21 October 2018

A new low in the treatment of directors

In June 1944, Jack Conway was hired to direct The Clock (1945), Judy Garland's first dramatic film since joining MGM ten years earlier. Due to illness, Conway worked on the film for only one week and was then replaced by relative newcomer Fred Zinnemann. Garland and Zinnemann didn't get along and Garland complained to producer Arthur Freed about their incompatibility ("I don't know he must be a good director, but I just get nothing. We have no compatibility", she reportedly said). After three weeks of shooting, Garland asked Freed to remove Zinnemann from the picture. Freed complied with the wishes of his star and at Garland's request hired Vincente Minnelli to continue the film. (Garland and Minnelli, who had dated during production of Meet Me in St. Louis (1944), would rekindle their romance during the filming of The Clock and got married a year later.)

On the set of The Clock-- pictured above: producer Arthur Freed and leading lady Judy Garland looking over the script/ below: Judy Garland and co-star Robert Walker listening to director Vincente Minnelli .
Unhappy with being removed from the film, Fred Zinnemann wrote the following letter to Vincente Minnelli on 28 August 1944. While Zinnemann harboured no ill feelings against Minnelli, he did think Garland "behaved pretty badly" and also had "great contempt for the conduct of Arthur Freed". In the end, The Clock became a success under Minnelli's direction (although not a huge box-office hit) and was also well received by the critics. Most of Zinnemann's disappointing footage was not used.

Via: icollector


August 28, 1944

Dear Vince

Thanks very much for your very nice note. I was glad to have it and I would like to assure you that I have no hard feelings against you. In fact I do not see what else you could have done under the circumstances, but to accept the assignment.

I wish I could look upon the whole thing as a joke, but somehow it doesn't strike me very funny. I think this incident marks a new low in the treatment of directors, in professional ethics, tact and consideration which a director has a right to expect.

I think that Judy has behaved pretty badly in this whole setup and I have great contempt for the conduct of Arthur Freed- both as a producer and as a man.

However, for your sake and for the sake of Bob Walker and Bob Nathan*, I hope this turns out to be a very fine and very successful film. Please believe me when I say that I hold nothing but good thoughts and the best wishes for you. 

Once again, thanks for the note - and the very best of luck.

Fred Zinnemann

[* Robert Walker was the film's male lead and Robert Nathan the screenwriter.]

Fred Zinnemann would enjoy his greatest successes a decade later with such classics as High Noon (1952), From Here to Eternity (1953) and Oklahoma! (1955).

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