Scarred by advice from the perma-tanned, I opened this volume with a studied nonchalance, awaiting censure.
Sweet Smell of Success is a far more serious film—an urban drama, with unscrupulous, deeply ambitious characters scheming to make a living in the unforgiving world of showbusiness. What Universal feared ultimately came true: The screenplay is smart, retaining the talkative, dialogue-ridden essence of the original story, but making it more dramatic and certainly more cinematic.
As it often happens with films we today consider to be the best representatives of this art in general, Sweet Smell of Success experienced hardly any success upon its release, but today holds its rightful place on hundreds of best-of lists around the world.
A monumentally important screenplay. For educational and research purposes only. Absolutely our highest recommendation. After writing several drafts of the screenplay, and just before principal photogaphy was to begin in New York with director Alexander Mackendrick, Lehman left the project because of illness, and Clifford Odets was called in to do the final draft.
Odets and Lehman shared screen credit for what is now regarded as a film classic. And a brilliant one. When Sweet Smell of Success opened on June 27,however, it was a flop. Hunsecker, played by Burt Lancaster, and a terminally hungry press agent—Tony Curtis, in a stunning breakthrough role as Sidney Falco—has echoed down the decades and is being adapted for Broadway by John Guare and Marvin Hamlisch.
From interviews with Lehman, Curtis, and producer James Hill, the author reconstructs the appropriately dark and vicious birth of a masterpiece of New York noir. Alexander Mackendrick uses the camera in one deft move to climax this great scene.
Harris This great documentary on Alexander Mackendrick finally reaches the point where he makes that landmark in American cinema, Sweet Smell of Success.
He had never quite got used to the life of a freelance director, outside the factory system of the studio, which had suited him better. The braided black narrative.
Featuring interviews with Burt Lancaster, James Coburn and Gordon Jackson amongst many others, as well as extensive access to Mackendrick himself, this is a gem: But after his career stalled, he may have been most influential as a professor at CalArts for two decades.
Film writing and directing cannot be taught, only learned, and each man or woman has to learn it through his or her own system of self-education.
Well, there are no rules. There never were and there never will be, because each circumstance is different and each director works entirely differently. Intended for editorial use only. All material for educational and noncommercial purposes only.
Your generosity preserves film knowledge for future generations. To donate, please visit our donation pageor click on the icon below:One of the most distinguished (if frequently overlooked) directors ever to emerge from the British film industry, Alexander Mackendrick, was in fact born in the US (to Scottish parents), but grew up in his native Scotland, where he .
He also directed Tony Curtis in two of his best performances, as the opportunistic press agent in the scathing drama, "Sweet Smell of Success" (), Mackendrick's first Hollywood film, and in the Southern California comedy "Don't Make Waves" (). William Rose (screenwriter) Jim Morahan.
Alexander Mackendrick (September 8, – December 22, ) was an American born Scottish director and teacher. He was born in Boston, Died: December 22, (aged 81), Los Angeles, California, U.S.
Alexander Mackendrick spent 25 years refining On Film-Making. His advice is worth taking, says Zoë Green. Oscar-winning screenwriter Ronald Harwood worked with Mackendrick on the screenplay of A High Wind in Jamaica. “Much of what I know about screenwriting I learned from Sandy,” he says. “Much of what I know about screenwriting I learned from Sandy,” he says.