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Evolving Reception and Canon Formation Through Sweet Smell of Success APPROVED by SUPERVISING COMMITTEE

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Evolving Reception and Canon Formation Through Sweet Smell of Success APPROVED by SUPERVISING COMMITTEE Copyright by Katrina Gray Margolis 2019 The Thesis Committee for Katrina Gray Margolis Certifies that this is the approved version of the following Thesis: A Movie Full of Arsenic: Evolving Reception and Canon Formation through Sweet Smell of Success APPROVED BY SUPERVISING COMMITTEE: Kathryn Fuller-Seeley, Supervisor Thomas G. Schatz A Movie Full of Arsenic: Evolving Reception and Canon Formation through Sweet Smell of Success by Katrina Gray Margolis Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2019 Dedication To my mom, who willingly listened to me talk about Sweet Smell of Success for far too long, and to my dad, who indoctrinated me into Burt Lancaster fandom early on. Acknowledgements I would like to first and foremost thank my advisor, Kathy Fuller-Seeley. This project was initially conceived of during my first semester at UT in her class, and she has supported me through all of its various iterations. Kathy’s commitment to her students and genuine kindness are a huge part of this thesis being a largely positive experience. I would also like to thank Tom Schatz for his support, time, and editing expertise. This project would not have been possible without such a supportive committee. And thank you to my incredible cohort. It’s been quite a ride, but we did it! v Abstract A Movie Full of Arsenic: Evolving Reception and Canon Formation through Sweet Smell of Success Katrina Gray Margolis, MA The University of Texas at Austin, 2019 Supervisor: Kathryn Fuller-Seeley This thesis examines how and why a film’s reception can change over time, focusing on the case study of Hecht-Hill-Lancaster’s Sweet Smell of Success (1957). In investigating the film’s production, this project aims to demonstrate the shared and dispersed authorship of the film. Utilizing trade journals, popular press, archival materials, and biographies and memoirs, this project traces the reception of the film from its initial release to the present, focusing on the period of the Hollywood Renaissance when Sweet Smell of Success was re-evaluated by audiences. To this end, the project additionally investigates the notion of canon, interrogating how canons are made and the ways in which they evolve. Drawing from work in production studies and reception studies, this project aims to understand the importance of historical context and resonance in a film’s cultural placement, and the implications this has on film canonization. vi Table of Contents List of Figures .................................................................................................................... ix List of Illustrations ............................................................................................................. xi Introduction ..........................................................................................................................1 Context: Academic and Historic – Literature Review ................................................3 Methodology .............................................................................................................12 Chapter Breakdown ..................................................................................................14 Chapter One: Production and Dispersed Authorship .........................................................16 “Tell Me About It Tomorrow”: The Origins of Sweet Smell of Success ..................19 Hecht-Hill-Lancaster Finds Its Footing ....................................................................22 The Beginnings of a Power War ...............................................................................27 What Happens When A Star Has Director Envy? ....................................................33 Further Tensions on Set Abound ..............................................................................37 The Film’s Aesthetic and Visual Authorship ...........................................................39 The Release ...............................................................................................................41 Conclusion ................................................................................................................45 Chapter Two: The Evolution of Reception ........................................................................47 Advertising and The Film’s Public Image ................................................................50 The Film’s Critical Response ...................................................................................56 Subverting The Stars’ Personas ................................................................................60 Lancaster’s Physicality as Social Power ...................................................................71 The Film’s Use of Self-Reflexivity ..........................................................................77 Placing The Film Within Its Historical Context .......................................................84 vii Finding New Life in a New Hollywood ...................................................................96 Conclusion ..............................................................................................................105 Chapter Three: Canonization and Its Many Variants ......................................................106 A Brief Overview Of Canons .................................................................................107 Why Certain Films Top the Lists – Emotion & Nostalgia .....................................110 Cult As a Precursor To Consensus and the Complications of “Cult” .....................115 The Importance of and Variants on Visibility ........................................................119 Understanding the Notion of “Timelessness” .........................................................125 Some Canonical Alternatives and Moving Forward ...............................................129 Conclusion ..............................................................................................................133 Conclusion .......................................................................................................................136 Bibliography ....................................................................................................................142 viii List of Figures Figure 1: From left to right: Manny Davis (Jay Adler), Linda James (Autumn Russell), and Sen. Harvey Walker (William Forrest) sit opposite Hunsecker and Falco. ....................................................................................64 Figure 2: Falco sits behind Hunsecker, subordinate even in stature. .................................65 Figure 3: Falco basks in Hunsecker’s description of him as a press agent. .......................65 Figure 4: Falco continues to grin, amused by the awful description Hunsecker gives. .....66 Figure 5: Falco’s work space and personal space have no separation. ..............................68 Figure 6: Falco convinces Rita (Barbara Nichols) to do him a favor in his bedroom, mixing his private and public life. ................................................................68 Figure 8: Falco returns to his bedroom to call Hunsecker and reveals the real work at play. ...............................................................................................................69 Figure 9: Hunsecker, relaxed on the phone. ......................................................................72 Figure 10: Hunsecker immediately repositions his body when he hears news he doesn’t like. ...................................................................................................73 Figure 11: Hunsecker stands as an opposing and foreboding figure. ................................75 Figure 12: Looking out over Hunsecker’s domain. ...........................................................75 Figure 13: Dallas is nervous and apprehensive seeing this figure above him. ..................76 Figure 14: Hunsecker pushes out his chest in a show of masculinity. ...............................76 Figure 15: Falco pretends to make a call to Hunsecker’s office. .......................................80 Figure 16: Herbie Temple (Joe Frisco) and his agent are nervous they will have to pay Falco. .............................................................................................................80 Figure 17: Cut to a close-up of Falco reassuring them as he makes the call. ....................81 ix Figure 18: Cut to Falco’s office, where his secretary answers the phone, not Hunsecker. ....................................................................................................81 Figure 19: Cut to an impossible shot, looking out of the phone box, behind Falco. .........82 Figure 20: Cut back to Temple and his agent. ...................................................................82 Figure 21: The camera is drawn by Falco and pulls back until he is in the shot. ..............83 x List of Illustrations Illustration 1: Promotional poster for Trapeze (1956) .......................................................53 Illustration 2: James Wong Howe positioned the camera low to the ground to capture the claustrophobia of New York City. ..................................................121 Illustration 3: In Taxi Driver, we see low-angle shots to get a sense of the height of the buildings. .........................................................................................122
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