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 is still a creative strength on par with Hollywood's maximum comedian administrators: Lubitsch, Sturges, Wilder. Like Wilder, Edwards's propensity for hilarity is double-helixed with discomfort, and in motion pictures like Breakfast at Tiffany's, Days of Wine and Roses, or even The purple Panther, we will listen him off-screen, guffawing at midnight. 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 feel of satire, as he at the same time fought the Hollywood tide and rode it. applying willing visible research, meticulous examine, and troves of interviews and creation documents, Sam Wasson supplies the 1st entire account of 1 of the maddest figures Hollywood has ever recognized.
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Extra info for A Splurch in the Kisser: The Movies of Blake Edwards
T find them a prerequisite in any circle. THIS HAPPY FEELING (1958) Mitch: When a man retires he doesn't 9ive up women. Not entirely anyway. when a man does that he's not mired, he's dead. THE PERFECT FURLOUGH (1959) Colonel leland: He's loou in Paris? Liz: Evtrybody•sJoose in Pons. rin,g Your Smile Along, a B musical he conceived and directed under the mentors hip of Richard Quine, and the first of his two Frankie Laine pictures for Colum· bia. Looking back on it he said, I recognized very early on that [directing was] where the control was.
It is a cinematic tech nique- a trademark style- that heightens comic effect. The specifics of Edwardian style will be discussed in detail throughout the book, but for the purposes of this introd uction it should be stated that when mastered, the elements of Edwards' cinema- angle, cutti ng, lighting, composition, etc. - weave story and comedy into a strand so constant, the en hancement of one is identical to the enhancement of the other. The four other aggressively alliterative chapters of this book- "Blake Builds," "Blake Burns," "Blake Breaks," "Blake Bows" - represent, for the most part, experimental phases in Edwards' career, transitions from one x to the next.
Ghed last, but the explodi ng cigar is now a long, indubitably phallic, stick. In each case, the splurch is a dig at false authority (with sexual undertones) and upends the recipient's hollow demonstrations ofcontrol. gh splurch o r edifY (the bo dycast and man·in· ice sequences are purely comic decoration), but the ones that do- the pointer gag in particular- expose the methodology behind thematic splurching. Here's the setup: the same officer who, earlier, broke his pointer, arrogantly addresses a room of his subordinates.
A Splurch in the Kisser: The Movies of Blake Edwards by Sam Wasson