A Splurch in the Kisser: The Movies of Blake Edwards by Sam Wasson

By Sam Wasson

With one of many longest and so much arguable careers in Hollywood heritage, Blake Edwards is a phoenix of motion picture administrators, filled 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 ache, and in movies like Breakfast at Tiffany's, Days of Wine and Roses, or even The red Panther, we will be able to listen him off-screen, guffawing at midnight. And but, regardless of these huge, immense successes, he was once 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. nearly in a single day, Blake turned an pariah, which satirically fortified his feel of satire, as he at the same time fought the Hollywood tide and rode it. using prepared visible research, meticulous learn, and troves of interviews and construction documents, Sam Wasson promises the 1st entire account of 1 of the maddest figures Hollywood has ever identified.

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Godard goes on to call the wine vat episode "a gag worthy of Buster Keaton," and concludes that Furlou,gh is all in all, "A very small film ... aves one with o ne's confidence in Blake Edwards intact. I. + idn) x (WAC + Sex) = Box Office TNT. BlAKE BEG I NS, 1955-1959 41 6. The Ptljta Furlou9h (1958) Behind the scenes with Edwards, janet leigh, and her husband/co·star, Tony Curtis. The film was the second of four Edwards-Curtis collaborations. (Universal Pictures/Photofest) the fine·tooth combs had taken notice, but that wouldn't get Edwards his next picture.

We are meant to regard the scene with an eye on its physical properties, not for the psychological complexity of its people. ln a world where style gets in the way of authenticity, this kind of shot is no less than totally precise. Mister Cory has it in spades. For reasons we will see, these master shots do wonders for the sight gag (and vice versa), but in the meantime, before slapstick becomes Blake Edwards' primary carrier of narrative, character, thought, and theme, they will do well to service dialogue.

It gives us a diptych of male· ness; one side represents normative masculinity and the other feminine. ) When we are introduced to Holden in the crosshairs of the periscope's viewfinder, he is presented in a wide shot which shrinks (emasculates) him in the frame. He appears here as Sherman sees him- a puny weakling. When Sherman goes outside to greet Holden, be passes th rough his crew of shirtless men's men working aboard the ship and descends onto the dock with the camera following him from a position high above ground down to Holden's level.

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