Word: scripting
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Dates: during 1960-1969
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...there are Negroes at the President's press conference as the film closes. These are simply kowtows to the New Republic set; if the producer had real guts he could have cast Sydney Poitier in Kirk Douglas' role. But then Producer Edward Lewis would have been troubled by the script's implication that Douglas will some day sleep with Ava Gardner, who plays Lancaster's former mistress. Miscegenation might have confused the good guys and the bad guys, particularly for southern audiences. Anything that controversial would have detracted from the film's propaganda force...
...playwright would have jumped with surprise if he had been there. The Loeb reading of The Jew of Malta is to Marlowe's play as as the film Dr. Strangelove is to the book from which it came, Red Alert. Quite correctly wary of a straight interpretation of the script, and obviously goaded on by a receptive audience, Dean Gitter, director Paul Schmidt, and an excellent cast, turn the tragi-comedy into a masterful and highly enjoyable farce...
...what modern minds have wrought comes in the opening moments. In a short prologue, Machiavelli (played by Schmidt) introduces Gitter as Barabas, the wily Jew. An appearance by the "odious" Italian was usually enough to terrify Elizabethans for the evening. But let Schmidt merely change one word in the script, let him say "I come not to read a lecture here in Cambridge," and Presto! The audence laughs and the fun begins...
...house and 300 acres of pasture. The law says you must send this man to prison for a minimum of five years; the maximum sentences add up to 220 years and $280,000 in fines. What sentence will you impose? The case might have made a script for a TV panel show. But the 30 panelists were not participating for fun. They had recently been appointed federal trial judges and they came to Denver from as far away as the Virgin Islands to attend the first federal Sentencing Institute. As the new judges compared their decisions on the dope peddler...
...first-rate courtroom drama, a la Caine Mutiny, that only makes it to second. Some of the fault must lie with Director Guy Hamilton, who borrows his pace from those fans that whir lazily overhead in every tropical sinkhole. But justice triumphs, and the made-in-England script gives the saving final testimony to Trevor Howard (so rational, so decent, so British). Thus Man tosses off its message with a chaser of backhanded amity...