Archive for Tom Tryon

Otto Complete

Posted in FILM with tags , , , , , , , , , , , , , , , , , on September 2, 2015 by dcairns

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Revisiting an old favourite — it’s Otto Preminger Week, Slight Reprise.

I think it was Guy Budziak who sent me a DVD of Otto Preminger’s THE CARDINAL some years back — thanks, Guy! — I immediately watched and drooled over the magnificent Saul Bass title sequence, then put it away, meaning to watch the rest later. Having finally done so, the main benefit received is probably that it got me to finally start reading Chris Fujiwara’s Preminger study, The World and His Double. The movie does embody a lot of the positive AND negative things about the Preminger style and personality.

Fujiwara cites plenty of testimony from concerned parties that Preminger mercilessly mistreated his leading man, Tom Tryon, eventually driving him to quit acting altogether. (Preminger felt Tryon should thank him for his subsequent successful career as a novelist.) Tryon’s own account is harrowing and heartbreaking — but I’m surprised that co-star John Huston’s version isn’t included. Huston claims he noticed Tryon was looking nervous and suggested that Otto might try soothing his star rather than berating him. Otto approached the trembling thespian from behind and bellowed “RELAAAAX!” in his ear.

It probably isn’t true, but poetically it is clearly COMPLETELY true.

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The perfect match of pillars and font (typographic, not baptismal)

The film also got me looking up Catholic history to see if the movie was fair and accurate. It’s not too shabby. Preminger apparently added all the stuff about the Austrian Anschluss, which the source novel didn’t deal with. The film shows faithfully how the church in Austria initially welcomed Nazi annexation, only turning against it when the Nazis started repressive measures against Catholics. But the movie can’t find room to show how Pope Pius XII pursued policies of appeasement and neutrality, decrying war crimes in generic terms while refusing to be specific. However, we do get to see some prime chickenshit religiose humbug in a sequence dealing with segregation in Georgia. When Ossie Davis comes to Rome to report his church being burned by the clan, the Italian cardinal berates him for his inflammatory behaviour in protesting that a Catholic school wouldn’t teach black children.

The fact that Tryon’s character stays with the church after this almost makes him a difficult character to respect, although in fairness he travels to Georgia and tries to help out. His biggest problem as a lead character is that he allows his sister to die — she’s pregnant, the doctor needs to sacrifice the baby’s life to save her, and Tryon refuses. Even Preminger knew this was a character flaw: whatever the law of the church says, as fellow humans in the audience we demand that Tryon’s character save his sister. No movie star could really play that part — the kind of characters movie stars play would somehow resolve things — or God would help out with a miracle and the sister would live.

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Tryon flanked by Lynley Mk II (right) and Dorothy Gish (left).

In a really creepy piece of filmmaking, Preminger casts the same actress, the lovely Carol Lynley, as both sister and grown-up niece (the movie’s story covers decades, and it seems like it too). It’s as if an act of cinematic metempsychosis has resulted in the mother literally living on in her daughter, so that the priest’s act of murder is erased. As Fujiwara observes, Preminger directs this sequence with so little conviction that the apparent intended meaning is substantially undercut.

Weirdness alternates with dullness. For the first twenty minutes, the script (Robert Dozier plus uncredited Gore Vidal and Ring Lardner — neither of whom knew the other was at work on the same project until a chance meeting exposed the farce) is content to offer no actual drama at all, just uncomfortable actors exchanging information, plus bits of ritual and music and nice location shooting. Then Cecil Kellaway brings in a little conflict, playing an avuncular rotter in a dog collar, whose sins are so petty, venial and squalid that it’s surprising Otto got the OK from the church, especially after his rows with the Catholic Legion Of Decency (CLOD, I call them) on previous movies.

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And then we get John Huston, and things get MUCH better. Also Burgess Meredith, at whose deathbed Huston has a moment that actually really moved me — not an emotion I expected to get from a Huston performance, though I often enjoy him.

Cinematographer Leon Shamroy, who restrains his usual Deluxe Color glorious excesses, was apparently quite smitten with Romy Schneider… one can well believe it.

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The movie was make-up supremo Dick Smith’s first credit, and he had to age Tryon throughout the movie. He was apparently a last-minute replacement for the great Maurice Seiderman (CITIZEN KANE), who quarrelled with Preminger and, as a parting gesture, ran his electric razor in a line right up the back of Tryon’s head. Poor Tryon, he got the worst of every encounter. Poor Smith, he had to spend months gluing little bits of hair to the back of Tryon’s scalp.

Fujiwara is probably right to regard this as major Preminger, but he does note the difficulties it presents — Tom Tryon is sort of right for it, but does not provide a strong centre.

Dwight MacDonald wrote of Preminger, “A great showman who has never bothered to learn anything about making a movie,” which is totally off-base. But he added, hilariously, “… no one is more skilled at giving the appearance of dealing with large, controversial themes in a bold way, without making the tactical error of doing so.” In a sense, he has Preminger cold, but a more sympathetic reading — that the former lawyer was always inclined to view a problem from both sides, if at all possible — is equally valid. When dramatic weakness or oppressive censorship impacts on this approach, the result can be dullness, as in several long sequences of THE CARDINAL. When Preminger is able to pilot a strong script through the cultural hazards, the results are striking.

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Quote of the Day: Poor Tom

Posted in FILM, literature with tags , , , , , , on March 7, 2008 by dcairns

Ottorama 

Otto Preminger: a man so mean he warms his hands with barbed wire.

John Huston, in his autobiography An Open Book, reminisces on acting in THE CARDINAL for director Otto Preminger ~

‘Otto is the kindest and most considerate of men in everyday life, but he is notorious for his behaviour on the set. His tirades are legendary. It usually turns out that a reputation like Otto’s has little basis in fact, but as I came onto the set the very first day I was to work, Otto was already roaring like a lion, and his roars never ceased. Most of his roaring was at Tom Tryon. They were a couple of weeks into the picture, and I was told he’d been roaring at Tom since the opening shot. Poor Tom was a wreck!

‘We had a scene where we entered a room together. Standing outside the door, waiting for the cue light to flash, I could actually feel Tom quaking beside me, and I put my arm around him to steady him. He said in an undertone, “I’m going to quit acting.” After we played the scene, I drew Otto aside and told him that I thought, as things were going, Tom was heading for a nervous breakdown. “He’s a nundle of nerves. If you don’t get him to relax, he might not even finish the picture.” Otto was astounded. he hadn’t even realised that he was raising his voice at Tom.

‘Tryon’s next scene was practically a monologue, and he wasn’t doing that well with it. He was tense. His eyes were desperate, and in a final rehearsal I heard him groan once between lines. He got through the scene somehow. Otto said, “Cut!” Then he rose, walked up behind Tom, who stood isolated and miserable, and screamed into his ear, “Relax!”

‘True to his word, Tom Tryon left acting and became a writer of best-sellers.”

One of those, THE OTHER, became a remarkable film directed by Richard Mulligan. It’s emotionally draining like very few “horror movies”, and the ending of is one of the most horrible I have ever seen.

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So, maybe it was all worth it!