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Home , All Ashore, A Case of Need, Blake Edwards, Buddy Ebsen, Burt Kwouk, Capucine

s6s r i w°/Ia ym ICsa ui S" cs ...... Dear Colleagues,

Writers and directors, working in the kind of collaboration that dignifies both of our profes- sions, stand together once again in our official identities as the Writers Guild of America, west and the Directors Guild of America, to present the Award in recognition of a career achievement in filmmaking.

Our honoree is , the third artist to be so selected, preceded by Brooks and . How proud we are to have been in their presence and to be working at the same crafts!

Somewhere, Preston Sturges is smiling; surely Blake Edwards is a talent after his own heart.

Consider Blake's body of work, outlined in detail elsewhere in this publication. It is the journey of an instinctive artist learning his craft. A journey through the latter days of the legendary studio system, writing low-budget westerns and romantic , then directing his own scripts. Then the gradual development of a personal style, a "touch."

Then, in 1963, his script (with ) and his direction of The ,and film buffs throughout the world knew that they had another stylist to enjoy. (Remember the spinning globe of the , and inadvertently touching it, and spinning himself right to the floor?) After that, Blake's work, unaffected by the storytelling fads of the moment, showed the maturing of a master. He developed into one of those rare creative minds who holds true to his unique talent and to the cinematic tradition of the great era of visual of Chaplin, Keaton and , and later, Preston Sturges himself.

Still in mid-career, he has been a writer and director for a few years short of five decades.

It is a great pleasure for us, as Presidents, to salute Blake Edwards now, a distinguished member of both of our Guilds.

We honor Blake with the Preston Sturges Award, the only joint award we give. Blake honors us with the quality of his work.

Sincerely,

Del Reisman President, WGAW K President, DGA Y film was made under the subsidiary Allied Artists banner. Edwards' career as a film writer and producer was underway. In the late 40s he started writing for radio after an episode similar to the one that started him out as a screen- writer. His girlfriend, who worked in BlakeEdwards, , George Peppardonthe setof BREAKFASTATTIFFANY'S. radio, showed him a script that he criti- cized: "She said, 'All you do is sit format and I said, 'Here' and gave it to important radio work. The program around and criticize. Do you think you her and she took it to the man who had was noted for its originality and can do better?' And I said, Yeah.' So I produced her radio show. He said, 'I groundbreaking style. The first genera- took her script to my father's and sat want to sign you.'" Edwards' script tion of radio detectives were those down and wrote a radio show using that introduced Jack Webb as a radio per- adapted from literature. Richard sonality. Diamond was one of the first major Although he has come to be recog- detectives created specifically for the nized as a consummate visual stylist, medium of radio. He was also the first and although he is an accomplished of three detectives created by Edwards painter and sculptor, radio was the who would seize the public imagina- medium that held the most fascination tion: in the late 50s he created the a for Edwards in his formative years: highly successful television "You were living in the hearing world show and in the mid-60s the character and not in the seeing world. But I lived of Inspector Clouseau who would so much in the hearing world anyway. I appear in the hit Pink Panther Series. grew up on all of those wonderful Aside from directing some shows. It was so great because you episodes of 'Richard Diamond,' imagined these things. You weren't Edwards' directing career really began limited strictly to what you could see in television: "The very first directing I out there. You had a starting point, a did was The Chase. It was a and it focal point, but you could imagine these never sold. I had done some second things and that dimension was the unit directing on Drive a CrookedRoad, greatest. It was just wonderful to lie a film starring that there as a kid and imagine. And it Dick Quine directed. After The Chase, could be any way you wanted." the thing I did was another pilot Edwards created and wrote many that was, I believe, sponsored by Four episodes for Richard Diamond, Private Star Playhouse. Then I did a couple BlakeEdwards with children, Jennifer andGeoffrey. Detective, today considered his most more things for Four Star, one with and one or two with . Those were (Top photo): BlakeEdwards and discuss a scene onlocation for OPER- my beginning directorial chores." Edwards' work as a film ATIONPETTICOAT, (Bottomphoto): Jack Lemmonand confer with BlakeEdwards before ascene for Warner Bros.'DAYS OFWINE AND ROSES dur- director began with a studio assignment at Columbia when he inglocation atSan Francisco's Place Pigalle restaurant. wrote and directed two films for . Edwards had coauthored a number of scripts with his friend who directed "B" features for Columbia. When Quine was elevated to bigger projects, Edwards moved into his position. It was, however, in the late 50s and early 60s that Edwards cemented his reputation as a director with a series of hits with big name stars: Operation Petticoatstarring Cary Grant and , Breakfast at Tifany's starring Audrey Hepburn; and Days of Wine and Roses starring . He did not write or originate those projects though they showed his stylistic versatility and his ability to direct actors. After the success of those films, Edwards made the tran- sition to being writer/director of major films starting with The Pink Pantherand A Shot in the Dark in 1964. At this point in his career he collaborated as a writer on all his films. Although Edwards speaks of his earlier writing collaboration with Richard Quine as the "truest" collaboration he was involved in because the two of them would sit in the same room "and kick The Pink Pantherand he didn't under- the credited screenwriter or story writer, stand it at all but he said, 'I made a deal he did significant rewriting of the origi- with you and if this is what you want to nal scripts: "To become an accredited do, go do it.' Even while we were mak- writer, a director has to change at least ing it there was a lot of concern on the 50% of the . So it's almost Mitisch's part about what kind of a impossible if you want to do something product was coming out. Nobody and you've got a script that's already seemed to be able to really relate to it as written, to change it 50%, but you can far as feeling that it was commercially change it substantially." Indeed, viable, that it was a good product for Edwards frequently changes scripts so them. At the preview of The Pink substantially that, in retrospect, he Panther, Harold rushed up to me. I've thinks that it is usually best for him to never seen anyone so happy. It was like DavidNiven and Blake Edwards ona'Panther' location. write his own screenplays: "I inevitably he had just won the lottery. And in a end up making enemies because I usual- it back and forth," his later writing style way he had." And in a way, Edwards ly rewrite everything and they end up was different: "With other collabora- had too since Series feeling that I've corrupted their material. tors, because I would find it was conve- would repeatedly prove of great impor- It would be better if I just tackled the nient, I would have the story, give it to tance to his career. whole project myself. You always hope them, have them do a lot of the writing Since the mid-60s, nearly all of that someone is going to come in with as I supervised, and then I would totally Edwards' films have involved him in the some genius writing and then you don't rewrite from beginning to end. I did roles of a "hyphenate": writer-producer- have to do it." that a lot." director. On the few on which he is not Between 1975 and 1984, Edwards Based upon his previous successes, he entered into a favorable production agreement with the Mirisch Brothers. It was a happy period in Edwards' career because they respected his creative judg- ment and gave him the promised cre- ative control he needed: "Harold Mirisch was good to his word. He said, You come with us and you don't have to worry about the studio. That's our job, that's where we make our money, partly. You deal with me. You want to do something, you come to me and you and I will agree upon it.' And he proved right from the beginning that he was as good as his word. I went to him with and Blake Edwards onthe set of a 'Panther' film. produced or co-produced all of his films. Since 1984, his close and trusted associate has fulfilled that function on behalf of Edwards' company which has produced all of the projects. Edwards is, thus, still closely involved with the pro- duction of his films. When asked whether his move into the hyphenate functions of writer-producer-director grew out of a struggle to retain more control over his films, Edwards responds, "Well, that is true and there's a simple explanation. I continually witnessed judgments being made by people I considered incompetent. I saw people in charge making cre- ative judgments that really, in my opinion, just had no business making those." The mid to late 60s were a period of astonishing creative achievement for Edwards even though the films he made then (Top photo): Blake Edwards with longtime friend and stunt coordinator, . (Bottom photo, from left to right): Actors Robe nd Julie received little attention from either the critics or the public. Andrews confer with Tony Adams (producer) and ake Edwards on the set of The GreatRace, The Party, Peter Gunn, and What Did You Do MGM's presentation of Edwards' VICTOR/VICTORIA.

* in the War, Daddy? stand with his best thing, why have my name on it? I'm not fil films with some extremely good films work. During this time period, a producer." such as The Curse of the Pink Panther, Edwards also produced Soldier in the In the early 70s, Edwards went The Man Who Loved Women, A Fine Rain and Waterhole Number Three, films from a period of neglect to one of overt Mess, and Skin Deep which did not which he did not direct. Indeed, he did confrontation with the powerful studios. receive either the critical or the box- not originally plan on directing 'Gunn': On DarlingLili, , and The office reception they deserved. The "'When I had to go in and take over Carey Treatment, he fought, and lost the period, in fact, was a productive one 'Gunn' and direct it myself, I said, 'I battles over a wide variety of studio during which he made, on average, one don't like what there doing, my name's interference. The experiences were so film a year. Although he remains puz- on it.' Unless, I can contribute some- traumatic that Edwards moved to zled by the reception of his films during Europe where, in a couple of years time, such periods, he confidently dedares, " I his fortunes reversed nearly as suddenly do know I'm a survivor." He also recog- as they had declined. He entered into a nizes that his need to work constantly production agreement with Sir Lew separates him from other directors who Grade and made are more selective about their projects: with . Edwards normally "It's been important to me to work and is a highly intuitive director who works express myself constantly. I'm jumping out all the visuals on the set. This time, around like a bee. I need that arena to however, things were different: "It's the be happy in. I wouldn't want to be only screenplay that I have ever done and spend all those where I blocked it out and did a story- years waiting. But that's great for board. I wrote little things and put Stanley." them up on a board. What I feel is truly When asked whether he thinks the good about the book is that convoluted Blake Edwards who directed Son of the plot with people doing this and discov- Pink Panther directs in the same way as ering that. That kind of thing has to the Blake Edwards who directed The have real clarity if you're going to lead an Pink Panthernearly 30 years earlier, he audience through it." says, "Yeah, to a great extent. I don't With his next film, Return of the think that anybody who has the career Pink Panther, Edwards once again won curve I do, who has a lengthy career, is the lottery and he followed it with two ever the same as they were in the begin- more Pink Panther films which re- ning. Simply because you get older and established his commercial viability. continue to do what you do doesn't This enabled him to make 10, S.O.B. mean that you don't get better. I know a Jack Lemmon, Lee Remick and Blake Edwards pose and Victor/Victoria, three critically lot of older people that I consider far with members of the camera crew onWarner Bros. DAYSOFWINE AND ROSES, produc- acclaimed films which marked a new better in technique, if nothing else, and tion for the studio. Atleft is cinematographer Philip peak in his career. As in the 60s, more internally secure about what they Lathrop. Edwards followed these highly success- do. You have a conditioned reflex where I'm working with someone that's 26 years old, though I would love to be able to socialize, I'm not able to. And I think that maybe they would be uncomfortable with it too. They're look- ing to me as a figure who has made it and been around a long I that time and they expect a little more seriousness." Luckily, seriousness has done nothing to curtail one of the greatest comic spirits of our time. Blake Edwards remains today an artist of immense creativity and ambition and one who is busy Tony Adams and Blake Edwards. planning a variety of exciting future projects including writing, producing, and directing a stage version of his hit film, there isn't that terrible panic where sometimes you walk out on Victor/Victoria. He is more than a survivor; he is an inspiration. a set and you don't know what the hell to do and you don't want to let anyone know it. I seldom walk on the set now and struggle to find ... I do struggle to find things but it's more of a PETER LEHMAN, Professor in the Department of Media Arts at the University process and not so much of a fear that I'm not going to man- of , and WuLAM LunR, Professor in the Department of English at age. So there is the security factor, having done it so many Saint Peter's College, are co-authors of BLAKE EDwARDs and RETURNING TO times. And there is a certain learning about actors. If you THE SCENE: BLAKE EDWARDS, VoL 2 (Ohio UniversityPress). work with them enough, you begin to discover more things every time you come out of the starting gate. The newness of a director brought with it a certain insecurity, not having walked that mine field before. But if you walk that minefield enough and you know where the mines are, you're able to look up for a change and see more things and you don't have to keep concentrated on your feet and hopefully you don't blow your legs off and nobody moves the mines." Although Edwards feels that he works with actors in the same manner now that he did thirty years ago, the nature of that relationship has, of necessity, changed: "As one suffers the slings and arrows of outrageous fortune in this business, you have a tendency to become more introspective, to investi- gate yourself, to be more demanding and when you're more demanding of yourself, I think you become more isolated. You don't have as much time to be social. I used to have a pool table on the set. I needed that social activity to make me more secure. I took greater chances, perhaps. I was full of youth and energy. It's not that I don't have energy now, but I Geoffrey Edwards (left) mulls over screenplay onwhich hecollaborated with have to conserve it a little more. In those days I was dealing father Blake and Frank and , onthe set of Blake Edwards' TRAIL more with contemporaries because I was a young person. If OFTHE PINK PANTHER. LAUGHING UNTIL IT HURTS AND LAUGHING BECAUSE IT HURTS: BLAKE EDWARDS' COMEDY

BYPETER LEHMAN ANDWILLIAM LUHR

Andrew Sarris once perceptively observed that "Blake Edwards is one writer-director who received some of his biggest laughs out of jokes that are too gruesome for most horror films." Pain has a great deal to do with laughter in Edwards' films and many of his gags supply a variation on the conventional wisdom that something is funny only if no one really gets hurt. Cartoon char- acters, for example, can suffer brutal and even deadly punishments while bounc- ing back intact for the next scene with * little more than a smudge or a band- cartoons than it is in the world of live action; he violates the aid. When we see them back in rule that, to be funny, no one can permanently get hurt in this action, we quickly for- style of comedy. In A Shot in the Dark, innocent bystanders are get their previous, killed in bungled attempts on Clouseau's life and, at the end of gruesome fates. the film, a large part of the cast is inadvertently blown up by a A similar logic is bomb intended for Clouseau. The most extreme instance of at work when Inspector Clouseau (Peter this, however, occurs, in S.O.B.; the comic mood shockingly Sellers) gets knocked out of a second shifts in the middle of the film when Felix Farmer (Richard story window in A Shot in the Dark and Mulligan) is shot dead in the midst of slapstick mayhem. we see him, like Wile E. Coyote in the Although the moment of his death is anything but funny, the Road Runner cartoons, lying flattened on last part of the film treats his dead body and funeral comically. the ground. Moments later, however, Edwards frequently speaks of his mixture of comedy and he brushes himself off and walks high drama as related to his perception of life: "My life is away as if nothing had happened. If there are similarities with car- toons, there are also crucial differences. Because he makes live-action films which represent a believable world, Edwards intensifies the element of pain which the make-believe world of cartoons minimizes. Viewers may very likely wince in pain when, in A Shot in the Dark, the frustrated Chief Inspector Dreyfus (Herbert Lom) inadvertently cuts off his thumb and, in Son pfthe Pink Panther,when, with his leg in a cast, he gets mangled in a mechanical hospital bed. In Return of the Pink Panther, Sir Charles () systematically and graphically breaks all of the fingers on both of Pepi's () hands. It is certainly much easier to watch Daffy Duck get his feathers blown off and blackened with a shotgun blast. At times Edwards goes further than extending a comic style that is, by conventional standards, more appropriate in Ina scene from THEPINK PANTHER, Colin Gordon (left) and (right). exactly like that; I don't go through a a hospital surrounded by men injured in day where there isn't a high degree of the great naval battles of the war, while drama, a certain amount of comedy." he got his injury in a swimming pool: His descriptions of painful events in his "And all these guys with purple hearts. I life are often bound up with unexpected- had the biggest laugh of my life in that ly humorous aspects. As a young man ward, because I woke up one day, and in the Coast Guard during World War there was Eleanor Roosevelt standing at II, he broke his back and neck in a div- the foot of my bed, and she looked at ing accident and was a quadriplegic for me and said, 'Where were you wound- about forty hours. To compound this ed, young man?' Now you've got to end grim situation further, his treatment led up with a sense of humor if you're going (Top photo): and in 10. to a morphine addiction. However, to face things like that." (Bottom photo): Jack Lemmon and Julie Andrews in when he relates the story, it is within the He has made no secret of the strong THAT'S LIFE! context of his embarrassment at being in autobiographical strain in his work, nor Many of the characters with strong of the fact that many of the more autobiographical overtones in his films painful, as well as comical, incidents in are not presented sympathetically; films like 10, S.O.B., and That's Life/ are rather, they are often quite conflicted in based upon actual events in his own life, their motivations and bring much of whether middle-aged crises or profes- their pain upon themselves. But that sional calamities. And he is not fin- pain is often very funny. After George ished. He has recently spoken of a script Webber (Dudley Moore) has a number idea based upon the last three years of of his teeth pulled in 10, he tries to smile his life in a way that reveals his comic at a woman while drinking a cup of cof- sensibility: "It covers the three years fee, but the coffee comes painfully and having to do with the death of my par- embarrassingly dribbling out of his ents and the acting out of my children. mouth. Later, he gets into trouble while It's just total madness, there is no other trying to talk to his girlfriend (Julie word for it. I knew while it was going Andrews) over the phone because his on that eventually it would just go away, incomprehensible speech sounds like an or else it would turn into a comedy. obscene phone call. When looking at a Well, it didn't go away." neighbor's sexual activities through a Not every mind works like that, not telescope, he inadvertently smashes him- everyone sees a deep relation between self in the head with the telescope and the most tragic of events, especially in goes falling down a huge hill. While one's personal life, and comedy, but these are very funny scenes, they also Blake Edwards' mind works that way directly parallel the deeper pain that the repeatedly. He does not spare himself. Jennifer Edwards and inS.O.B. sexually insecure character is having - Dreyfus' analyst, the fate of the field is not rosy in Edwards' films. The Man Who Loved Women is the film in his career that deals most explicitly with psychoanalysis, but in this film the process does not work. David Fowler () is a compulsive woman chaser who seeks psychoanalytic help. The Fromleft: LysetteAnthony, JoBeth Williams, andVictoria MahoneyinSWITCH. therapy fails and his problem leads to his death. Just as Edwards does not use autobiographical material in a cheerful, his fears about his age, potency, and ability to attract women; self-glorifying way, he also does not present a sunny, uncom- his difficulties in communicating with his girlfriend; and the plicated view of the therapeutic method that means so much to loss of control his sexual problems are inducing in him. him. He knows that psychoanalysis is a complicated process Edwards' focus on extreme pain extends to his least with many pitfalls that does not always succeed and he does believable characters. Inspector Clouseau has ordered his ser- not shy away from its darker side. The Man Who Loved Women vant Cato to brutally attack him without warning at every is one of the grimmest films in his career; it also contains one opportunity, thus introducing physical pain into both of their of his funniest sequences as Fowler, involved in a dangerous daily lives. Inspector Dreyfus, who chopped his thumb off in and hilarious affair with a married woman (), A Shot in the Dark, accidently shoots his nose off and inadver- engages in precisely the activities that will lead to his death. tently strangles his psychiatrist in Return ofthe Pink Panther. Blake Edwards has successfully worked in a great variety One way of coping with internal pain is psychoanalysis of comic modes - from the World War II comedy of and Edwards has praised its benefits. "I started going quietly mad at one point in my life. I was in a lot of pain, emotional pain, and I tried all sorts of avenues of escape.... I found that the pain just got worse. An actor named Frank Lovejoy saw my torment, and said, 'Listen, why don't you see an analyst?' and gave me the name of one. I found out I could get an enormous amount of relief there." But, like the fate of RobertoBenigni andBlake Edwards onthe set of SONOF THE PINK PANTHER. to the slapstick and bedroom farce of The him look ridiculous as he passes his analyst. The scene also Pink Panther to the sophisticated humor of Breakfast at provides a physical parallel for the painful manner in which the Tifany's to the dark, satiric humor of S.O.B., among others. character is losing control of his life. He uses humor on many levels. In Skin Deep, an agent uses Edwards has said that creativity makes his life bearable; brutal and biting wit to try to prod a blocked writer to write. without it he could not survive. Life's grimmer aspects have The wit is less funny than nasty and aggressive. We later learn fueled one of the longest and most productive careers in that the agent knew he was dying at the time and that he used Hollywood history. Perhaps paradoxically, that creativity has the wit to cover his pain and to distance his friends from sym- most often taken the form of comedy. Whether we have Felix pathy for him, thus sparing them pain. In the same film, the Farmer trying to hang himself in his bedroom because of a writer () goes into uncontrollable and very funny career failure and marital collapse, or Inspector Clouseau and spasms as the result of a muscular treatment. In a long take, Cato wildly fighting one another with deadly weapons, we wit- beautifully choreographed and acted, Ritter attempts to walk ness much pain, and we keep laughing, hoping for more. We down a flight of stairs into a parking garage. His spasms laugh until it hurts, and because it hurts. knock a sheaf of papers out of a woman's hands and then make

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BYPETER LEHMAN ANDWILLIAM IUHR

OPERATION PETTICOAT (1959) history. It also marked the first of Edwards' supply officer, Lieutenant Nick Holden Operation Petticoat marked Edwards' entry fortuitous last-minute casting changes when (Tony Curtis), cleverly "appropriates" the into the top ranks of feature production. It Cary Grant stepped into the lead role after needed materials and eventually brings five was the first time he worked with a star of Jeff Chandler's untimely death. female nurses on-board, thereby causing con- Cary Grant's stature and it opened at the This naval comedy concerns the efforts of siderable embarrassment and confusion in the prestigious Radio City . A huge Commander Matt Sherman (Grant) to repair all-male world. box office success, it quickly became one of his damaged submarine and return it to active Many of the gags in the film concern the largest-grossing comedies in Universal's duty in the days following Pearl Harbor. His indignities to the crew's sense of their mas- culinity, a recurring source of humor in Edwards' career. These men do not take kindly to having women aboard, to trying to fight the enemy in a damaged submarine and, perhaps worst of all, to having their entire sub- marine painted a bright pink. They are finally reduced to sav- ing themselves from being sunk by their own side by shooting women's undergarments out of the torpedo hatches to identify themselves as Americans.

BREAKFAST AT TIFFANY'S (1961) Breakfast at Tffany's, based upon the widely admired novel, depicts the lifestyle and husband-hunt- ing adventures of the attractive and bizarre Holly Golightly (Audrey Hepburn). The film was the first demonstration of Edwards's skill with a "sophisticated" kind of comedy dealing with a stylish demi-monde that is more akin to works of than to anything Edwards had previously done. Holly's thinly disguised career as a call girl and her friend Paul's () as a "kept" man, presented in a largely sympathetic light, stretched the limits of what Hollywood cinema would allow at that time. While wrote the script for 'Tiffany's,' Edwards is justly proud of his original idea for its clever and uniquely choreo- graphed party sequence, the first of many major party sequences in his films. One incident from this one, showing Edwards' typical emphasis on heavy drinking and disoriented behavior at parties, has Holly inad- vertently setting a woman's hat on fire with her cigarette. Before Paul, horrified but in another part of the room, can do anything about it, another character spills his drink, dousing the fire. Even the partici- pants never know what has happened. won two for Breakfast at job precisely on those grounds, arguing that the material was so grim Tifany's (best score and best song, "Moon River"). This collaboration that it needed an occasional light touch to make it more poignant. between Mancini and Edwards on 'Tiffany's,' as well as on the popular A fine example of this touch comes in the scene in which Joe comes television series Peter Gunn (1958-61), set the standard for what has home merrily drunk, picks some flowers from his apartment building's become perhaps the most successful and longest lived major outside garden, and then walks towards the camera and abruptly bumps director/composer team in Hollywood history. Edwards received a into a large pane of glass. The act, which is both comic and pathetic at DGA nomination for this film. the same time, shocks not only Joe but also the viewer, who is similarly unaware of the window DAYS OF WINE AND ROSES (1963) Both Edwards and Jack Lemmon changed their career profiles THE PINK PANTHER (1964) from mainly comic to dramatic artists with Days of Wine and Roses. The Pink Pantherspawned one of Hollywood's most popular series Unlike anything Edwards had done before, this social problem drama, and, in ' Inspector Clouseau, one of its most enduring shot in black and white, is a harrowing study of alcoholism and gar- characters. That character has become so associated with the series that nered Edwards some of the most respectful reviews of his career. It it is jolting today to recall that Sellers was not even the lead actor in the tells the story of Joe Clay (Lemmon), a heavy drinking public relations film - David Niven as Sir Charles Litton was! Furthermore, Sellers man who feels his job is degrading. He marries Kirstin Arnesen (Lee was not the first choice for the role. dropped out just Remick), a non-drinker, and pressures her into drinking with him. before production began and Sellers became another of Edwards' fortu- Soon she becomes an alcoholic and their lives collapse. His slow, gru- itous last-minute casting replacements. eling recovery eventually requires the horrible moral decision of reject- The film involves Clouseau's attempts to foil an international jewel ing her for the very addiction he fostered in her. thief, "The Phantom" (secretly Sir Charles). Edwards was a surprise choice for this film since he had primarily The thief not only eludes capture but is also having an affair with directed comedies up to this point. Jack Lemmon wanted him for the Mme. Clouseau (). In the end, Clouseau goes to jail for the crime he is trying to solve, and Sir Charles had to masquerade as a man, marking the first goes to South America with Clouseau's wife. major instance in the series of transvestism, a The 'Pink Panther' is not only the fabled concept Edwards frequently plays with in his jewel that Sir Charles is trying to steal but is work. In another example, Clouseau's ser- also associated with the virginity of its owner, vant, Cato (), also appears as a Princess Dala (). It takes its woman in this very funny film for which place alongside other props such as a broken Edwards received a WGA nomination. icicle, a smashed violin, and an unexpectedly uncorked champagne bottle that form a sub- 10 (1979) text commenting upon the sexual foibles of 10, Edwards' highest grossing box-office the characters. Notably, the pink panther car- film to-date, turned into an toon figure appears for the first time in the overnight sensation and made Dudley Moore film's credits. it, and he again goes after Sir Charles Litton, (who replaced at the last With The Pink Panther, Edwards reintro- "The Phantom" (this time played by minute) a comedic leading man. It tells the duced slapstick comedy into quality Christopher Plummer). The logic of this film story of George Webber's (Dudley Moore) Hollywood production. This brand of is that this is a new way of dealing with famil- mid-life crisis which makes him leave his girl- humor, so popular in the silent era, had subse- iar characters and situations. friend (Julie Andrews) in pursuit of Jenny (Bo quently been relegated to "B" films and shorts. Of course, things do not work out in the Derek), a beautiful woman whom he first The film also contains long bedroom farce same way and, as the film revitalized the glimpses on her wedding day. The film sequences, a mode to which Edwards returns series, it turns out that not Sir Charles but his marks an important shift in Edwards' work repeatedly. wife () stole the diamond to from examining sexual issues in a subtextual revitalize their marriage. To get the jewel she manner, as in the Pink Panther films, to treat- RETURN OF THE PINK PANTHER (1975) After A Shot in the Dark, neither Edwards nor Peter Sellers had any intention of resum- ing the Clouseau series; in fact, in 1968 they made The Party, a having noth- ing to do with the Clouseau character. But in the mid-, when both were having career difficulties, they teamed again to make Return of the Pink Pantherwith resounding success. The film not only revitalized the series, it was also the first to present itself as part of a series by presuming audience awareness of the earlier films, a pattern that continues in all subsequent Panther films. When the fabled Pink Panther jewel is again stolen, the logical thing to do is to again get Clouseau to recover ing them openly. After the light comedy of the previous Pink Panther films, 10 notice- ably mixes serious themes and drama with outrageous comedy. The scene in which George is impotent with a woman he picks up in a bar is poignant and touching in its examination of casual sexual encounters and A contrasts wildly with the in a following scene in which he is on a beach and scorches his feet on the hot sand. Edwards' comedy of pain is both physical as when George's dental work leads him to dull the pain with drugs and alcohol and psychological as when he bumblingly attempts to seduce Jenny only to find that she does not match his vision of her. Edwards received a WGA nomination for this film.

S.O.B. (1981) Mary Poppins topless? S.O.B. gained instant notoriety with Julie VICToR/VICTORIA (1982) Andrews' topless scene and, indeed, the film is partially about remaking After turning Mary Poppins into a sex star in S.O.B., Edwards movies and star images. Since his marriage to Julie Andrews, Edwards turned her into a man in Victor/Victoria. Based on a 1933 German attempted to bring out new facets of her acting and persona in such film, Victor/Victoria tells the story of Victoria (Julie Andrews), a per- films as , The Tamarind Seed and 10. He goes the furthest former who adopts the stage act of Victor, a man playing a woman; she in this film which tells the story of film producer Felix Farmer's becomes a woman pretending to be a man pretending to be a woman. () attempt to save a box-office disaster by turning a In an hilariously convoluted plot, King Marchand () falls "G" rated children's film starring his wife (Andrews) into a sexually in love with her before learning that she is a "man." Homophobic hys- explicit adult film. The manner in which the movie-within-the-movie teria drives him to discover "Victor's" true sexual identity at any costs. turns the sexual subtext of a nursery tale into a sexually explicit story In an elaborate scene of Edwards' trademark bedroom farce, Marchand parallels Edwards' own shift from the Pink Panther films into 10. It hides in Victor's bathroom and then has to crawl out undetected after has many additional autobiographical elements going back to Edwards' seeing "him" take a bath. The film explores both the power imbalances bitter battles for creative control over his films in Hollywood in the between men and women in our culture and its fears of homosexuality. early 70s. In an astonishing scene which turns comedy into brutal In memorable casting choices, plays Squash, Marchand's tragedy, Farmer is shot and killed as he tries to steal back his film from macho bodyguard who, much to Marchand's surprise, turns out to be a studio. This film, for which Edwards received a WGA nomination, gay and Robert Preston plays Toddy, the gay entrepreneur who comes contains so many resemblances to contemporary Hollywood personali- up with the idea of Victoria's stage act. In a refreshing twist on many ties that it became a popular guessing game to link the fictional charac- Hollywood images of homosexuals, the gay men are secure and com- ters with actual figures within the industry. fortable with their sexuality while the heterosexual King Marchand is longtime analyst, only consisted of a brief out- line of scenes followed by a few paragraphs describing the nature of the characters. Nearly all the dialogue and even the outcome of some of the action was improvised on the set. The film seamlessly blends poignant drama (as in the haunting images of Gillian's isolation from the family as she anguishes over her health) and physical comedy (as in the scene where Harvey squirms in anguish from lice as he speaks in church). More directly than in any of his other films, both the comedy and the drama in That's Life! draw on Edwards' own personal pain.

SWITCH (1991) precariously insecure in his. With this film, bears comparison with Edwards' position as a Nearly a decade after Victor/Victoria, for which Edwards won a WGA award, he writer/director within Hollywood. Indeed, Edwards created a companion piece in Switch. entered a creative period of remaking the casting his family and friends and shooting This time, he extended the premise even fur- films of others as well as returning to and the film in his own home further intensifies ther and, rather than have a woman masquer- remaking his own previous films and televi- the autobiographical elements. The script, ade as a man pretending to be a woman, he sion work (The Pink Panther and Peter Gunn). co-authored with Milton Wexler, Edwards' placed a man inside a woman's body. Steve, a sexist, is killed by former girlfriends and God THAT'S LIFE! (1986) (who, in keeping with Edwards' exploration That's Life! opened to a chorus of virtually of gender issues, speaks alternatingly in a male unanimous critical praise. It not only contin- voice, a female voice, and a combination of ued Edwards' stunning string of films with both) gives him a chance to enter heaven if he Julie Andrews but also reunited him with Jack can return to earth and get one woman to Lemmon. Like 10, it deals with a birthday vouch for him. He agrees but, to his surprise, precipitating a crisis. Harvey Fairchild (Jack is reincarnated as Amanda (Ellen Barkin). Lemmon), turns 60 on the weekend that his Much like Victoria in Victor/Victoria learns wife Gillian (Julie Andrews) waits for a biopsy about the world of male privilege in her guise report on a possible malignancy. Fairchild is as Victor; Steve, as a woman, experiences the so self-absorbed with his aging that he entire- other side of the gender power imbalance as ly ignores his wife's crisis. Although Fairchild she/he is verbally harassed by construction is an architect, the creative nature of his pro- workers on the street and seduced while fession and the manner in which it brings him drunk. The seduction involves another inter- into conflict with the people who hire him esting plot twist since Walter (Jimmy Smits), Steve's best friend, is the seducer. is widely respected as a major comic talent in his Italy and throughout He impregnates Amanda and the Europe, he has been a comparative unknown to mainstream American baby girl to whom she gives birth audiences. Not only is Benigni a very different comic actor than Peter redeems Steve so that he may Sellers but the character of Jacques Jr. is very different from that of his enter heaven. Like Micki & father. Whereas Clouseau was a deeply conflicted with an aggressive Maude where the Dudley Moore and sometimes vicious side, his son is a gentle man who exudes a child- character virtually becomes a like innocence. mother, Switch touches on deeply involves the kidnapping of a princess repressed male maternal fantasies. (Debrah Farentino) by terrorists and Clouseau Jr's inept but successful attempts to rescue her. While the film draws upon many cherished SON OF THE PINK PANTHER (1993) icons (Herbert Lom, Claudia Cardinale, Burt Kwouk) from earlier When Commissioner Dreyfus (Herbert Lom) first encounters films, it is also remarkably inventive - as in a hospital scene in which Inspector Clouseau's illegitimate son, Jacques Jr. (), in Clouseau Jr., thinking he is working a television remote control, unwit- Son of the Pink Panther,his eye, as in the earlier films, begins involun- tingly plays havoc with Dreyfus' electronic hospital bed. Edwards once tarily twitching; the comparable reaction for lovers of the series and of more proves he has no equal as a master of physical comedy. Edwards' work is likely to be compulsive laughter. Although Benigni F I L M 0 G R A P H Y

Son of the Pink Panther Vincent Gardenia, Alyson Reed, That's Life! 1993, MGM Joel Brooks, Julianne Phillips, 1986, Columbia Chelsea Field, Peter Donat, Don Screenplay by Blake Edwards and Written by Milton Wexler & Blake Gordon, Nina Foch. Madeline Sunshine & Steven Edwards; Produced by Tony Sunshine; Story by Blake Edwards Adams; Directed by Blake (based on characters created by Sunset Edwards; Photography by Anthony Maurice Richlin & Blake Edwards); 1988, Tri-Star Richmond; Set Decoration by Tony Produced by Tony Adams; Directed Screenplay by Blake Edwards; Marando; Music by Henry by Blake Edwards; Photography by Story by Rod Amateau; Produced Mancini; Edited by Lee Rhoads. ; Production Design by by Tony Adams; Directed by Blake CAST: Jack Lemmon, Julie Andrews, Peter Mullins; Music by Henry Edwards; Photography by Anthony , , Mancini; Edited by Robert B. Richmond; Production Design by Jennifer Edwards, Rob Knepper, Pergament. CAST: Roberto Rodger Maus; Set Decoration by Matt Lattanzi, Chris Lemmon, Benigni, Claudia Cardinale, Marvin March; Music by Henry Cynthia Sikes, Dana Sparks, Emma Herbert Lom, Debrah Farentino, Mancini; Edited by Robert Walton, Felicia Farr, Theodore Burt Kwouk, Robert Davi, Jennifer Pergament. CAST: , Wilson. Edwards, James Garner, Mariel Hemingway, Kathleen Quinlan, Jennifer Edwards, AFine Mess Switch Malcolm McDowell, Patricia 1985, Columbia Hodge, Dermont Mulroney, M. 1991, Tri-Star Written and Directed by Blake Emmet Walsh, Richard Written and Directed by Blake Bradford, Edwards; Produced by Tony Andreas Katsulas, Joe Dallesandro. Edwards; Produced by Tony Adams; Photography by Harry Adams; Photography by Dick Bush; Stradling; Production Design by Production Design by Rodger Blind Date Rodger Maus; Set Decoration by Maus; Music by Henry Mancini; 1987, Tri-Star Stuart A. Reiss; Music by Henry Edited by Robert Pergament. CAST: Screenplay by Dale launer; Mancini; Edited by John F. Burnett Jimmy Smits, Ellen Barkin, JoBeth Produced by Tony Adams; Directed and Robert Pergament. CAST: Ted Williams, Lorraine Bracco, Tony by Blake Edwards; Photography Danson, Howie Mandel, Richard Roberts by Harry Stradling; Production Mulligan, Stuart Margolin, Paul Designer, Rodger Maus; Set Sorvino, Maria Conchita Alonso, Skin Deep Decorator, Carl Biddiscombe; Jennifer Edwards, Rick Ducommun, 1989, Twentieth CAST: Kim Basinger, Bruce Willis, Keye Luke, Ed Herlihy. Century Fox John Larroquette, William Daniels, Written and Directed by Blake George Coe, Mark Blum, Phil Edwards; Produced by Tony Hartman, Stephanie Faracy, Adams; Photography by Isidore Graham Stark, Sacerdo Tanney. Mankofsky; Production Design by Rodger Maus; Edited by Robert Pergament. CAST: John Ritter, Micki &Maude Curse of the Pink Panther Maus; Music by Henry Mancini; 1984, Columbia 1983, MGM/UA Edited by Ralph E.Winters. CAST: Julie Andrews, James Garner, Rober Screenplay by Jonathan Reynolds; Written by Blake Edwards & Alex Produced by Tony Adams; Directed Geoffrey Edwards; Produced by rton Leslie Ann Warren, Karras. Academy Award by Blake Edwards; Photography by Tony Adams; Produced and Nomination for Best Screenplay by Harry Stradling; Production Design Directed by Blake Edwards; Blake Edwards; WGA Award for by Rodger Maus; Set Decoration by Photography by Dick Bush; Music Best Adapted Screenplay. Cesar Stuart A. Reiss; Music by Lee by Henry Mancini; Edited by Ralph Award for Best Foreign Film. Holdrige; Edited by Ralph E. E. Winters. CAST: David Niven, Winters. CAST: Dudley Moore, Ted Wass, . , Ann Reinking, Richard S.0.. Mulligan, , TPail of the Pink Panther 1981, Lorimar Wallace Shawn, John Pleshelte. 1982, MGM/UA Written and Directed by Blake Edwards; Produced by Blake Screenplay by Blake Edwards & Edwards and Tony Adams; The Man Who Loved Geoffrey Edwards and Frank Photography by Harry Stradling; Women Waldman & Tom Waldman Production Design by Rodger Maus; 1983, Columbia (based on a Story by Blake Music by Henry Mancini; Edited by Edwards and characters created by Screenplay by Blake Edwards & Ralph Winters. CAST: Julie David H. DePatie, Friz Frelengl; Geoffrey Edwards and Milton Andrews, , Marisa Produced by Tony Adams; Wexler (based upon "T homme qui Berenson, Richard Mulligan, Larry Produced and Directed by Blake aimait les femmes" by Michel Hagman. WGA Award Edwards; Photography by Dick Fermaud, , Nomination. Francois Truffaut; Produced by Tony Bush; Music by Henry Mancini; Edited by Alan Jones. CAST: Adams; Produced and Directed by 10 Blake Edwards; Photography by Peter Selers, David Niven, Herbert 1979, Orion Haskel Wexler; Production Design lom, Richard Muligan. by Rodger Maus; Music by Henry Written and Directed by Blake Mancini; Edited by Ralph E. Edwards; Produced by Blake Winters. CAST: Burt Reynolds, Julie 1982, MGM Edwards and Tony Adams; Photography by Frank Stanley; Andrews, Kim Basinger, Marilu Screenplay by Blake Edwards; Design by Rodger Henner- (based on the film, VIKTOR UND Productions VIKTORIA by Rheinhold Schuenzel, Maus; Music by Henry Mancini; Edited by Ralph E. Winters. Hans Hoemburg); Produced by CAST: Dudley Moore, Julie Tony Adams; Directed and Andrews, Bo Derek, Robert Produced by Blake Edwards; Webber, Dee Wallace, Sam Photography by Dick Bush; Jones. WGA Award Nomination. Production Design by Rodger Revenge of the Pink The Tamarind Seed Directed by Blake Edwards; Pantler 1974, Jewel-Lorimar Produced by Owen Crump; Photography by 1978, UA Screenplay by Blake Edwards Russell Harlan, Harold E. Wellman; Production Screenplay by based on the novel by Evelyn Design by Fernando Carrere; Music Ron Clark and Blake Edwards; Anthony); Produced by Ken ; by Henry Mancini, lyrics by Johnny Story by Blake Edwards; Executive Directed by Blake Edwards; Mercer. CAST: Julie Andrews, Producer Tony Adams; Produced Photography by Freddie Young; , Jeremy Kemp, Lance and Directed by Blake Edwards; Music by ; Edited by Percival, Michael Witney, Jacques Photography Ernie Day; Production Ernest Walter. CAST: Julie Marin, Andre Maranne. Design by Peter Mullins; Music by Andrews, , Anthony Quayle. Henry Mancini; Edited by Alan The Party Jones. CAST: Peter Sellers, Herbert [om, Dyan Cannon, Robert 1968, UA Webber, Burt Kwouk, , 1972, MGM Screenplay by Blake Edwards and Robert Tom Waldman & Frank Waldman; loggia, Graham Stark. Written by James P. Bonner (based Story by Blake Edwards; Produced on the novel "" by and Directed The Pink Panther Strikes Jeffrey Hudson); Directed by Blake by Blake Edwards; Again Edwards; Produced by William Photography by Lucien Ballard; Production Design by Fernando 1976, UA Belasco; Photography by Frank Stanley; Music by Roy Budd. Carrere; Music by Henry Mancini; Written by Frank Waldman & Blake CAST: , Jennifer Edited by Ralph E.Winters. CAST: Edwards; Directed and Produced O'Neill, Skye Aubrey, Pat Hingle, Peter Sellers, , by Blake Edwards; Production Dan O'Herlihy. Marge Champion, Fay McKenzie, Design by Peter Mullins; Music by , Buddy [ester. Henry Mancini; Edited by Alan Wild Rovers Jones. CAST: Peter Sellers, Herbert Gnn [am, Colin Blakely. WGA Award 1971, MGM 1967, Paramount for Best Original Screenplay. Written and Directed by Blake Screenplay by Blake Edwards; Produced by Blake Edwards & (based on a Return of the Pink Panther Edwards and Ken Wales; Photography by Philip Lathrop; story and characters created by 1975, UA Blake Edwards); Produced Music by Jerry Goldsmith; Edited by by Written by Blake Edwards & Frank Owen John F.Burnett. CAST: William Crump; Directed by Blake Waldman; Produced and Directed Holden, Ryan O'Neal, Karl Edwards; Photography by Philip by Blake Edwards; Photography by Maiden. Lathrop; Production Design by ; Production Fernando Carrere; Music by Henry Design by Peter Mullins; Music by Mancini; Edited by Darling [Ill . Henry Mancini; Edited by Tom CAST: , Laura Priestley. CAST: Peter Sellers, 1970, Paramount , Edward Asner. Mystery Christopher Plummer, Catherine Written by Blake Edwards & Writers of America, Edgar Allen Schell, Burt Kwouk. WGA Award William Peter Blatty; Produced and Poe Award. Nomination. What Did YoueDo InThe Edwards; Photography by Chris Edwards; Photography by Philip War, Daddy? Challis; Production Design by Lathrop; Music by Henry Mancini; Michael Stringer; Music by Henry Lyrics by ; Edited by 1966, UA Mancini; Edited by Ralph E. Patrick McCormack. CAST: Jack by William Peter Blatty Screenplay Winters. CAST: Peter Sellers, Lemmon, Lee Remick, Charles (based on a story by Blake Edwards , . Bickford, Jack Klugman, Alan and Maurice Richlinl; Produced and Hewitt, Tom Palmer, Debbie Directed by Blake Edwards; lhe Pink Panther Megowan, Maxine Stuart, Jack Photography by Philip Lathrop; Albertson, Ken Lynch. 1964, UA Production Design by Fernando Written by Maurice Richlin & Blake Carrere; Music by Henry Mancini; Experiment inTerror Edited by Ralph E.Winters. CAST: Edwards; Produced by 1962, Columbia James Coburn, Dick Shawn, Sergio & Martin Manulis; Directed by Blake Fantoni, Giovanni Ralli, Aldo Ray, Edwards, Photography by Philip Screenplay by Mildred and Gordon Leon Askin, Carroll O'Connor, Lathrop; Production Design by Peter Gordon from their novel "Operation Harry Morgan. Mullins; Music by Henry Mancini; Terror"; Produced and Directed by Edited by Ralph E.Winters. CAST: Blake Edwards; Photography by Niven, Peter Sellers, Robert Philip Lathrop; Music by Henry he gmgg Rac David Wagner, Capucine, Claudia Mancini; Edited by Patrick 1965, Warner Bros. Cardinale. WGA Award McCormack. CAST: , Screenplay by Arthur Ross Ibased on Nomination. Lee Remick, , Stefanie story Arthur Ross and Blake a by Powers, Roy Poole, , by Martin Edwards); Produced A su In The Rain Patricia Huston, Gilbert Green, Jurow; Directed by Blake Edwards; Clifton James. Photography by Russell Harlan; 1963, Allied Artists Richlin and Production Design by Fernando Screenplay by Maurice The Notorious Ludlady Carrere; Music by Henry Mancini; Blake Edwards (based on a novel Edited by Ralph E.Winters. CAST: by ); Produced 1962, Columbia Tony Curtis, Jack Lemmon, Natalie by Martin Jurow; Directed by Ralph Screenplay by and Wood, Peter Folk. WGA Award Nelson; Photography by Philip Blake Edwards (based on the story Nomination, Silver Medal Award, Lathrop; Music by Henry Mancini; "The Notorious Tenant" by Margery Moscow Film Fesival. Edited by Ralph E.Winters. CAST: Sharp); Produced by Fred Kohlmar; , Steve McQueen, Directed by Richard Quine; AShoInThe Dark , Tony Bill, Tom Photography by Arthur E.Arling; Poston, , John Hubbard. Music by ; Edited by 1964, UA Charles Nelson. CAST: Kim Screenplay by Blake Edwards and Days of WhIe &Roes Novak, Jack Lemmon, . William Peter Blatty (based on plays WGA Award Nomination. 1962,Warner Bros. by Harry Kumitz, adapted from the French play by ); Screenplay by J.P. Miler based on Produced and Directed by Blake his television play; Produced by Martin Manulis; Directed by Blake Breakfast at iffany's O'Connell, Richard Sargent. 1961, Paramount Academy Award Nominations for 1957, Universal Story and Screenplay. Screenplay by George Axelrod, Screenplay by Blake Edwards based upon the book by Truman (based on a story by Leo Rostenl Capote; Produced by Martin Jurow Produced by Robert Arthur; Directed and ; Directed by 1958, Universal by Blake Edwards; Photography by Blake Edwards; Photography by Written by ; ; Music by Joseph Franz F. Planer; Music by Henry Produced by Robert Arthur, Directed. Gershenson; Edited by Edward Mancini; Lyrics by Johnny Mercer; by Blake Edwards; Photography by Curtiss. CAST: Tony Curtis, Martha Edited by Howard Smith. CAST: Philip Lathrop; Music by Frank Hyer, , Kathryn Audrey Hepburn, George Peppard, Skinner; Edited by Milton Carruth GrantWilliams Reynolds, Henry Patricia Neal, Buddy Ebsen, Martin CAST: Tony Curis, Daniell, Russ Morgan, Willis Balsam, Mickey Rooney. DGA Bouchey, Iouise Lorimer, Joan Award Nomination. This Happy Feeing Banks, Harry Landers, Glen Kramer, 1958, Universal. Dick Crockett. High Time Screenplay by Bloke Edwards 1960, 20th Century (based on "For Love or Money", RHuIad Last Fox adaptation by F. ); 1956, Columbia Screenplay by Tom Waldman and Produced by Ross. Hunter; Directed Screenplay by Blake Edwards; Story Frank Waldman, based on a story by Blake Edwards; Photography by, by Richard Quine & Blake Edwards; by Garson Kanin; Produced by Arthur E. Arling; Music by frank Produced byonieJaps Directed by ; Directed by Blake Skinner; Edited by Milton Carru h. Blake Edwards; Photography by Edwards; Photography by Ellsworth CAST: Debbie Reynolds, John' Henry Freulich; Music by Arthur Fredricks; Music by Henry Mancini; Saxon, Alexis Smith, CurJurgen, Morton; Edited by Jack W. Ogilvie. Edited by Robert Simpson. CAST: , Estelle Winwood; Troy. CAST; Frankie Laine, Lucy Marlow, , Tuesday Weld, Donahu, Hayden Rorke, Gloria Anthony Dexter, Jesse White, Dick Fabian, Richard Beymer. Holden, Alex Gerry, Joe Flynn, tong. Alexarider Campbell, Clem Fuller. Operation Petticoat bring YOWr SmgO AUD 1959, Universal 1955, Columbia Screenplay by Stanley Shapiro and 1957, Columbia Screenplay by Bbake Edwards; Story Maurice Richlin; suggested by a Screenplay by Arhur Carter and Jed by Richard Quine & Blake Edwards; story by Paul King and Joseph Harris. and Blake Edwards; ProducedbyJonie Taps; Directed by Stone; Produced by Robert Arthur; Produced by ; Directed by Blake Edwards; Photography by Directed by Blake Edwards; Richard Quine Photography by Charles lawton, Jr;Music by Morris Photography by Russell Harlan; Charles Lawton, Jr; Music by Stooff; Edited by Al Clark. CAST Music by . CAST: Cary George Duning. CAST: Jack Frankie Laine, Keefe Brasselle, Grant, Tony Curtis, Joan O'Brien, Lemmon, ,.Mickey , Lucy Marlow, Dina Merrill, Gene Evans, Arthur Rooney, James Darren; Arthur William Leslie. O'Connell. WGA Nomination. My ister Eileen Panhandle 1955, Columbia 1952, Columbia 1947, Allied Artists Screenplay by Blake Edwards & Screenplay by Blake Edwards & Written by John C. Champion & Richard Quine (based on the screen- Richard Quine; Story by Roberts Blake Edwards; Produced by Blake play & play by Joseph Fields and Wells and Blake Edwards; Edwards & John C. Champion; Jerome Chodorov and stories by Produced by Jonie Taps; Directed Directed by Lesley Selander. CAST: RuthMcKenney) Produced by Fred by Richard Quine; Photography by , Cathy Downs, Reed Kohlmar; Directed by Richard Charles Lawton, Jr.; Music by Morris Hadley, Anne Gwynne, Blake Quine; Photography by Charles Stoloff, George Duning. CAST: Edwards. Lawton, Jr.; Music by George Mickey Rooney, , Ray Duning; CAST: , Janet McDonald, Peggy Ryan. TELEVISION Leigh, Jack Lemmon, Bob Fosse, Kurt Blake Edwards career in television Kaszner, Horace MacMahon, Dick WhRhw laund My began in 1954 with Four Star York. Playhouse. Itwas with the creation of the groundbreaking Peter Gunn in 1952, Columbia DNiue ACIaced Road 1958 and Mr. Lucky in 1959 that Written by Blake Edwards & 1954, Columbia the style that would become his Richard Quine; Directed by Blake trademark gained notice. Blake Screenplay by Blake Edwards Edwards. served as writer, director and pro- (Adaptation by Blake Edwards & ducer. He also wrote and directed Richard Quine); Story by James SCI on the MOWs Case in 1988 Benson Nablo; Produced by Jonie justin 1952, Columbia Taps; Directed by Blake Edwards; and Rogue Cops (based on Peter Photography by Charles Lawton, Jr. Written by Blake Edwards & Gunn) in 1989. He cowrote My CAST: Mickey Rooney, Kevin Richard Quine; Produced by Jonie Favorite Things in 1975 and Julie and Dick in Covent Gardens in McCarthy, Diane Foster Taps; Directed by Richard Quine; Photography by Ellis Carter; Music 1974. PUs ownUwR v by George Duning. CAST: Mickey Rooney RADIO 1953, Columbia Edwards began his writing and Written by Blake Edwards & Stmpede directing career in 1949 when he Richard Quine; Directed by Blake 1948, Allied Artists created Richard Diamond: Private Edwards. CAST: Dick Haymes, Detective. He also contributed as a Screenplay by Blake Edwards & Audrey Totter, Billy Daniels. to Yours Truly, Dollar John C. Champion; Produced by writer Johnny Blake Edwards & John C. and The Lineup. Champion. A C K N O W L E D G M E N T S

PRESTON STURGES AWARD COMMITTEE Jeremy Kagan - Fay Kanin - Millard Kaufman - Del Reisman - Richard Schickel

FOR THE WRITERS GUILD OFAMERICA, WEST FOR THE DIRECTORS GUILD OF AMERICA President, Del Reisman President, Gene Reynolds Vice President, Carl Gottlieb SPECIAL PROJECTS COMMIITEE Secretary-Treasurer, Ann Marcus Chairman, Robert E. Wise Noel Black, Beth Brickell, , Walter Coblenz, William Crain, Board of Directors Andre de Toth, Peter R.J. Deyell, James Drake, Daisy Gerber, Victoria Catherine Bacos Clinch, Naomi Foner, D.C. Fontana, Martin M. Hochberg, Lamont Johnson,Jeremy Kagan, , Lawrence Goldstein, Michael Halperin, Millard Kaufman, Larry Konner, Peter Lefcourt, Mirisch, Francine Parker, Gene Reynolds, Barbara Roche, Robert S. Levinson, Reparata Mazzola, Daryl G. Nickens, Joan Owens, John George Schaefer, Richard Schickel, David Shepard, , Riley, David W. Rintels, Michael Russnow, Don Segall, John Wells , Alain Silver, Christina Stevens, Chuck Workman

Executive Director Brian Walton Executive Director, Glenn J. Gumpel

Public Relations Director CherylD. Rhoden DIRECTORS GUILD OF AMERICA SPECIAL PROJECTS STAFF Public Relations Assistant Vicky Summers National Special Projects Officer, Selise E. Eiseman Manager Member Services, Gary Berg Editor Oral Histories, Adele Field Special Projects Assistant, Hilary Lesser Special Projects Intern, Tri Fritz Chuck Warn, Wam Communications Group

SPECIAL THANKS Academy of Motion Picture Arts and Sciences - Academy Foundation - Margaret Herrick Library - Tony Adams Corinne Alicia - Julie Andrews Randy C. Baer Sue Brownlees - - Columbia/Tri-Star - Bo Derek - Blake Edwards - Jennifer Edwards Selise E. Eiseman James Gamer Cary Grant Estate - Audrey Hepbum Estate - Amy Irving Jack Lemmon Robert Loggia Lorimar Judy Luhr - Melanie Magisos - Henry Mancini - MGM, Maggie Adams - Dudley Moore - Orion - Paramount Ann Reinking Del Reisman Arnold Rifin - John Ritter - St. Peter's College-Department of English - Gene Schwam - University of Arizona-Department of Media Arts USC Archives - - - Warner Bros. - JoBeth Williams - Dick Winters

MONOGRAPH Cheryl Rhoden - Randi Steinberg - Vicky Summers Written By Peter Lehman &William Luhr Art Director, Ron Tammariello Graphics Project Manager, Laila Haiek Panther Art, Peter LoBianco ;.

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