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The morning of a small town Labor Day picnic, a drifter (Hal Carter) blows into town to visit an old fraternity buddy (Alan Benson) who also happens to be the son of the richest man in town. Hal is an egocentric braggart - all potential and no accomplishment. He meets up with Madge Owens, the town beauty queen and girlfriend of Alan Benson. Written by
Erik L. Ellis <email@example.com>
Filming began in Salina, Kansas, May 16, 1955. Night-time crowds watched along the Smoky Hill River near an old mill dam as William Holden whipped a "borrowed" convertible with Kim Novak in the passenger seat to a stop along the river. Joshua Logan, a perfectionist, filmed the scene over and over. A number of spectatoring small boys often got in the way of the filming. A production member was designated assistant-in-charge-of-chasing-small-boys-out-of-camera-range. Other scenes filmed were Holden being chased by police around the mill and between railroad box cars. Suddenly, the loud-speaker blared: "There's a small boy underneath the box car! Get him out of there!" When the big Holden/Novak love scene was filmed, most of the crowd had gone home. "Those who stayed said it was a dilly of a romance." Filming wrapped shortly after five in the morning. By week's end, filming moved to Hutchinson. See more »
When the newspaper is delivered at the end of the movie it lands in front of the steps just inside the trellis; in the next shot it's picked up from where the bike was parked. See more »
What's the use, Baby? I'm a bum. She saw through me like an x-ray machine. There's no place in the world for a guy like me.
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It pains me to see people miss Picnic's message; as people hastily label it as 'outdated' or flawed in any way, they neglect the fact that what Inge, Logan, and the cast have offered us is indeed universal. Set on Labor Day weekend in Middle America, this is a film about the bittersweet irony of living in a world governed by rules and time. The characters in Picnic is confronted by a demon that, if not dealt with appropriately, serves to consume them and ensure that they become the thing they most fear. In a desperate search to find love, Rosemary (Rosalind Russell) alienates people to the extent that she seems increasingly destined to be alone. Admired throughout the town for her beauty, Madge (Kim Novak), in her unwillingness or inability to assert herself, is trapped inside her pretty face and finds she cannot build a character to support it. Her younger sister Millie (Susan Strasberg) is devoted to intellectual pursuit but finds her intellectual superiority complex serves to limit her peer group and rob her of her childhood. She is seen throughout the film sneaking cigarettes, and at one point steals a swig of whiskey, all in a rather revealing display of her conflict with regards to her place in the transition from youth to adulthood. Mrs Owens (Betty Field), having been left by her husband presumably for a younger woman, attempts to force Madge into an early marriage to a rich man so that she will not face the same anguish, but her dominating insistence on Madge's beauty as her chief asset is what eventually drives her away with little regret. This truly is the story of the varying ways people create and deal with solitude. Each character undergoes the struggle we all must to find a person beneath the masks we hide behind. It is a study of the irony of the evanescence of happiness - at this Labor Day picnic that is the great joyful gathering of the entire town, each of our main characters seeks their own escape. The emotional rawness of the end of Summer is exposed and serves as the perfect time for seasonal as well as personal transition. They are all, in effect, living parts of a sunset, as described by Russell in perhaps the most significant examination of time in the film. Holden's character is unique in that it is a true testament to the everyman and the power of chance. His arrival in this town is in fact the catalyst for reflection and action, and he shakes things up without having any inherent wisdom or inspiration (he is actually something of a moron, thus his ability to make things happen is so much more intriguing). That this is a passionate and beautifully acted (the occasional vacancy and slowness only a reinforcement of the emotional stagnancy Logan intends to have us defeat) love story with a heart-wrenchingly beautiful theme song is only icing on the cake.
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