(ial te)t!re of those "#&%s pi(t!res eman s etaile analysis, +!t +e(a!se even the writer4 ominate pi(t!res have /eisen:s ire(torial (ontri+!tions stampe in eli+ly on them, some +rief (omments are relevant here, In .asy Li'ing, the sheer loo' of the e)traor inary sets, whi(h ran*e from the .i('ensian offi(es of the Boy"s #onstant #o!)anion, to the phantasma*ori(al trappin*s of the !ltra4(hi( "#$%s !oderne s!ite at the Hotel /o!is, was istin(tly /eisean, as in the (onstr!(tion of Bean Arth!r:s (o0ily4forlorn little +oar in* ho!se room in the pi**y4+an'4+rea'in* s(ene9 of the fren0ie a!tomat se5!en(e, whi(h, +e(a!se of its physi(al e)e(!tion an esi*n, was !ltimately /eisen:s not St!r*es:s invention, The perfe(t (amera pla(ement an formal str!(t!rin* within the frame in these s(enes, in a ition to the m!te hysteria of wor'in*4 *irl Arth!r an the +om+asti( fr!stration of E war Arnol , are pi(torial testament to the s'ill of 7to !se Sarris:s phrase8 the 6eye4 wise /eisen,6 In the (ase of *idnight, /eisen:s most praiseworthy (ontri+!tion was the pa(e of the film, Timin*, of (o!rse, is *enerally re(o*ni0e as a f!n amental element of *oo (ome y, +!t it is espe(ially iffi(!lt to a(hieve in what 1ranKois Tr!ffa!t has (alle 6the ma0e of snares inherent in the fra*mentation of the shootin*, the (!ttin*, an the monta*e of a film,6 An this sense of timin* (annot +e a((omplishe +y e itin* alone if the ire(tor has not +een in (omplete (ontrol of the tempo of ea(h shot, /eisen state in a re(ent interview that he always esta+lishe the pa(e of a s(ene +y varyin* the tone an (a en(e of his voi(e as he (alle 6rea y , , , ri*ht , , , a(tion@6 This te(hni5!e serve to *ive the a(tors a proper 6+eat6 for the in ivi !al shot, 1or e)ample, the soirLe se5!en(e in *idnight, !rin* whi(h Cla! ette Col+ert en(o!ntere Bohn 2arrymore for the first time, was playe slowly eno!*h for n!an(es an s!+tleties of the emer*in* (hara(ter relationships to +e f!lly savore 9 whereas the wee'en party se5!en(e towar the en of the film move at +rea'ne(' spee from one e(eption to the ne)t, 1inally, as 2arrymore, Mary Astor, an 1ran(is /e erer mar(he o!t of the (o!rtroom in the final s(ene, the eli+erateness of their movements an the sli*ht sense of pa*eantry were entirely ri*ht, allowin* !s to rea their e)pressions, an also servin* as an in*enio!s (inemati( e5!ivalent of a (!rtain (all in whi(h ea(h of the prin(ipals ma e a last appearan(e, If ,e!e!+er the &ight is not /eisen:s +est film, it is se(on only to the (ontinental l!stre, svelte wit, an shimmerin* te)t!re of *idnight, As with .asy Li'ing, /eisen was a*ain fort!nate to have a Preston St!r*es s(reenplay on whi(h to mo!nt his sensitive own4home evo(ations, St!r*es:s ori*inal s(reenplay stan s as an e)traor inary pane*yri( to the almost preternat!ral powers of home (oo'in*, +arn an(es, an small4town in*en!o!sness, Para o)i(ally, St!r*ean freneti(s of .asy Li'ing *ave way to the affe(tionate view of *rass4roots simpli(ity, It was too para o)i(al, in fa(t, to +e entirely (ompati+le with the iras(i+le, satiri( tone whi(h was to +e*in with his very ne)t film, It is therefore lo*i(al to (re it the amelioration of some potentially is(or ant moments in ,e!e!+er the &ight to /eisen:s sensitive, essentially 6feminine6 approa(h 7 is(!sse +elow8, /eisen, who stren!o!sly avoi e any so(ial (omment or ten entio!sness in his films, p!rposely !lle St!r*es:s rather sharp ten en(ies in this re*ar , The story poses the intri*!in* (onfli(t of 1re Ma(M!rray, as New ?or' City:s Assistant .istri(t Attorney, fallin* in love with the woman 72ar+ara Stanwy('8 he is to prose(!te for stealin* a iamon +ra(elet, The roman(e o((!rs when a sympatheti( Ma(M!rray +ails Stanwy(' o!t of 3ail for the Christmas holi ays 7whi(h was his (lever le*al mane!verin* to +rin* a+o!t a (ontin!an(e of the trial !ntil the new year8, He en s !p ta'in* her +a(' to In iana with him--as it t!rns o!t that they are from nei*h+orin* villa*es there, The manner in whi(h /eisen vis!ally (omplements an a!*ments St!r*es:s narrative esi*n is a ma3or filmma'in* a(hievement, The pa(e an movement of the film is so a+sol!tely (ompati+le with Stanwy(':s ethi(al re4awa'enin*, that ea(h s(ene, ea(h n!an(e of (hara(ter insi*ht seems to lo*i(ally an ine)ora+ly flow into the ne)t, 1or e)ample, in the openin* (o!rtroom episo e the efense attorney ma'es an e)trava*ant appeal for his (lient +y histrioni(ally tellin* the 3!ry that Stanwy(' 7re(overin* from a fit of hypnosis8 +e(ame so tire from her franti( efforts to ret!rn the +ra(elet that she 6mista'enly6 ha in her possession that 6her le*s were t!rnin* to lea ,6 At this point, Stanwy(' appropriately in(hes her s'irt !p the le*s in 5!estion, A sense of harsh isill!sionment is felt in the se5!en(e when Stanwy(' ret!rns to her mother:s home, Espe(ially powerf!l are the 3arrin* ima*es of a o* +ar'in* in the +a('*ro!n as Ma(M!rray an Stanwy(' approa(h her ol home9 of the emotionally anestheti0e mother emer*in* from the 'it(hen in the +a('*ro!n , seen from Stanwy(':s point of view on the por(h in an over4the4sho!l er shot of the lone +are li*ht +!l+ +ein* t!rne off while 1re an 2ar+ara are still on the por(h after the mother has re3e(te the a!*hter, The tone of s!ppresse an*er an isolation is +rilliantly esta+lishe in the /eisen mise4en4 s(Jne--*ivin* emotional vali ity to one of St!r*es:s rather 1re! ian (on(epts, The film esta+lishes, an event!ally issolves, the i(hotomy +etween the pra*matism of Stanwy(':s !r+an worl an the ethi(al vision 7whi(h is threatene 8 of Ma(M!rray:s; the (allo!s isen(hantment an espair of Stanwy(':s +ro'en home, in (ollision with the !ltimate affirmation of (ompassion an (ivili0e law,

THE !"INTE ENTIAL LEI EN The typi(al /eisen pi(t!re is (hara(teri0e +y at least two 5!alities; a 6feminine6 point of view an a l!sh vis!al style, An analysis of these attri+!tes (omprises a (riti(al approa(h to the films of Mit(hell /eisen, The Fe#inine $iew The overwhelmin* ma3ority of /eisen:s films have +een romanti( love stories, with a woman as a (entral (hara(ter in ea(h, All else was mere +a('*ro!n for a (o!rtship rit!al, The (astin* of the feminine lea s emonstrates the importan(e of the woman to the /eisen pi(t!res, Some of the +est female stars in Hollywoo 7.ietri(h, /om+ar , Arth!r, Col+ert, Stanwy(', .eHavilian , 1ontaine8 were the heroines of his films, while the male roles were *enerally rele*ate to the pe estrian talents of 1re Ma(M!rray an Ray Millan 7"H /eisen films +etween them8, In his fa(ility for ire(tin* a(tresses, /eisen +e(ame a sort of se(on 4level Eeor*e C!'or, Hands %cross The Ta+le 7"#$H8 is nota+le as the first pi(t!re whi(h (om+ines all of the elements of the tr!e 6Mit(h /eisen6 movie; a sophisti(ate milie! in whi(h the intri(a(ies of the male4female relationships are e)amine 9 a worl of slee', stylishly (lothe (hara(ters in ele*ant s!rro!n in*s9 a te(hni(ally polishe loo', so!n , an feel to every aspe(t of the pro !(tion, Hands mi*ht also +e (onsi ere /eisen:s first 6mo ern6 film, +rea'in* away from the rather 6sta*y6 tone of Tonight Is -(rs, #radle Song, an Death Takes % Holiday, whi(h rew their a(tin* style an str!(t!re from theatri(al tra ition, as well as e)ten in* +eyon the a(t!al theater settin*s of *(rder %t The /anities an o(r Ho(rs To $ill, In Hands Carole /om+ar is a .epression4s(arre wor'in* *irl etermine to rise a+ove her lowly position +y marryin* into wealth, Altho!*h 1re Ma(M!rray as her penniless +oy frien has some am!sin* moments, the film is always /om+ar :s, an /eisen:s whole ire(torial approa(h !n ers(ores his sympathy for her (hara(ter, /om+ar *ives a si00lin* performan(e as a *irl whose ener*ies are e)pen e in s!ppressin* romanti( imp!lses for har 4hea e pra*matism, =e have asserte that Hands was the *enesis of /eisen:s liltin* style, Seen to ay the film:s merits seem to +e almost e)(l!sively on the si e of the vis!al, The way in whi(h /om+ar is sens!o!sly photo*raphe , the t!('in*4into4+e e5!ivalent of It Ha))ened -ne &ight:s 6=alls of Beri(ho6 ro!tine, the sense of New ?or':s s!ltry s!mmer atmosphere an moo of s!ppresse se)!ality, Ma(M!rray hop4s(ot(hin* in (arefree 3!)taposition to 2ellamy:s paralysis--all s!**est the ire(tor:s han , Norman Grasna:s s(ript has +een (ite A il! #o!!ent, =inter "#C%4C"D as the ma3or reason for the film:s s!((ess, with /eisen virt!ally s!+or inate to mere f!n(tionary, A(t!ally, a (ontemporary viewin* ete(ts the almost em+arrassin* la(' of h!mor in the ialo*!e A6My *ran father was a pirate>6 6Honest>6 6No, a pirate,6D an a triteness in the s(enario whi(h (riti( Otis 1er*!son re(o*ni0e in "#$I, 7He (alle the form!la story 6Ero!p A, S!+type ""4C,68 Moreover, even if the s(reenplay were eeme praiseworthy, it is 5!estiona+le whether Grasna:s infl!en(e on the film sho!l e(lipse /eisen:s--sin(e Grasna shares the writin* (re it with note playwri*ht Min(ent /awren(e, Her+ert 1iel s, an that 6wise poetess6 .orothy Par'er 7ori*inal story +y Mina .elmar8, 1er*!son was aware that the real virility of Hands lay in what he (alle 6a first4rate pie(e of fil! !anage!ent , , , a wis om of )roced(re,6 /eisen was not propelle +y an elo5!ent s(ript into an ina vertent s!((ess9 he +!ttresse a v!lnera+le s(ript into a romanti( (ome y of palpa+le vis!al stren*th, The ifferen(es +etween /eisen:s "#$%s heroines an the ones of his "#&%s pi(t!res refle(te the so(iolo*i(al ferment of the perio , =hereas the "#$%s women m!st (hoose +etween !oney an love in their (hoi(e of a mate, the "#&%s women m!st (hoose +etween their l!(rative careers an love, As prototypes of the e(onomi(ally motivate "#$%s heroines, /om+ar in Hands an Col+ert in *idnight initially re3e(te their attra(tion for impe(!nio!s Ma(M!rray an .on Ame(he respe(tively, in or er to p!rs!e more finan(ially rewar in* prospe(ts, /om+ar an Col+ert !se i enti(al lan*!a*e to e)plain how poverty estroye their own parents: marria*es, an to emphasi0e their fier(e etermination to avoi this fate themselves, This element, whi(h (!t a(ross the (ontent of two ifferent sets of s(reenwriters 7an was inte*ral to the (onfli(t in Swing High, Swing Low8, in i(ate a ire(torial imprint whi(h went +eyon ori*inal writer (on(eption, The "#&%s women wor'e mi*htily at s!ppressin* their tr!e feelin*s !ntil the last reel, when they opt for wifely s!+servien(e every time, Rosalin R!ssell en e !p (hoosin* the !+i5!ito!s 1re Ma(M!rray to her hi*hly s!((essf!l +!sinesswoman:s (areer in Take % Letter, Darling 7"#&F8, as Cla! ette Col+ert li'ewise a+an one her position as top photo*rapher, a*ain for the rather !+io!s (harms of Ma(M!rray in &o Ti!e or Lo'e 7"#&$89 Ein*er Ro*ers pi('e Ray Millan over ma*a0ine p!+lishin* in Lady In The Dark 7"#&&8, Re*ar less of how these pro+lems were pose , one element remaine (onstant; they were a wo!an"s pro+lems, an that is what en*a*e /eisen:s attention, As early as Death Takes % Holiday 7"#$&8, the se(on feat!re for whi(h /eisen re(eive sole ire(torial (re it, the female prota*onist was the (ynos!re of his ire(torial approa(h, Con(ernin* the (hara(ter of Era0ia 7Evelyn Mena+le8, the yo!n* woman whom 1re eri( Mar(h, as .eath, ta'es away to the Nether worl at the en of the pi(t!re, /eisen sai re(ently;
She oesn:t want to live, She wants pea(e an 5!iet, She wants to ie, An I +ase the whole pi(t!re on that one premise, 1rom the very openin* shot of her, every+o y else is at a festival in the villa*e town, an I (!t to her an she:s all alone in the (h!r(h, I pi('e !p from ri*ht there, I esta+lishe her as a (ompletely ifferent (hara(ter,

/eisen was prepare to reali*n the ramati( fo(!s of the film 7a(t!ally ifferent from s(enarist Ma)well An ersonNs on this point9 see interview8 in or er to hi*hli*ht the feminine (hara(ter,
%Note& =hile the women in the (ome ies of 1ran' Capra seeme to f!n(tion as foils to the male prota*onists 7Bean

Arth!r an 2ar+ara Stanwy(' to Eary Cooper an Bimmy Stewart in *r0 Deeds 1oes To Town, *r0 S!ith 1oes To Washington, an *eet 2ohn Doe89 an while Howar Haw's:s (ome ies *ive e5!al emphasis to the male an female lea s 7Cary Erant an Gatharine Hep+!rn in Bringing 3) Ba+y, Erant an Rosalin R!ssell in His 1irl riday, Cooper an Stanwy(' in Ball -f ire8--the wo!an alone in /eisen:s (ome ies was the person on whom all narrative an vis!al str!(t!rin* (entere ,D

More si*nifi(antly, there was an emer*en(e of a /eisen fa(et in whi(h the role of woman trans(en s the s!+3e(t matter an +e(omes as m!(h a matter of style, of vis!al treatment, as of (ontent, Many of his s!+3e(ts were essentially 6feminine6 to +e*in with; the romanti( (ome ies li'e 4ractically 5o(rs 7"#&I8 or S(ddenly Its S)ring 7"#&C89 or the Olivia .e Havillan soap operas--Hold Back The Dawn 7"#&"8 an To .ach His -wn 7"#&H8, AAnother re(!rrin* OfeminineP theme involves a womanNs willin*ness to en !re marital !nhappiness rather than (onfess her affe(tion for the man she really loves--Cla! ette Col+ert for 1re Ma(M!rray 7a*ain8 in 4ractically 5o(rs 7"#&I8 an 2etty H!tton for Ma( onal Carey in Drea! 1irl 7"#&C8,' It was in his a vent!re4spe(ta(les, however, that the softenin* effe(t of /eisen:s feminine 7rather than effeminate8 style +e(ame more o+vio!s, In rench!an"s #reek 7"#&&8 what was essentially a pirate tale +e(ame, when seen thro!*h the eyes of Boan 1ontaine, somethin* more a'in to The 4irates -f 4en6ance than to #a)tain Blood, 7The lethar*i( fi*ht se5!en(es with Art!ro e Cor ova, 2illy .aniels, an the o)7ra +o(ffe pirates s(rape away what patina of mas(!line stren*th lea'e thro!*h in the form of 2asil Rath+one,8 In 1olden .arrings 7"#&C8, /eisen:s (amera o+vio!sly preferre the *ypsy (amp an the s!ltry presen(e of Marlene .ietri(h to Ray Millan :s melo ramati( en(o!nters with the Na0i mena(e, In ee , so (omplete was the re4 shapin* of the ori*inal (on(epts of this film, in or er to a((ommo ate /eisen:s spe(ial fo(!s, s(reenwriter A+raham Polons'y em!rre , 6I 'now there isn:t a sin*le s(ene or wor of mine in it,6 2!t !nli'e the *enre4strainin* e((entri(ities of these 5!asi4a vent!re films, in $itty 7"#&H8 /eisen fo!n a vehi(le i eally s!ite to his style of filmma'in*, An almost ire(t steal from Shaw:s 4yg!alion, the story (hroni(les the rise of Pa!lette Eo ar from a /on on (hil of the sl!ms to a !(hess in a mere two years, The ei*hteenth (ent!ry settin* *ave /eisen ample opport!nity to e)er(ise his pen(hant for histori(al a!thenti(ity, not only in the interior e(oration +!t also in the painsta'in* repro !(tions of paintin* +y Eains+oro!*h 7Ce(il Gellaway8, Han somely photo*raphe in +la(' an white +y .aniel 1app, the op!lent pro !(tion ha roll (hara(teri0ations +y Re*inal Owen as a senile !'e an Constan(e Collier as the owa*er who s!((essf!lly t!tors Gitty for the role of *ran la y, 2!t the a((ola es for t!tela*e, in ee the mantle of Py*malion himself, sho!l *o to /eisen for his ama0in* feat of eli(itin* from the or inarily inept Pa!lette Eo ar a most satisfa(tory performan(e in the title role, Her a+ility to (onvey the tension whi(h res!lts from Gitty:s s!ppression of her tr!e emotions 7a*ain, the trait that Gitty shares with a n!m+er of /eisen heroines8, reveals m!(h of the film:s !ni5!ely /eisen vision, The 5!intessential /eisean woman was seen in Hold Back The Dawn 7"#&"8 an To .ach His -wn 7"#&H8--as impersonate +y Olivia .e Havillan --res!ltin* in a 2est A(tress nomination an awar respe(tively for her performan(es, A (lassi( 6weepy6 (on(ernin* the trials of an !nwe mother, the s(reenplay for To .ach His -wn +y Charles 2ra('ett an Ba(5!es ThLry provi e /eisen a +roa (anvas on whi(h to wor' his ma*i(, 1rom the -(r Town atmosphere of the openin* se5!en(es, to the +la('e 4o!t ni*ht(l!+s of =orl =ar II /on on twenty4si) years later, we follow Olivia as she *oes from yo!thf!l (harm an inno(en(e to em+ittere mi le4a*e, A*ain, the s!ppression of emotions is the ominant motif, an /eisen (on(entrate on Olivia:s s!+ !e a*ony, her maternal an finan(ial o+sessions, for almost every frame--!ntil the emotional release of the final s(ene when she is re4!nite with her son, playe +y Bohn /!n 7who, with 1re! ian lo*i(, was also (ast as the +oy:s father8, The $is(al tyle In ee , the 5!ality whi(h +e(ame a amantine in the "#&%s pi(t!res was the s!prema(y of vis!al treatment over narrative (o*en(y, /eisen:s fa(ility with the trappin*s of mise4en4s(Jne was esta+lishe in his early years as set an (ost!me esi*ner for Ce(il 2, .e Mille, from *ale %nd e!ale 7"#"#8, ool"s 4aradise 7"#FF8, !p thro!*h The $ing -f $ings 7"#FC8, The Sign -f The #ross 7"#$F89 an for Allan .wan:s ,o+in Hood 7"#FF8, Rao!l =alsh:s The Thief -f Bagdad 7"#F&8, He won his only personal A(a emy Awar nomination 7in any (ate*ory8 for Interior .e(oration in .e Mille:s Dyna!ite 7"#F#8, In his arti(le entitle 6Some Pro+lems of the Art .ire(tor6 ASociety of *otion 4ict(re .ngineers, Transactions 7April "#F<8D, /eisen s!**este the (lose relationship +etween the .esi*ner an .ire(tor; 6The Art .ire(tor in the i eal (ase very often sets the (amera line for the .ire(tor +e(a!se he 'nows the +est an*le to shoot from,6 2e(a!se of this pre ispose sensitivity to ire(torial f!n(tion, /eisen effe(te his o((!pational transition more easily than others, However, on(e la!n(he as ire(tor with #radle Song 7"#$$8, /eisen assi !o!sly so!*ht (riti(al re(o*nition in other (reative areas of pro !(tion--an p!rposely m!te an emphasis on his former e)pertise, 7Nevertheless, .asy Li'ing, *idnight, an ,e!e!+er The &ight en3oy /eisen:s inherent vis!al effi(a(y as m!(h as their s(ripts: Aristotelian str!(t!re,8 The "#&%s saw the war:s raina*e of writin* talent an the shift to ire(tor for St!r*es an =il er, The ens!in* years for(e /eisen to emphasi0e the vis!al aspe(ts of his films in or er to (ompensate for the efi(ien(ies in the s(ripts he re(eive ,
AIn fa(t, the pa!(ity of *oo s(reenplays was not entirely !e to the la(' of esta+lishe s(reenwriters, /eisen still ha a((ess to some of the +est, +!t the s(ripts he re(eive were rather wea' (ompare to those of the previo!s e(a e; the same 2illy =il er an Charles 2ra('ett of *idnight offere %rise, *y Lo'e 7"#&%8, a (!rio!s pasti(he of (ome y an a vent!re whi(h i not entirely s!((ee on either level, an Hold Back The Dawn 7"#&"8, whi(h intri*!in*ly ha Charles 2oyer relate his tale--(on(ernin* his hypo(riti(al marria*e to vir*inal Olivia .e Havillan in or er to +e(ome an Ameri(an (iti0en--to Mit(hell /eisen himself portrayin* a fi(tional movie ire(tor 7Mr, Sa)on8, It was a not inele*ant soap opera, employin* some rather ni(e Me)i(an settin*s, +!t the story !ltimately straine (re i+ility, 2ra('ett 7with Ba(5!es ThLry8 were responsi+le for the similarly impla!si+le To .ach His -wn, Norman Grasna, perhaps revealin* the effe(ts of war weariness, pro !(e a silly an somewhat irritatin* s(ript for 4ractically 5o(rs9 while the epen a+le 1ran(es Eoo ri(h an Al+ert Ha('ett, somehow affli(te with a similar malaise, isplaye

an !n(ommon ineptit! e in a aptin* Lady In The Dark to the s(reen,D

His shift in orientation is refle(te in the remar'a+le phenomenon that of the "$ Os(ar nominations for Interior .e(oration won +y Paramo!nt films 7+y Hans .reier an his staff8 !rin* this 5!intessential /eisen perio from "#&% to "#&#, se'en were for /eisen4 ire(te pi(t!res--tan*i+le in i(ations of an in(rease re4or erin* of his artisti( fo(!s, A These films are;
6%rise *y Lo'e 7"#&%8, Hold Back The Dawn 7"#&"8, Take % Letter, Darling 7"#&"8, &o Ti!e or Lo'e 7"#&$8, Lady In The Dark 7"#&&8, rench!an"s #reek 7whi(h won in "#&&8, an $itty 7"#&H8,D

This im+alan(e was espe(ially noti(ea+le in Lady In The Dark an rench!en"s #reek, where the vis!al esi*n implie massive effort, an the s(ripts an a(tin* were stran*ely for*otten in a miasma of fat!ity an (hara(ter stereotypes, Altho!*h /eisen +ro!*ht to his films well4 evelope talents for interior e(oration, ar(hite(t!re, raftsmanship, s(!lpt!re, (ost!me esi*nin*, an m!si(--his filmi( style was nevertheless the apotheosis of the ass!re , lo*i(al, !no+tr!sive rhythms of the Hollywoo prototype, His approa(h was almost !naltera+ly me i!m4lon* esta+lishin* shot, then in ti*hter for me i!m shot pro*ression towar the (hara(ters, event!ally two4shot an sin*le (lose4!ps for ialo*!e, Camera movement was never *rat!ito!s, +!t, when e)e(!te , it ri(hly em+roi ere the ramati( presen(e of his (aref!lly prepare sets; the tra(' with Col+ert an 2arrymore thro!*h his (o!ntry (hatea! in *idnight9 the olly of =ellesian !ration followin* Re*inal Owen thro!*h his over4whelmin* pala(e in $itty9 the 3o!rney thro!*h the almost e5!ally en*a*in* set of the leathery woo 4panele 2!rlin*ton Cl!+ in 1olden .arrings, /eisen:s style of (omposition an framin* always serve to (omplement the feminine perspe(tive of the narrative, His women were photo*raphe so as to !n ers(ore their emotional salien(y to the s(ene--an to hi*hli*ht their eli(ate se)!ality even when men were present in the frame, His +ene i(tion to the (rystalline +ea!ty of his heroines pier(e even the e(onomi( an le*al stri(t!res whi(h the s(ripts pres(ri+e for them; /om+ar an Col+ert mana*e to retain an ima*e of (lassi( loveliness even as one emer*es from a s!+way on the way to wor' as a mani(!rist 7/om+ar , in Hands %cross The Ta+le8, or isem+ar's-penniless--from a weathere train (oa(h in a rivin* rainstorm, with only a newspaper for prote(tion 7Col+ert, in *idnight89 Stanwy(', fa(in* a prison term for theft, is transporte vis!ally from her impen in* misfort!ne +y the nostal*i( (harm of hay ri es, Christmas (oo'ies, an (anopie +e s in ,e!e!+er The &ight, Sometimes /eisen:s (ompositions vivi ly e)press, where no wor s a e5!ately (o!l , emotions an i eas whi(h are (r!(ial to the narrative, In Hands %cross The Ta+le, for e)ample, the sho(' of Ma(M!rray:s s! en epart!re from /om+ar :s apartment is p!n(t!ate +y the presen(e of a lone (at on the +e where he formerly slept, In S(ddenly It"s S)ring, Eo ar an Ma(M!rray 7on the +rin' of ivor(e8 are shown frame in a oorway shot from insi e a (loset, This (omposition (apt!res a sense of lin*erin* intima(y an affe(tion +etween them not previo!sly s!**este +y the s(ript, This vis!al a('nowle *ement was the ramati( pivot of this film, 3!st as a +rav!ra episo e with Boan 1ontaine an 2asil Rath+one--a((omplishe with no ialo*!e +!t with powerf!l emotional an vis!al intensity--was the (atharti( moment in rench!an"s #reek, The overhea shot of the horrifi( fi*!re of Rath+one mortally wo!n e (rawlin* !p a fli*ht of stairs to atta(' 1ontaine, an the s! en appearan(e of her (hil ren ma'in* her reali0e that her frivolity has p!t them in an*er, is a s(ene that is sim!ltaneo!sly fri*htenin* an poeti(, rench!an"s #reek has only the aforementione s(ene +y 1ontaine an Rath+one, some impressive sets, an the Northern California (oastline to re(ommen it--+efore the painf!lly naive s(ript 7+y Tal+ot Bennin*s8 an the woef!lly amate!rish presen(es of Art!ro e Cor ova an 2illy .aniels s(!ttle the film +eyon hope of res(!e, The e)traor inarily +ea!tif!l (olor photo*raphy of the /eisen4(onstr!(te pro !(tion n!m+er in Lady In The Dark far trans(en s the tr!n(ate a aptation of Moss Hart:s play as f!n(tionin* (inemati( material, It seems espe(ially si*nifi(ant that the vis!al l!ster, whi(h +e*an to +e ominant in /eisen:s "#&%s films, was isolate for (omment +y the &ew 5ork Ti!esNs !s!ally s!+ !e 2osley Crowther; 6Never, in this writer:s memory, has the s(reen mo!nte s!(h a isplay of overpowerin* splash an *litter as it oes with Paramo!nt:s Lady In The Dark, 1or the st! io, to !se a (ommon i iom, has (ompletely shot the wor's an t!rne o!t a Te(hni(olore mar(h4past whi(h p!ts s!(h previo!s s(reen para es to shame,6 AF$ 1e+r!ary "#&&,D (##ary E)al(ation Mit(hell /eisen; Hollywoo (ontra(t ire(tor, His self4impose e)ile to the mi le level--his promis(!o!s st! io4 ire(tor a((eptan(e of vario!s assem+ly4line pro3e(ts--(reate for himself a +aro5!e portrait of a well4(on itione artisan re5!ire to f!n(tion with fla++y material, Nevertheless, the hy+ri pi(t!res--in their movieish romanti(ism, their stylish *lamo!r, their etermine avoi an(e of any serio!s (onfrontation with life--so (onsistently refle(te the personality of /eisen 7the ire(tor an man8 that his ele*ant ire(torial !niverse was more for(ef!lly p!n(t!ate than if =il er an St!r*es ha remaine in their writer:s (!+i(les, /eisen (om+ine the virt!es of literary interpreter with those of te(hni(ian, His approa(h to his film pro3e(ts ha never +een as an a(te(r, +!t as an architect, =illin*ly performin* within the st! io set4!p, his was the most sensi+le attit! e, Interestin*ly, the followin* from .ire(tor Bohn 1or in i(ates that he shares this view;
It is wron* to li'en a ire(tor to an a!thor, He is more li'e an ar(hite(t, if he is (reative, An ar(hite(t (on(eives his plans from *iven premises--the p!rpose of the +!il in*, its si0e, the terrain, If he is (lever, he (an o somethin* (reative within these limitations, AAn rew Sarris, Inter'iews with il! Directors, p, "#<,D

An if, as /eisen sai , 6?o! fin yo! left o!t the plot on(e in a while,6 in his later films at least, no+o y seeme to miss it,

Art (reates its own worl , an /eisen:s films, while *enerally naive in their (on(eption of women an sentimental in their treatment of reality, possess an Llan, a wholeness--a 'in of inte*rity--whi(h reveals one man:s vision, Often havin* forsa'en the s(ript in favor of the set esi*ner:s +en(h an the war ro+e, the syn rome was one of vis!al over4'ill, 2!t they were films 'ille with 'in ness, As An rew Sarris wrote, /eisen was 6an e)pert iamon (!tter wor'in* with l!mpy (oal,6 In ee , as often as /eisen fa(e the (hallen*e of enno+lin* +ase material, the talents he perfe(te were not so m!(h those of ar(hite(t as of al(hemist,

INTERVIEW
Mister Leisen* what was yo(r initial contact with the #o)ie +(siness, I ha (ome to /os An*eles on va(ation in "#"<, an I happene to r!n into Beanne M(Phearson, .eMille:s top writer, at the ol Ship Cafe, She sai ; 6I: li'e to have yo! meet Ce(il .e Mille,6 An .e Mille sai ; 6I wo!l li'e to have yo! (ome an see me, Miss M(Phearson tells me a+o!t the won erf!l wor' yo! o,6 I tho!*ht, what the hell oes she 'now a+o!t me> I: only met her on(e +efore, 2!t I went to see .eMille anyway, He as'e me to (ome an wor' for him, an I a((epte the offer, What did DeMille hire yo( to do -or hi#, I was to esi*n (ost!mes, An I: never esi*ne a (ost!me in my life, So I tho!*ht, well, it:s a *oo (han(e to see the insi e of a st! io, The first thin* I i was a (ost!me that has sin(e +e(ome 5!ite famo!s--the white pea(o(' *own that Swanson wore in *ale and e!ale, =ell, when .eMille saw that ress, he was sol on me forever after that, No+o y ha (ome !p with white pea(o(' feathers +efore, It ma e me very soli with him, Were yo( still (nder contract to DeMille when yo( did the cost(#e -or Do(.las Fair+an/s0 1rod(ction o- Robin Hood, No, I: +een fire , 2!t later I was sent for to (ome +a(' to .eMille, I went in an tal'e with him, an tol him I ha +een an ar(hite(t, an tol him I tho!*ht I o!*ht to +e ma e an art ire(tor, 6It:s very easy to +!il a pala(e,6 .eMille sai , 62!t (an yo! +!il a sta+le an ma'e it smell>6 I sai that I i n:t 'now, +!t that I: s!re li'e to try, So I +e(ame an art ire(tor, an s! enly everythin* was my responsi+ility, The (ost!mes, the sets, everythin*, Cecil 2& De Mille had a re1(tation o- +ein. a real tyrant on the set& Did yo( ha)e any 1ro+le#s with hi#, Oh, he wo!l eat yo!r ass o!t, +!t it was always +e(a!se he i n:t want to *et the a(tors !pset, So he: *ra+ onto some+o y on the (rew an (hew them !p, +!t he always apolo*i0e every ni*ht, Always, He wo!l say; 6I hope yo! 'now why I lan e on yo!,6 6?es, on:t worry a+o!t it,6 I: tell him, Was it di--ic(lt to #a/e the transition -ro# art director to director, Is it a #atter o- sellin. yo(rsel- to the -ront o--ice, St!art =al'er was ire(tin* for Paramo!nt at the time, an he i n:t 'now the front en of a (amera from the +a(', He always ha to have some+o y with him to pla(e the (amera for him, an the (hap who was oin* it for him 5!it, St!art trie it on his own for awhile, an that was pretty isastro!s, So I went own to the front offi(e an sai ; 6=hy on:t yo! let me han le the (amera for =al'er>6 I ha +een oin* rehearsals an (amera set4!ps for .e Mille every ay , , , pla(e all the shots an everythin*, An they a*ree to let me o it, so I tol St!art; 6Now yo! *o sit in the so!n +ooth an 3!st listen, an if yo! on:t li'e the way the ialo*!e:s *oin*, then (ome on o!t an we:ll tal' a+o!t it, Otherwise, stay o!t of my way,6 That was a pi(t!re (alle Tonight Is -(rs, with Col+ert an 1re ri( Mar(h, 3o( were also associated with Wal/er on The Ea.le and the Haw/* weren0t yo(, ?es, An that:s where the +i* fi*ht too' pla(e, +e(a!se he i not want my name on the s(reen, I /now that he .ot directorial credit -or +oth o- those -il#s& ?es, an he *ot fire for it, too, I was liste as asso(iate ire(tor , , , pra(ti(ally over his ea +o y, So I thin' the first wee' we were shootin* The .agle and the Hawk, the st! io (ame to me an as'e me what I wante to o ne)t, I sai that I wante to o #radle Song, whi(h was St!art:s pet pro3e(t, They sai all ri*ht, yo! (an have it, An two wee's after shootin* that one, they sai what else o yo! want to o> An I tol them I wante Death Takes a Holiday, And that has re#ained one o- yo(r +est4re#e#+ered and #ost s(ccess-(l 1ict(res& ?es, its one of my personal favorites, =ell, from then on, it was (lear sailin*, 1or the ne)t ten years, I was one of the ten top ire(tors in the +!siness, It happene to +e ri*ht !p my alley, an it was a 3o+ that !tili0e all the ifferent talents I ha , It was very flatterin* to have people say that even if they (ame in after the (re its, they (o!l re(o*ni0e one of my pi(t!res imme iately, It ha a style an a flair to it, that there was no mista'in* who ma e it, There are so #any -actors in)ol)ed in the loo/ and style o- yo(r 1ict(res* +(t there is a s1ecial ele.ance to the sets and the cost(#es& =ell, havin* +een an art ire(tor , , , +!t as a res!lt of that fa(t, my +i* pro+lem was to *et the art epartment to esi*n it, They wante me to o it all the time, They: say; 6=hat o yo! want, Tell !s what yo! want,6 An the same thin* with war ro+e, Havin* +een a (ost!me esi*ner, I (o!l n:t *et the war ro+e to o anythin*, Another i#1ortant ele#ent in #any o- yo(r -il#s were the son.s* s(ch as 5Than/s -or the Me#ory5 and 56olden Earrin.s5 and 5Mona Lisa5 -ro# Captain Carey& I was wor'in* (onstantly with the m!si( epartment, E!ys li'e ARalphD Rain*er an A/eoD Ro+in, an ASamD Coslow an AArth!rD Bohnson, who wrote OCo('tails for TwoP for a pi(t!re I i (alle *(rder at the /anities, When yo( were 1re1arin. a 1ict(re* wo(ld yo( as/ the #(sic de1art#ent to 1lan a son. which wo(ld -it yo(r 1ict(re,

Oh, yes, Oh, s!re, A *oo e)ample of that is when I was oin* Big Broadcast of 1939, whi(h was 2o+ Hope:s first pi(t!re, Rain*er an Ro+in ha written a son* (alle 6Than's for the Memory,6 An I sai ; 6That:s o'ay, fellas, I:ll +!y it, However, I:m *oin* to ma'e a ire(t re(or in* of it on the set, an I want yo! two to *et lost !ntil I:m rea y to shoot it,6 So there was this #% pie(e or(hestra on the set, an Shirley Ross an 2o+ Hope sat at the +ar an san* it, in a (ompletely ifferent tempo than the +oys ha ori*inally playe it in, I was very am!se when I loo'e over at the en of the son* to where the +oys were stan in*, an saw that they were +oth (ryin*, They were so move +y the new version that they were (ryin*, An of (o!rse, it +e(ame 2o+:s theme son*, I ta/e it that their ori.inal )ersion was in a #(ch -aster te#1o& Oh, yes, Completely ifferent tempo, Almost a 3a00 rhythm, I wante somethin* more li'e 6These 1oolish Thin*s,6 a son* very pop!lar at that time, An that:s what I *ot when we slowe it own, I thin/ it0s si.ni-icant that yo( too/ s(ch an interest in the #(sic o- yo(r -il#s* +eca(se that interest in detail -ollows all the way thro(.h yo(r wor/* not 7(st in re.ard to #(sic& =ell, we ran them to*ether as a (ertain !nity, Ri.ht& 2(t a lot o- 1ict(res do lac/ that sense o- (nity& This point of !nity remin s me of the +i* ar*!ment I ha with Ma)well An erson when we i Death Takes a Holiday, He sai that Era0ia ha no motivation, An I sai ; 6She has every motivation in the worl , She oesn:t want to live, She wants to ie, =hy wo!l she *o o!t into the *ar en> =hy wo!l she 3!st *et pne!monia> She wants eath,6 An I +ase the whole pi(t!re on that one premise, 1rom the very openin* shot of her, every+o y else is at the festival in town, an I (!t to her an she:s all alone in the (h!r(h listenin* to the (hoir sin*, I pi('e it !p ri*ht from there, Esta+lishe her as a (ompletely ifferent (hara(ter from everyone else, An she:s the only one who isn:t afrai of 1re ie Mar(h, who plays the role of .eath, In the en , if yo! remem+er, she wal's !p the steps an they 3!st isappear to*ether, He t!rns +a(' into .eath, An yo! see him in +la(', an he says; 6Now yo! see me as I am,6 She says; 62!t I:ve always seen yo! that way, To me, yo!:re +ea!tif!l,6 An in spite of the plea in*s of her family, she *oes !p to 3oin him, an as they t!rn an wal' away, we 3!st fa e o!t into nothin*, an the leaves start to fall, It was a f!n pi(t!re, I thoro!*hly en3oye it,

Another o- yo(r -il#s that0s really +e.innin. to .et a lot o- critical attention is Midnight& 8a(line 9ael la(ds it in her latest 1iece on Orson Welles AORaisin* Gane,P The &ew 5orker, F% 1e+ "#C" an FC 1e+ "#C"D& =ell, I i *idnight twi(e, The ori*inal in "#$#, an then a re4ma'e with .orothy /amo!r (alle *as:(erade in *e;ico, whi(h was a terri+le pi(t!re, I wo!l never o a re4ma'e a*ain, The ori.inal Midnight was a s(1er+ 1ict(re& ?es, I li'e that, One of my +est, I thin', I li'e it very m!(h, :ohn 2arry#ore was e;cellent in that 1ict(re& Did yo( en7oy wor/in. with hi#, Oh, what a man, As far as he was (on(erne , the entire so!n sta*e was a !rinal, If he ha to pee, he: 3!st wal' over to the nearest +!sh, It smelle li'e an ol *ymnasi!m +y the time he *ot o!t of that set, That was the *ar en s(ene o!tsi e the (hatea!, where they were havin* +rea'fast, The scene in which 2arry#ore i#itates a s#all child tal/in. on the tele1hone* was that yo(r idea, No, that was in the s(reenplay +y 2ra('ett an =il er, 3o(0)e wor/ed with so#e o- the -inest Hollywood writers& In addition to Charles 2rac/ett and 2illy Wilder* yo( did two -il#s -ro# screen1lays +y 8reston t(r.es* Easy Living* and the one yo( did ri.ht a-ter Midnight* a 1ict(re called Remember the Night& In co#1lete contrast to Midnight* howe)er* and to #ost o- the other t(r.es scri1ts* Remember the Night has a nice ho#ey <(ality to it& =ell, the whole story is the transformation of the *irl playe +y 2ar+ara Stanwy(' from a har 4+oile (hara(ter into a lovin* person, That0s really a nice 1er-or#ance +y tanwyc/& Not #any actresses co(ld ha)e done that role* +eca(se she had to +e hard4+oiled eno(.h in the +e.innin. -or (s to +elie)e that she was a croo/& And later* she has to con)ince (s that she has really -allen in lo)e with MacM(rray* and with a way o- li-e that she had ne)er /nown +e-ore& She:s a *reat *al to wor' with, Oh, +rother, I (ame on the set one mornin* at a+o!t half4past ei*ht, for a nine o:(lo(' shootin* an all of a s! en I hear this voi(e; 6=ell, (ome on, /et:s *et this *o amne show on the roa , =here in the hell have yo! +een>6 She was stan in* !p there on the (at4wal's with the ele(tri(ians, All resse , rea y to *o--(orset, *loves, everythin*, rea y to move, An Stanwy(' ha a very +a +a(', an the tort!re of those (orsets on her@ 2!t when they la(e her into those (orsets she never whimpere , he really was st(nnin.ly +ea(ti-(l in the scene in which MacM(rray sees her all dressed (1 -or the -irst ti#e& That0s the 1rettiest I0)e e)er seen her* and I thin/ #(ch o- the sense o- her +ea(ty in that scene co#es o(t o- her 1er-or#ance& O- co(rse* yo( always had a re1(tation -or +ein. 1artic(larly e--ecti)e in directin. wo#en& ?eah, I 'now, The se(ret to that was simply that every Mon ay mornin* there were two vases of fresh flowers in their sta*e ressin* room, That:s all, Was yo(r wor/in. relationshi1 with 8reston t(r.es a .ood one, St!r*es was not easy to wor' with, His wor s were strai*ht from Eo , an yo! i n:t (han*e an 6if,6 6an 6 or a 6+!t6 witho!t the +i**est +attle royal that ever went on, So when he starte to ire(t, an I went o!t onto the set one ay, there he was +!sily re4writin*, An I sai ; 6=hat:s the matter> .i n:t it play>6 He i n:t hesitate to ma'e (han*es on(e he was a ire(tor,

Was t(r.es e)er on the set when yo( were -il#in. one o- his scri1ts, I never allowe the writers on the set, e)(ept for Charlie 2ra('ett or 2illy =il er, Then Charlie +e(ame a pro !(er, an 2illy starte to ire(t, An he i the same thin* that St!r*es i , He re4wrote every s(ene on the set, That !se to am!se me, I: ri+ hell o!t of him, +e(a!se it wasn:t ne(essarily that the wor s weren:t ri*ht, +!t +e(a!se sometimes the a(tor 3!st (o!l n:t han le them, =e ha a lovely +it of ialo*!e from 2ra('ett in %rise, *y Lo'e, It was on a train, *oin* thro!*h the forest of CompiJ*ne in 1ran(e, Cla! ette Col+ert:s rea in* *ein $a!)f, Ray Millan is sittin* a(ross the aisle from her, an finally she throws the +oo' o!t of the train win ow in is*!st, an Ray says to her; 6/oo' o!t that win ow, =hat o yo! see>6 She says that she 3!st sees trees, a forest, An he says; 6The 1orest of CompiJ*ne, with the trees pra(ti(in* their (!rtsies in the +ree0e, +e(a!se they thin' /o!is QIM is still alive,6 I:m always eeply move +y that line, I thin' that:s the most +ea!tif!l line that 2ra('ett ever wrote, 2eca(se o- that 1oetic i#a.e& ?es, it was poeti(, It was p!re poetry then, An very often with Charlie:s ialo*!e, it ha s!(h a poeti( 5!ality that yo! (o!l n:t (han*e it, It r!ine it if yo! trie to (han*e a line of it, I wo!l *et Charlie o!t on the set an I: say; 6/isten to this now, B!st listen to them play this s(ene,6 He: listen to them play it, an then he: re4write the s(ene ri*ht there, Sometimes the a(tor was 3!st not a+le to han le a line, He 3!st (o!l not *et the +ea!ty o!t of it, or it i n:t (li(' !p here with him, ?o! (an never for(e an a(tor to say somethin* that:s +eyon him, It:s a hopeless tas', It (an:t +e one, It will r!in the line9 it will r!in his performan(e9 it +e(omes artifi(ial9 it +e(omes for(e , straine , So on:t ar*!e with them, .on:t try to for(e them to say somethin* that:s not ri*ht for them, Did yo( wor/ #(ch with writers li/e t(r.es or 2rac/ett and Wilder* d(rin. the act(al 1re1aration o- the screen1lay, Oh, yes, =e wo!l have aily (onferen(es, They wo!l t!rn se5!en(es in, an we: sit an is(!ss them, =il er was the one yo!: have the har est time ar*!in* with +e(a!se he was a Mi le E!ropean, an he was a st!++orn +astar when it (ame to his wor s, =orse even than Preston, 2!t Arth!r Horn+low, who was the pro !(er on many of my pi(t!res, was a *reat ta(ti(ian, an everythin* wo!l +e in fine shape +y the time we 5!it, 2!t we wor'e (onstantly with the writers from the very +e*innin*, How did yo( .o a+o(t choosin. a new 1ro7ect, It was always a (hallen*e, There was no story I ever felt I really ha to o, o!tsi e of #radle Song, The rest of them were 3!st a (hallen*e, How are yo! *oin* to han le this> Some pi(t!res, yo! fo!n that the (amera never move , Other pi(t!res, yo! fo!n that the (amera ha to move (onstantly , , , (onstantly on the *o, !p an own the +oom, or whatever, It varie , a((or in* to the material that yo! were wor'in* with, It was !p to me, as the ire(tor, to e(i e how I wante to han le a s(ene, how I wante to shoot it,
ABames 2, Gelley an Bohn S(h!ltheiss, OHollywoo Contra(t .ire(tor; Mit(hell /eisen,P #ine!a, Mol, < No, ", Iss!e No, $$, Sprin* "#C$9 revise F%"FD