PRODUCTION INFORMATION
The Oscar, a 13-1/2-inch, golden statuette weighing less than seven pounds, has grown to international stature in the 38 years since May 4, 1927, when it came into being as a symbol of the ultimate in achievement in the arts and sciences of the cinema. No single event, except the inauguration of an American president or the crowning of a royal head, commands world interest as does the Academy Award presentation – Oscar Night. According to the National Nielsen Rating, on Monday evening, April 5, 1965, television sets in 25,808,000 households in the United States were tuned in for the ceremonies of the 37th Presentation. Names of the Best Actor and Actress made headlines in newspapers throughout the world, and the details of the glamour and excitement of the event filled the pages.
Once again the excitement and the fever are building as the 38th annual Academy Awards Presentation nears – the 38th Oscar Night when the chosen few will stand in the brilliance of acclaim and the unchosen many will go out quietly and sadly by the proverbial side door.
Incredible as it may seem, Joseph E. Levine’s “The Oscar” is the first motion picture to tell the story of an Oscar race, the story of one man’s climb from anonymity to the uneasy aisle seat of an Oscar nominee on Oscar Night. Also, it is the first motion picture to tell the story of what it means to a star to win – and to lose – and what the golden symbol stands for in the industry. The story is told against backgrounds of infinitely specific authenticity, presenting a unique “insiders” view, showing fictionally what one amoral man does in an all-out effort to win an Oscar, and factually, what moral men and women with loyalty and pride do to protect its prestige and untarnished record of incorruptibility.
Based on Richard Sale’s best-selling novel, the screenplay for “The Oscar” was written by Harlan Ellison, Russell Rouse and Clarence Greene. Greene is also the producer and Rouse is director with Joseph E. Levine as executive producer. “The Oscar” is a Greene-Rouse Production for Embassy Pictures release.
The nine-star cast is of extraordinary stature: Stephen Boyd, Elke Sommer, Milton Berle, Eleanor Parker, Joseph Cotten, Jill St. John, Tony Bennett, Edie Adams and Ernest Borgnine. In guest star cameo roles are another nine famous names: Ed Begley, Walter Brennan, Broderick Crawford, James Dunn, Edith Head, Hedda Hopper, Peter Lawford, Merle Oberon and Nancy Sinatra.
The film is in Pathecolor; Joseph Ruttenberg, A.S.C., was cinematographer.
In addition to the excitement and suspense of the story, “The Oscar” has the visual excitement of beautiful sets and beautiful people, beautifully clothed.
With art direction by Hal Pereira and Arthur Lonergan and set decoration by Robert Benton and James Payne, among the 76 sets constructed for the film are mansions of producer and star class, smart supper clubs and restaurants. Fifteen familiar Hollywood locales were location sites, ranging from a Beverly Hills home in the half-million dollar category to an apartment which had to be furnished on a hundred dollars a month. Appointments for some of the sets come under the heading of fabulous: there is, as example, the over-sized, king-size bed in the Bel-Air home of “film star” Frankie Fane, with its white satin sheets and mink coverlet.
It would take a long memory (which quite probably would produce the “never before” recollection) to recall when a male star in a film has dressed in such elegant high fashion as does Stephen Boyd in “The Oscar” in that portion of the film in which Frankie Fane (Boyd) is shown living the life of an extravagant star. His wardrobe was designed and co-ordinated by Robert Magahay.
Of the beautiful women in the film, Elke Sommer and Eleanor Parker are stunningly costumed by Edith Head, including glamorous gowns for social events and for Oscar night. Miss Head was also responsible for the fashion parade of the beauties (so many that casting requirements strained agents and Guilds) who grace scenes of gala occasions. For feminine stars Jill St. John and Edie Adams, because of the roles they play, costuming is of a different character. But Miss St. John is notable in a dance costume, both at its maximum and minimum, which has a tiger motif, and Miss Adams is irresistible in knits of rosy pink.
Hair styles for “The Oscar” were under the supervision of Nellie Manley, C.H.S., and makeup was supervised by Wally Westmore, S.M.A.
It may well be that one day “the Oscar,” the motion picture itself and the artists who worked on and in it, will be candidates for Oscars, so it now seems timely to take note of the extraordinary score to date: that is, 70 nominations and 20 Oscars earned by those connected with the production.
Clarence Greene and Russell Rouse – nomination – best story and screenplay written directly for the screen – “The Well.”
Oscar – best story and screenplay written directly for the screen – “Pillow Talk.”
Ernest Borgnine – Oscar – Best Actor – “Marty.”
Broderick Crawford – Oscar – Best Actor – “All The King’s Men.”
Eleanor Parker – three nominations – Best Actress – “Caged,” “Detective Story,” “Interrupted Melody.”
Walter Brennan – Oscar – Best Supporting Actor – “Come and Get It.”
Oscar – Best Supporting Actor – “Kentucky.”
Oscar – Best Supporting Actor – “The Westerner.”
Nomination – Best Supporting Actor – “Sergeant York.”
Ed Begley – Oscar – Best Supporting Actor – “Sweet Bird of Youth.”
James Dunn – Oscar – Best Supporting Actor – “A Tree Grows In Brooklyn.”
Joseph Ruttenberg – cinematography – ten nominations – four Oscars.
Hal Pereira – art direction – nineteen nominations – one Oscar.
Edith Head – costume design – twenty-seven nominations – seven Oscars.
Percy Faith – music – nomination for “Love Me Or Leave Me.”