By Sam Wasson
With one of many longest and such a lot debatable careers in Hollywood historical past, Blake Edwards is a phoenix of motion picture administrators, packed with hubris, ambition, and raving comedian chutzpah. His rambunctious filmography continues to be an inventive strength on par with Hollywood's maximum comedian administrators: Lubitsch, Sturges, Wilder. Like Wilder, Edwards's propensity for hilarity is double-helixed with soreness, and in movies like Breakfast at Tiffany's, Days of Wine and Roses, or even The purple Panther, we will listen him off-screen, guffawing in the dead of night. And but, regardless of these huge, immense successes, he used to be at one time thought of a Hollywood villain. After his marriage to Julie Andrews, Edwards's Darling Lili approximately sunk the either one of them and taken Paramount Studios to its knees. virtually in a single day, Blake turned an pariah, which sarcastically fortified his experience of satire, as he at the same time fought the Hollywood tide and rode it. utilising willing visible research, meticulous examine, and troves of interviews and creation records, Sam Wasson grants the 1st whole account of 1 of the maddest figures Hollywood has ever identified.
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Extra info for A Splurch in the Kisser: The Movies of Blake Edwards
He uses cranes, like gags, to reveal, to take a point of view and then, in a flourish, revise it. Minnelli's glide may help an aria take fl ight, reinforcing it, but Edwards suggests other· wise. By delaying o ur awareness ofan audience, and thereby "tricking" us into thinking the performer is alone, it represents the inherent duplicity in performance. No, Blake's saying, this isn't a confession, this is an act. The film received good enough notices to earn Edwards another shot behind the camera.
His 1954 episodes, "Detec· tive's Holiday," "The Bomb," and "The Indian Taker," featured Powell, Niven, and Lupino respectively, and earned Blake eno ugh credibility to sell himself as a feature director back at Columbia, which is how, in 1955, when Richard Quine was promoted to the A list, Edwards was perfectly positioned to fill his shoes. PROLOGUE: BREAKlNG IN) 1922-19 55 25 This page intentionally left blank This page intentionally left blank BRING YOUR SMILE ALONG (1955) Jtrry: You'll9et further with a smile than you will with a frown.
Universal attached Debbie Reynolds, hot off her successes in the Tammy and the Bachelor pbenoms, and reteamed her with producer Ross Hunter and cameraman Arthur E. Arli ng. On the heels of their Oscar-nominated song "Tammy," Jay Livingston and Ray Evans were brought in for music and lyrics, and Blake Edwards- who was at that time not known for sex comedy-was recruited to tie it all together. It was a prestige package on the scale that Blake had never encountered, indicating a certai n rise in studio esteem.
A Splurch in the Kisser: The Movies of Blake Edwards by Sam Wasson