7.9/10
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The Bad and the Beautiful (1952)

Passed | | Drama, Romance | 9 February 1953 (Brazil)
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2:40 | Trailer

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An unscrupulous movie producer uses an actress, a director and a writer to achieve success.

Director:

Vincente Minnelli

Writers:

Charles Schnee (screenplay), George Bradshaw (story)
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Won 5 Oscars. Another 2 wins & 7 nominations. See more awards »

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Cast

Complete credited cast:
Lana Turner ... Georgia
Kirk Douglas ... Jonathan
Walter Pidgeon ... Harry Pebbel
Dick Powell ... James Lee Bartlow
Barry Sullivan ... Fred Amiel
Gloria Grahame ... Rosemary
Gilbert Roland ... 'Gaucho'
Leo G. Carroll ... Henry Whitfield
Vanessa Brown ... Kay Amiel
Paul Stewart ... Syd
Sammy White Sammy White ... Gus
Elaine Stewart ... Lila
Ivan Triesault ... Von Ellstein
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Storyline

Told in flashback form, the film traces the rise and fall of a tough, ambitious Hollywood producer Jonathan Shields, as seen through the eyes of various acquaintances, including a writer James Lee Bartlow, a star Georgia Lorrison and a director Fred Amiel. He is a hard-driving, ambitious man who ruthlessly uses everyone - including the writer, star and director - on the way to becoming one of Hollywood's top movie makers. Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

NO HOLDS BARRED...in this story of a blonde who wanted to go places...and a BIG SHOT who got her there...the hard way! See more »

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

9 February 1953 (Brazil) See more »

Also Known As:

Tribute to a Badman See more »

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Box Office

Budget:

$1,558,000 (estimated)

Gross USA:

$2,367,000, 31 December 1953

Cumulative Worldwide Gross:

$3,373,000, 31 December 1963
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Concerned about Lana Turner's insecurities and talk of her limited acting abilities, Vincente Minnelli got her through her first scene by telling her that every retake was the result of somebody else's problem. Through gentle coaching he got a strong performance out of her while also keeping her confidence intact. See more »

Goofs

Right after Amiel asks Shields if he intends to change his name, Shields is shown holding a stein with two hands. In the subsequent close shot, he only has one hand on the stein. See more »

Quotes

Jonathan: [to Georgia about her screen test] And I know I'm right about you. I gave you no help. The test was atrocious, but bad as it was, it proved one thing: when you're on the screen, no matter who you're with, what you're doing, the audience is looking at YOU. That's star quality... Lorrison quality.
See more »

Alternate Versions

Also available in a computer colorized version. See more »

Connections

Referenced in The Bold and the Beautiful (1987) See more »

Soundtracks

Temptation
(uncredited)
Music by Nacio Herb Brown
Lyrics by Arthur Freed
Performed by Hadda Brooks with Milton Raskin at the piano
See more »

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User Reviews

 
"Give the Devil his Due"
27 November 2010 | by Steffi_PSee all my reviews

During this time in the early 50s there were quite a number of Hollywood pictures which scrutinised and often satirised Hollywood itself. The old studio system had been seriously weakened in the war years, the young crop of independent producers and writer-directors were gaining ever more prominence, and the dream factory as a whole had become a little more introspective, not to mention cynical. But while Sunset Boulevard, All About Eve (about the theatre, but the point carries through) and Singin' in the Rain aimed their sights at the injustice and hypocrisy of the star system, The Bad and the Beautiful takes on the thorny issue of creative control.

The Bad and the Beautiful is referenced extensively in auteurist Martin Scorsese's 1995 documentary on American movies, as an explanation of the antagonism between a producer's commercial drive and a director's artistic one. However it is far from a validation of auteur theory, for while it emphasises the importance of the director's role, it also points out (quite correctly) the equally crucial contributions of the writer and the producer himself. Incidentally the actual producer of The Bad and the Beautiful is John Houseman, primarily an actor who really only dabbled (albeit quite successfully) in production, and thus someone who could perhaps afford to snipe from the sidelines. Oddly enough screenwriter Charles Schnee would also turn to producing soon after this. He certainly shows extensive insider knowledge of the industry.

The director of The Bad and The Beautiful is Vincente Minnelli, a man whose flowing and extravagant style was put to best use in the musical genre, and although he was certainly competent in drama he does tend to overdo things a little for the form. One typically impressive Minnelli manoeuvre is the lengthy tracking shot at the party about fifteen minutes in, in which the camera is "carried" from one character to the next, while the careful arrangement of extras draws our eyes from one point of focus to another, a woman singing beautifully yet unnoticed in one corner, while a gossipy starlet is surrounded by a gaggle of admirers in another. Minnelli's tendency to keep all the characters in shot together during dialogue scenes means there is no need for back-and-forth editing. When there is a cut it is a meaningful jump, such as the close-up when Sullivan is told he won't be directing Shield's first big picture. Ultimately though the elaborate nature of Minnelli's direction is disproportionate to the needs of the picture, and a more stripped-down approach could have intensified the drama.

Another lesson The Bad and the Beautiful teaches us, both through its plot and its own example, is the importance of the right actors in a production. The majority of players in this large ensemble cast tend towards a uniform competence. People like Walter Pidgeon, Barry Sullivan and Vanessa Brown give steady, solid performances, not outstanding but apt to their characters. Dick Powell has a neat writer-ish cynicism to him, and it is only him and the vivacious Gloria Grahame that threaten to steal the show. A gratingly melodramatic Lana Turner is the only conspicuously bad player. However at the heart of The Bad and the Beautiful lies the powerful turn by Kirk Douglas. Douglas plays Shields with the mix of realism and exaggeration of a larger-than-life character, capturing the producer's boyish enthusiasm and exposing his inner fragility in a way that draws attention and lingers in the mind.

And it is here that we can see the picture's real worth. It is all very well making an accurate and incisive behind-the-scenes study of Hollywood's methods and morals, but to have any point the picture should also be an engaging and entertaining piece of storytelling. The Bad and the Beautiful is not especially romantic or funny or suspenseful, and yet it was a big hit, being the second-highest grossing picture of 1952. It seems the best thing this picture has going for it is the very character of Shields himself, who as written by Schnee and played by Douglas is both a fascinating and, yes, sympathetic individual. And the overriding message seems to be that, while producers tend to be a rather dysfunctional lot, it is their drive and efficiency that is behind many of the best things in movies. The picture's original title Tribute to a Bad Man is eminently better than the one it got saddled with. Jonathon Shields is clearly not a nice person, but through its compelling portrayal The Bad and the Beautiful salutes him.


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