Kirk Douglas stars as fictional Hollywood producer Jonathan Shields in this exposé of the sleazy underbelly of the movie bidness back when the studios were all-powerful.

We get to know Shields as the film unfolds, using the tales told by three individuals, a star, a writer, and a director, each of whom have vowed never to work with Shields again. The three are gathered together in the office of Shields' assistant Harry Pebbel (Walter Pidgeon) to discuss helping Shields make a comeback after producing three flop pictures in a row and losing all his and his backers' money. Each of the three have a major weakness and each has benefited by having been associated with Shields, although they do not realize it at the moment. Only after the silver lining in their clouds are pointed out by Pebbel after they relate their tales of woe, do they begin to realize the impact Shields had on their lives.

The first flashback concerns the director Amiel (Barry Sullivan), a shy fellow who has difficulty speaking up for himself, therefore he is unable to get meaningful work. Shields gives him encouragement and the two work together as rookies at a poverty row studio producing quickie low bucks Westerns and horror films. At this time, the two are working for Harry Pebbel who is one of the kings of the low-bucks two-reelers. A low-budget horror film proves to be the two friends' breakthrough and they get Pebbel's backing for a more ambitious project that becomes a smash hit. Unfortunately for their friendship, Shields hires another director and steals the credit for Amiel's work, thereby alienating his friend.

The second flashback concerns an alcoholic bit player Georgia (Lana Turner) whom Shields dries out and grooms into a major star. She unfortunately falls in love with the footloose Shields, who has not given her any reason to believe he feels as she does, and is nonetheless shattered when she discovers he has a starlet on the side back at his place.

The final flashback concerns the writer Bartlow (Dick Powell) with the flighty southern belle wife (Gloria Grahame). Bartlow's weakness is his blindness to his wife's wanderings. He has written a trashy historical novel, "liberally peppered with sex." Shields convinces him to move to Hollywood and write a screenplay from his book. Unfortunately, Bartlow is unable to work with his wife's distractions and Shields must teach him how to adapt the novel to a script. An actor pal of Shields' (Gilbert Roland) agrees to keep Bartlow's wife busy but the plan backfires and tragedy results. Shields helps Bartlow by forcing him to work instead of grieve but slips and tells him that he fixed up the two, who apparently became lovers before their fatal mishap. Bartlow, with a reason to hate Shields, goes on to write a Pulitzer Prize winning novel based on his wife.

Ironically, all three individuals owe their success to Shields who brought out the best in them. Despite their professed hate for the man, each of them is still drawn to him like a moth to a flame.

Vicente Minnelli directed The Bad and the Beautiful adhering to the highest production values. The result is a slick package that is very satisfying to watch. Minnelli skillfully manages to avoid falling into a boring soap opera tale, despite the tabloid-like "tells all" script. Sets and costuming are brilliant. Black and white photography by Robert Surtees is impeccable and gives maximum impact to each scene, actually quite noirish and at times reminiscent of the innovative camera work in Citizen Kane.

Actor Kirk Douglas gives an extremely strong performance, as the powerful producer, probably based on David O. Selznick or Darryl F. Zanuck or a composite. Top-billed Lana Turner was absolutely beautiful in her role, but the forceful Kirk Douglas stole nearly every scene from her. The supporting cast was marvelous as well, with a bevy of stars all performing at their best.

The Bad and the Beautiful was nominated for five Oscars and won four. Gloria Grahame won a best supporting actress Oscar, but although her performance was competent, I could not discern what caused her to win, then again the Academy and I often differ. I feel that Kirk Douglas should have won Best Actor, instead the honors went to Gary Cooper in High Noon.

In any event, I highly recommend The Bad and the Beautiful to cinema fans, Kirk Douglas fans, and fans of film noir, too.




Recommended:
Yes

Video Occasion: Fit for Friday Evening