The Bad and the Beautiful (1952) |
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The Bad and the Beautiful Cast |
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On-Screen Couples |
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Lana Turner
(as Georgia)
with Kirk Douglas
(as Jonathan)
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Movie Highlights |
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Other InformationAwardsNational Film Registry National Film Preservation Board, USA [2002] Best Film from any Source BAFTA Awards [1954] (Won/Nominated: Nominated) Best Written American Drama [1953] (Won/Nominated: Nominated) Gilbert Roland Golden Globes [1953] (Won/Nominated: Nominated) Best Supporting Actor Golden Globes [1953] (Won/Nominated: Nominated) Outstanding Directorial Achievement in Motion Picture [1953] (Won/Nominated: Nominated) Best Actor in a Leading Role [1953] (Won/Nominated: Nominated) Best Writing, Screenplay [1953] (Won/Nominated: Won) Best Costume Design, Black-and-White [1953] (Won/Nominated: Won) Best Cinematography, Black-and-White [1953] (Won/Nominated: Won) Best Art Direction-Set Decoration, Black-and-White [1953] (Won/Nominated: Won) Best Actress in a Supporting Role [1953] (Won/Nominated: Won) Plot SummaryTold in flashback form, the film traces the rise and fall of a tough, ambitious Hollywood producer Jonathan Shields, as seen through the eyes of various acquaintances, including a writer James Lee Bartlow, a star Georgia Lorrison and a director Fred ... TaglineThe story of a blonde who wanted to go places, and a brute who got her there - the hard way! I took you out of the gutter . . . I can fling you back! |
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Full Cast and Crew |
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Actor CreditsNon Actor Credits |
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Awards |
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The Bad and the Beautiful (1952) was nominated for the following awards:
Academy AwardsGolden GlobesDirectors Guild of America, USA
4.
DGA Award
1953 |
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Photo Gallery |
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Fans |
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Trivia |
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Trivia and QuotesQuotes ` Jonathan Shields: Don`t worry. Some of the best movies are made by people working together who hate each other`s guts. Victor "Gaucho" Ribera: Don`t talk like that about Georgia - or Jonathan. He`s a great man!
Lila: Hah hah. There are no great men, buster! There`s only men! Victor "Gaucho" Ribera: To give truth to a performance, there`s nothing like love.
Georgia Lorrison: Love is for the very young.
Lila: Love is for the birds! Harry Pebbel: I`ve told you a hundred times. I don`t want to win awards. Give me pictures that end with a kiss and black ink on the books. Jonathan Shields: If you dream, dream big. Georgia Lorrison: Jonathan, will you marry me?
Jonathan Shields: Not even a little bit. Rosemary Bartlow: James Lee, you have a very naughty mind... I`m happy to say. Jonathan Shields: Because he was a drunk, you`re a drunk. Because he loved women, you`re a tramp. But you forget one thing: he did it with style. Georgia Lorrison: People who knew my father give me the extra work and a line to say every now and then. I drink what I want, I see who I want. Who knows. Someday, I may even get married, to a nice, upright, assistant`s assistant.
Jonathan Shields: [to Georgia] Well, congratulations, you`ve got it all laid out for you so you can wallow in pity for yourself. The betrayed woman. The wounded doe with all the drivel that goes with it going through your mind right now. Oh, he doesn`t love me at all. He was lying. All those lovely moments, those tender words. He`s lying. He`s cheap and cruel. Well, maybe I like Lilas. Maybe I like to be cheap once in a while! Maybe everyone does, or don`t you remember? Lila: I forgot to tell you, Georgia. I saw the picture. Thought you were swell. James Lee Bartlow: My first novel, on which I had labored for seven years, was just out. Surprisingly for a scholarly work on early Virginia, it was doing a brisk nationwide sale - possibly because it was liberally peppered with sex. Because, after all, early Virginia was liberally peppered with sex. Could that have been why Hollywood bought it? James Lee Bartlow: I started to work. Jonathan Shields: [whistles] Gentlemen! There seems to be an honest difference of opinion.
Harry Pebbel: There is.
Jonathan Shields: It looks as though we`ll have to make a compromise.
Harry Pebbel: You bet we will.
Jonathan Shields: The compromise, gentlemen, is this: Harry, shut your penny-pinching mouth and build him his platform! James Lee Bartlow: Yes, this is James Lee Bartlow... Paris?... Mr. Shields!... is Mr. Shields paying for this call?... All right, put him on... Hello, Jonathan? Drop dead. Jonathan Shields: Look. Put five men dressed like cats on the screen, what do they look like?
Fred: Like five men dressed like cats. Jonathan Shields: When an audience pays to see a picture like this, what are they paying for?
Fred: To get the pants scared off of `em.
Jonathan Shields: And what scares the human race more than any other single thing?
[crosses to wall switch and turns out the light]
Fred: The dark!
Jonathan Shields: Of course. And why? Because the dark has a life of its own. In the dark, all sorts of things come alive.
Fred: Suppose... suppose we never do show the cat men. Is that what you`re thinking.
Jonathan Shields: Exactly.
Fred: No cat men! Fred: [after Jonathan`s father dies broke and disgraced] Are you going to change your name?
Jonathan Shields: Change it? I`m gonna ram the name of Shields down their throats! Fred: Jonathan is more than a man: he`s an experience. And he`s habit-forming. If they could ever bottle him, he`d outsell ginger ale.Trivia / Lana Turner plays an actor whose career started as a movie extra. Turner started her own career as an extra in A Star Is Born (1937).
Kirk Douglas stands no more than 5`9" and wears super high lifts that almost distort his walking. If you look closely at him in long shots you can spot the lifts (it`s really apparent in Seven Days in May (1964)). The scene showing the production of the fictional low budget horror film was based on how Val Lewton produced Cat People (1942). Scenes in the film were based on the career of producer David O. Selznick. This movie holds the record for most Academy Awards won by a film not nominated for Best Picture, with five.
The working title, "Tribute to a Bad Man", was later used as the title of an unrelated MGM feature (Tribute to a Bad Man (1956)). One reason for the title change was to add "beautiful", in consideration of the top-billed Lana Turner.
The character played by Kathleen Freeman was based on Alfred Hitchcock`s wife, Alma Reville.
Cameo: [T.E.B. Clarke] Barry Sullivan`s assistant. Leo G. Carroll`s brief appearance as a "demanding" director is a thinly veiled reference to Alfred Hitchcock. When he first came to Hollywood, Hitchcock was under contract to producer David O. Selznick for years. Carroll had roles in many Hitchcock films of this era. The photograph of King Douglas` detested studio-head father, which Barry Sullivan straightens on the wall in this MGM film, looks exactly like Jack L. Warner, the head of Warner Bros. - MGM`s competitor. Ned Glass, who plays the wardrobe man in the cat costume scene, was an active member of the Living Newspaper unit of the Federal Theater project on Broadway during the Depression, an organization accused of being "leftist" and "pro-communist" by many on the political right. When Glass was blacklisted during the McCarthy "Red scare" era, he became a carpenter. Douglas landed the lead role after Clark Gable had turned it down. | ||
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