shirley maclaine shirley maclaine what a way to go
| What a Style to Become! | |
|---|---|
 Theatrical release poster | |
| Directed past | J. Lee Thompson |
| Screenplay by |
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| Story past | Gwen Davis |
| Produced by | Arthur P. Jacobs |
| Starring |
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| Cinematography | Leon Shamroy |
| Edited past | Marjorie Fowler |
| Music past | Nelson Riddle |
| Product | Apjac-Orchard Productions |
| Distributed past | 20th Century Pull a fast one on |
| Release date |
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| Running time | 111 minutes |
| Country | United States |
| Languages |
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| Budget | $3.vii meg[2] |
| Box office | $11.one million[three] |
What a Mode to Go! is a 1964 American black comedy picture show directed by J. Lee Thompson and starring Shirley MacLaine, Paul Newman, Robert Mitchum, Dean Martin, Gene Kelly, Bob Cummings and Dick Van Dyke.
Plot [edit]
In a dream-like pre-credit sequence, Louisa May Foster, dressed as a black-clad widow, descends a pink staircase in a pink mansion. As she reaches the bottom, she is followed past pall-bearers carrying a pink coffin. As they round the curve in the staircase, the pallbearers drop the coffin, which slides downwards the stairs, leading into the opening titles.
Louisa tries to give away more $211 million to the The states government Internal Revenue Service, who believes it to be a joke for April Fools' Solar day. Louisa ends upwards sobbing on the burrow of an unstable psychiatrist, Dr. Steffanson, trying to explicate her motivation for giving away all her money, leading into a series of flashbacks combined with occasional fantasies from Louisa's point of view.
Louisa describes her childhood as a immature, idealistic daughter. Her mother, fixated on coin, pushes for Louisa to marry Leonard Crawley, the richest man in town. Louisa instead chooses Edgar Hopper, an onetime school friend who, inspired by Henry David Thoreau, lives a simple life. They ally and are poor but happy, shown through a silent movie spoof with the underlying motif that "Dearest Conquers All". Their life is idyllic until Hopper, hurt and angry by Crawley's ridiculing how they alive, decides to aim for success. Neglecting Louisa in order to provide a improve life for her, he builds his small-scale store into a tremendous empire, running Crawley out of business organisation. In then doing, Hopper literally works himself to decease.
Now a millionaire, Louisa vows never to marry again. She travels to Paris, where she meets Larry Flint, an advanced artist who is driving a taxi. Louisa falls in beloved with Flintstone, and they marry, living an idyllic life and maverick lifestyle, shown through a foreign-moving-picture show spoof. Flint invents a car which converts sounds into paint on sail. He plays eclectic sounds producing random fine art. 1 mean solar day, Louisa plays classical music, and it produces a beautiful painting which Flint sells in his starting time meaning sale. Buoyed by success, he creates more than and more paintings, becoming hugely successful. Obsessed now, he builds larger machines to practise the painting. Flint relentlessly produces art until, one night, the machines turn on their creator and beat out him to death.
Even richer and even more depressed, Louisa decides to return to the United States. She misses her flight, but meets Rod Anderson Jr., a well-known business tycoon. He offers her a elevator on his jet. At first, she finds him cold and calculating, but Louisa sees his softer side on the flight. They are married shortly after landing in New York Metropolis, and they live a lush and idyllic life, depicted through a fantasy sequence spoofing the glamorous big-budget films of the 1950s. Fearful of losing him like her first two husbands if he throws himself back into his piece of work, Louisa convinces Rod to sell everything and retire to a minor farm. Afterward sharing a jug with a few locals, an inebriated Rod mistakenly attempts to milk a balderdash, who kicks him through the wall of the barn, leaving Louisa a widow once more.
Now fantastically wealthy, Louisa wanders the country. In a pocket-size-town café, she meets Pinky Benson, a performer who does corny musical numbers in clown makeup and a costume. Management is happy with him because Pinky's habitually routine act never distracts the customers from eating and drinking. Once once more, Louisa falls in dear and gets married. They live an idyllic life on Pinky's run-down houseboat on the Hudson, depicted through a motion picture sequence spoofing big Hollywood musicals. On her married man's birthday, Louisa suggests that Pinky perform without makeup and costume to salvage time. Never noticed earlier, Pinky is now discovered by the customers when he sings and dances beautifully. Virtually overnight, he becomes a Hollywood star (to the point of an in-joke most the and then-fresh Cleopatra cost overrun disaster), and ends upwards neglecting Louisa in pursuit of fame. Everything in Pinky's life is pinkish, including Louisa'southward pilus-dye and their pets. He is such a beloved star that, despite beingness warned nearly the oversupply, he goes to see his fans after the premiere of one of his films, and his doting public tramples him to decease (his is the funeral seen in the opening scene).
Afterward listening to her story, Steffanson proposes to Louisa, bold that she will say yes as she has agreed to marry four men already. She turns him down, which he declares to be progress, and he falls and is knocked unconscious. In comes the janitor, whom Louisa recognizes equally Leonard Crawley, no longer the wealthy man he used to be. He credits her and Thoreau for his life being successful, as it is simple.
Leonard and Louisa marry and live a poor but idyllic, simplified life on a subcontract with their four children. The story ends when Leonard apparently strikes oil with his tractor (he's distracted past reading Thoreau and one of the tires grinds into the ground). Louisa becomes distraught, thinking that her curse has struck again, until oil company representatives drive up and inform them that Leonard has merely punctured the visitor'due south pipeline. They rejoice, as they are still poor just happy.
Cast [edit]
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Uncredited (in order of appearance) [edit]
- Dean Martin–Dick Van Dyke sequence/silent flick spoof
- Dick Wilson as Driscoll, Crawley'south store managing director
- Marjorie Bennett as Mrs. Freeman, customer at Hopper's store
- Christopher Connelly equally Ned, Hopper'south store clerk
- Burt Mustin as lawyer reading Edgar Hopper's will to Louisa and her mother
- Paul Newman sequence/foreign art film spoof
- Marcel Hillaire as French lawyer reading Larry Flint'south will to Louisa and René
- Robert Mitchum sequence/Lush Budgett spoof
- Barbara Bouchet as bikini-clad daughter on Rod Anderson's plane whom he asks, "What are you doing after the orgy?"
- Anthony Eustrel as Willard, Rod Anderson's valet on the flying to New York
- Peter Duchin as Peter, the pianist at the lavish cocktail political party
- Tom Conway as Lord Kensington, who meets Louisa and Rod Anderson at a lavish cocktail party
- Queenie Leonard equally Lady Kensington who, alongside her husband, meets Louisa and Rod
- Milton Frome as lawyer reading Rod Anderson's volition to Louisa
- Cistron Kelly sequence/musical spoof
- Fred Aldrich as Herbert, patron who enters the café where Louisa just met Pinky Benson
- Arlene Harris as greyness-haired café patron during Pinky's deed, from whose tabular array Pinky grabs salt
- Teri Garr as dancer in the Louisa/Pinky shipboard musical number
- Joe Gray as café patron enjoying Pinky's act
- Phil Arnold as Hollywood printing and publicity agent visiting at Pinky's swimming pool
- Regular army Archerd as Tv set announcer at premiere of Pinky's 5½-hr motion-picture show Flaming Lips
- Dean Martin sequence/terminate scene
- Pamelyn Ferdin every bit Geraldine, 4-twelvemonth-old girl of Louisa and Leonard Crawley
Production [edit]
Development [edit]
Publicist Arthur Jacobs wanted to movement into pic production. One of his clients was Marilyn Monroe who said she would appear in a film Jacobs produced if she liked the story. He plant I Love Louisa based on a story past Gwen Davis well-nigh a adult female with half-dozen husbands.[4] [5] In June 1962, Daryl Zanuck reportedly told Marilyn Monroe that she would make two films for 20th Century Fob (which he was in the process of taking over over again): a re-vived Something's Got to Give and What a Way to Go (the alternate title for I Love Louisa). Monroe's fee would be a million dollars for both films. In July, Monroe reportedly approved J. Lee Thompson as director subsequently watching Tiger Bay and Northwest Frontier and she was going to meet Cistron Kelly to discuss him being her co-star.[half-dozen] Monroe died in August 1962.
In September 1962, Jacobs said that J. Lee Thompson, who was some other client of his, would direct the motion-picture show following The Mound Builders (which became Kings of the Sun). Jacobs wanted 1 of the "tiptop iii" stars in the earth to play the lead, and "important names" to play the 6 husbands. No distributor had been signed.[7] Afterward that calendar month Thompson said he would brand I Love Louisa with Elizabeth Taylor.[8] In October the Los Angeles Times reported that the Mirisch Company, who had a long-term deal with Thompson, would finance .[9] That month Betty Comden and Adolph Greenish signed to write the script.[ten] [11] In December Thompson said Comden and Green wanted to telephone call the movie What a Way to Become and that he hoped Frank Sinatra and Marcello Matroianni to play husbands.[12]
In January 1963, Thompson said he was confident nigh Frank Sinatra, Marlon Brando and David Niven playing husbands.[xiii] In April 1963 Hedda Hopper reported that Steve McQueen would star in the motion-picture show opposite Shirley MacLaine .[14]
MacLaine was formally signed in July 1963.[15] Also that calendar month Jacobs appear he had signed a deal with 20th Century Fox for the latter to finance and distribute. The product companies would be Jacob's Apjac and Thompson'southward Malibu Productions. The stars would be MacLaine, Dean Martin, Paul Newman, Robert Mitchum, Dick Van Dyke and Gene Kelly. Filming would outset 8 August. Jacobs called the project "a pitiful comedy – a farout picture that has both loudness and pathos."[16]
According to Mitchum, Frank Sinatra had wanted $500,000 for two weeks worth of piece of work, so they offered the role to Mitchum instead. He agreed to do information technology because he liked working with MacLaine and Thompson (who had directed him in Cape Fright).[17]
MacLaine said, "There is – I hope – pathos, anyway that'south what I'1000 trying to do. It's funny for a girl to go through five husbands, getting wealthier with the death of each one – but it's sad, also, because she didn't want them to die and she hates coin."[5]
Gene Kelly originally had the rights to the story, intending to direct it, simply relinquished information technology to Jacobs. Kelly agreed to appear in a single sequence. He choreographed the dance as well, calling it "a kind of gentle spoof of quondam pic musicals, though not as much of a parody, really, as 'Sing Along with Mitch'."[18]
Robert Mitchum's role was originally meant for Frank Sinatra, merely Sinatra suddenly wanted several times more money than what the other male person leads received, and the studio refused his demands. Gregory Peck was sought, merely he was unavailable. The previous twelvemonth, MacLaine had co-starred with Mitchum in Two for the Seesaw, and she recommended him to director J. Lee Thompson who passed the endorsement on to the studio.[19]
Cummings signed in September 1963.[20]
The budget was a reported $five million.[5]
Shooting [edit]
Except for one scene at Los Angeles Airport, the entire motion picture was shot on the Fox backlot on 73 sets. Because of the limited availability of the stars, the movie was shot over 45 days, which was considered short for a movie of this scale.[5]
The pond pool set up in the Pinky Benson sequences is the same fix (with some minor redressing) used for Something's Got to Give.
MacLaine was quoted as saying that she was happy to piece of work with "Edith Head with a $500,000 budget, 72 hairstyles to match the gowns, and a $3.5-million gem collection loaned past Harry Winston of New York. Pretty good perks, I'd say."[21]
Reception [edit]
Box office operation [edit]
What a Way to Go! premiered on May 12, 1964, and grossed $11,180,531 at the U.Southward. box office,[iii] earning $half dozen.ten million in the United States.[22]
According to Fox records, the film needed to earn $eight.5 1000000 in film rentals to suspension fifty-fifty and fabricated $9.09 million, meaning it fabricated a profit.[23]
Film critics [edit]
John Simon of The New Leader wrote 'The mildest affair that can exist said almost this film is that information technology is an anathema'.[24]
Awards [edit]
What a Way to Get! was nominated for two University Awards for All-time Art Direction (Jack Martin Smith, Ted Haworth, Walter M. Scott, Stuart A. Reiss) and Best Costume Pattern by Edith Head and Moss Mabry,[25] a BAFTA All-time Strange Actress Award for Shirley MacLaine, a Laurel award for Best Comedy and All-time Comedy performer for Paul Newman, and an American Movie theater Editors Eddie award for best editor for Marjorie Fowler. Information technology won a Locarno Film Festival award for Best Actor for Gene Kelly.[26]
References [edit]
- ^ "What a Way To Go!: Item View". American Film Institute. Archived from the original on February 25, 2017. Retrieved Feb 24, 2017.
- ^ Solomon, Aubrey. Twentieth Century Trick: A Corporate and Fiscal History (The Scarecrow Filmmakers Series). Lanham, Maryland: Scarecrow Press, 1989. ISBN 978-0-8108-4244-1. p254
- ^ a b Box Office Information for What a Mode to Become! The Numbers. Retrieved 2013-04-30.
- ^ Hopper, Hedda (Sep x, 1963). "Looking at Hollywood: Team Shirley, Bob in Pic Spoof of Rich". Chicago Tribune. p. b1.
- ^ a b c d LARRY GLENN (Sep 15, 1963). "'WHAT A WAY TO Become!' IN HOLLYWOOD". New York Times. p. 133.
- ^ Brown, Peter H; Barham, Patte B (1993). Marilyn : the last accept. Penguin Group. pp. 316–318.
- ^ EUGENE ARCHER (Sep four, 1962). "Film TO BE Made By PUBLICITY House: Arthur Jacobs Plans to Use Own Stars for 'Louisa'". New York Times. p. 39.
- ^ Hopper, Hedda (Sep xix, 1962). "J. Lee Thompson Books Liz for Film Next Year". Chicago Daily Tribune. p. b2.
- ^ Scheuer, Philip K. (Oct xviii, 1962). "'If a Man Answers' Teams Dee, Darin: Young Marrieds Depicted; 'I Love Louisa' Upwardly for Liz". Los Angeles Times. p. C17.
- ^ Hopper, Hedda (Oct xix, 1962). "Cara Is Gleason'due south New TV Teammate: Hedda Had a Hand in Pairing; She Introduced Them at Political party". Los Angeles Times. p. D12.
- ^ "Forgotten Hollywood".
- ^ Richard 50. Coe. (Dec one, 1962). "Mighty Mite Is Thompson". The Washington Mail service, Times Herald. p. C8.
- ^ Scheuer, Philip K. (Jan seven, 1963). "Producer Settles Knottiest Problem: Kramer Soothes His Stars, Scores Diplomatic Victory". Los Angeles Times. p. C15.
- ^ Hopper, Hedda (Apr 15, 1963). "McQueen Volition Star in 'I Dear Louisa': He'll Appear With Shirley MacLaine in Mirisch Movie". Los Angeles Times. p. C12.
- ^ "Shirley MacLaine Gets Role". New York Times. 6 July 1963. p. seven.
- ^ HOWARD THOMPSON (July vii, 1963). "BY Style OF Report: Apjac Agenda--Stage Play Due equally Movie". New York Times. p. X5.
- ^ "Past, FILLIES IN THE FUTURE". Los Angeles Times. Nov 24, 1963. p. b7.
- ^ Scheuer, Philip K (Sep viii, 1963). "GENE KELLY, 51, Even so HAS THAT STARDUST IN HIS EYES. TWINKLE IN HIS TOES". Los Angeles Times. p. d4.
- ^ p.377 Server, Lee Baby, I Don't Care 2002 St. Martin's Griffin
- ^ Hopper, Hedda (Sep 5, 1963). "Looking at Hollywood: At present--Psychiatrist Role for Cummings". Chicago Tribune. p. c4.
- ^ "Shirley MacLaine on her experience with What a Way to Become!". shirleymaclaine.com. Retrieved 2015-05-04 .
- ^ Solomon, p. 229. See also "Big Rental Pictures of 1964", Diverseness, half dozen Jan 1965, p. 39.
- ^ Silverman, Stephen M (1988). The Fox that got away : the terminal days of the Zanuck dynasty at Twentieth Century-Fox. L. Stuart. p. 323.
- ^ Simon, John (1967). Private Screenings. The MacMillan Company. p. 116-17.
- ^ "What a Way to Go!". Movies & Goggle box Dept. The New York Times. Baseline & All Movie Guide. 2012. Archived from the original on 2012-10-18. Retrieved 2008-12-26 .
- ^ "Awards for What a Way to Go!". IMDb . Retrieved 2013-05-05 .
External links [edit]
- What a Style to Go! at IMDb
- What a Fashion to Go! at the American Motion picture Institute Catalog
- What a Way to Go! at AllMovie
- What a Fashion to Go! at the TCM Movie Database
- What a Fashion to Go! at Rotten Tomatoes
- What a Way to Go! at TV Guide (heavily cut and revised version of 1987 write-up originally published in The Movement Flick Guide)
- Complete dialogue
Source: https://en.wikipedia.org/wiki/What_a_Way_to_Go!#:~:text=What%20a%20Way%20to%20Go!%20is%20a%201964%20American%20black,Cummings%20and%20Dick%20Van%20Dyke.
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