By Sam Wasson
With one of many longest and such a lot arguable careers in Hollywood background, 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 discomfort, and in motion pictures like Breakfast at Tiffany's, Days of Wine and Roses, or even The red Panther, we will be able to pay attention him off-screen, giggling 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 grew to become an pariah, which sarcastically fortified his feel of satire, as he at the same time fought the Hollywood tide and rode it. making use of prepared visible research, meticulous learn, and troves of interviews and construction records, Sam Wasson gives you the 1st whole account of 1 of the maddest figures Hollywood has ever identified.
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Additional resources for A Splurch in the Kisser: The Movies of Blake Edwards
Given a Tony Curtis in good form, Edwards could surely have made something more out of this banal comedy concerning the Parisian misadventures of a NATO soldier. ,. 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.
As we will see in Skin Deep, Edwards' ultimate statement on the nature of pain and humor, san ity is dependent upon Zach's acceptance oflife's hilarious afflictions. If he is right and God is a gag writer, then missing the tragic joke isn' t just shortsighted, it's a sin. And since fecal matters are laughing matters, and laugh ing matters are spiritual matters, then by the transitive property, fecal matters are spiritual matters. We are nothing, but isn't that hilarious? And isn't hilarity a god· MATTERS OF INTRODUCTION 17 2.
Blake's little big break came in 1946, when be landed the lead in Strangler of the Swamp, a B horror film about a foggy marshland, a ferry service, and an uncooperative ghost. It's a reasonable picture, and Blake is reason· able in it. He plays Christian Sanders, the heroine's love interest, and has the good looks to bring it off without too much trouble. At twenty-four, he cuts a sturdy physique- all American, you could say-but with the kind of sharp facial contours and wide, white grin that belied Christian's own 3· Blake Edwards (center) flanked by his mother, lillian, and his stepfather, veteran Hollywood production manager jack McEdward.