Best Screenplay 1958

1927/28 through 1997

What were the best original and adapted screenplays of 1958?

The Defiant Ones: Nedrick Young, Harold Jacob Smith
7
23%
The Goddess: Paddy Chayefsky
6
19%
Houseboat: Melville Shavelson, Jack Rose
1
3%
The Sheepman: William Bowers (screenplay), James Edward Grant (screenplay/story)
0
No votes
Teacher's Pet: Fay Kanin, Michael Kanin
0
No votes
Cat on a Hot Tin Roof: Richard Brooks, James Poe
6
19%
Gigi: Alan Jay Lerner
2
6%
The Horse's Mouth: Alec Guinness
4
13%
I Want to Live!: Nelson Gidding, Don Mankiewicz
3
10%
Separate Tables: Terence Rattigan, John Gay
2
6%
 
Total votes: 31

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Re: Best Screenplay 1958

Post by mlrg »

The Original BJ wrote: it's hard to buy David Niven's behavior as scandalous today
Yesterday I watched Separate Tables for the first time. Both Gladys Cooper, playing a somewhat spin off of her Now, Voyager character, and Wendy Hiller are the stand outs in terms of acting.

I singled out this sentence written by BJ because I find it interesting that after six years he wrote it I think that David Niven's behavior would be as scandalous today at is was in 1958, if not more so.
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Re: Best Screenplay 1958

Post by Mister Tee »

So, I cast a half-hearted (but tie-breaking!) vote for The Defiant Ones, after having finished the original set by watching The Sheepman.

You can certainly feel a writer's touch in The Sheepman, both in some of the dialogue and in the plot machinations: the film clearly doesn't want to be mistaken for simply a western. And some of it is enjoyable for that reason. But a whole lot of it feels like it's trying WAY too hard for whimsy: Glenn Ford, for the first half-hour, never seems to give a straight answer when he can do something circuitous/secretive, and it gets tiresome. Not a dud, but no challenger for my vote.
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Re: Best Screenplay 1958

Post by Mister Tee »

A heads-up for those who, like me, are missing The Sheepman. It will be aired on TCM overnight Monday/Tuesday -- specifically 3AM ET Tuesday.
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Re: Best Screenplay 1958

Post by ITALIANO »

Things change. When I was a child, The Sheepman was considered kind-of a "gem" of its genre - not a classic like High Noon, of course, but still a very popular western, often on Italian TV, beloved by many for its humor and its anti-violence aspects. It was also, certainly, a movie that a child could appreciate and enjoy. Now, it seems to be completely forgotten - and, at least on this side of the ocean, it's vanished from sight. I remember it with affection, but should really see it again. The Goddess is a typical Paddy Chayefsky script - interesting for its theme, but too often too obvious in its easy psychological approach to its main character. I'd say that The Defiant Ones is, in this field, a reasonable choice - its treatment of the theme of racism is acceptable even by today's standards, though obviously not as strong as it must have been back then - but it was VERY strong, very effective by the 50s' standards. Message and good intentons in this case are enough.

I am kinder to Separate Tables than most here. For an adaptation of a stage drama, it's more inventive than usual - as Big Magilla points out, it blends two one-act plays in one coherent, balanced narrative, which I think should be praised. And yes, some of its themes are by now dated, some of the acting is forced and unintentionally grotesque - but from a writing point of view, you feel experience behind it, and a solid though undeniably traditional hand. By contrast, Cat on a Hot Tin Roof succeeds in being too faithful to the original source (except for a long and not terribly necessary scene between father and son in the basement) AND at the same time too tamed, too cautious. Of course, it's still an important play, it has a dream cast, etc - so part of its explosive power is preserved and comes through - but voting for it would be, I think, a mistake. The Horse's Mouth isn't today as funny as it must have been back then - and the screenplay, while intelligent, isn't always completely resolved. This leaves me with I Want to Live!, also, like The Defiant Ones, a movie with an imporrtant message - and one which in the US seems to be still difficult to get through - with a powerful role for an actress and an especially well-written, effective final half-an-hour.
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Re: Best Screenplay 1958

Post by nightwingnova »

Despite Mister Tee's misgivings, The Goddess is worth the watch.

I loved Kim Stanley being able to do her best in a leading screen role. And, with her mannerisms under control.

There are memorable scenes done with great power and panache. Though the movie is too episodic in structure and a bit too melodramatic at times.

The Original BJ wrote:
Mister Tee wrote:I can’t vote in original because I haven’t seen The Sheepman (I couldn’t figure out what to do with that site Magilla linked).
It's just like the DVD portion of Netflix -- you can choose how many DVDs you want at a time, and pay per month accordingly. Obviously not every person wants to pay for another DVD service, but they have a ton of pre-1970 titles that Netflix doesn't carry. I'm glad Big Magilla alerted me to it. (Mister Tee, I'm sure you can figure out how to sign up if you gave it another look, if you're interested.)

I went to go watch The Goddess -- the one Original nominee unavailable to me -- on YouTube, only to find that the first of the movie's parts had been removed. So, given that I have no desire to watch any movie starting ten minutes late, I'm going to have to pass on Original for the time being. (Not that I was that excited about voting in that category either.)

To at least offer up some back-and-forth discussion, I agree that the issue of men molesting young women is certainly something we're more attuned to in today's era (and rightfully so), but I felt like once the specifics of Niven's actual crime came out in Separate Tables, my response was, "That's IT?" Obviously, times change, and even what censors allowed on film was clearly very different a half century ago, so what was shocking once can now feel far more tame. But I can only report my honest response in the aughts, and that's that this reveal didn't have much kick to it now.

And I'm pretty sure Mercedes McCambridge's biker chicks have already achieved immortality!
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Re: Best Screenplay 1958

Post by Big Magilla »

Mister Tee wrote: Oh, and the obligatory “I don’t know if it was eligible” candidate: Elevator to the Gallows, which starts out like film noir and ends up an early New Wave entry.
Elevator to the Gallows was released as Frantic in the U.S. (New York and Los Angeles) in 1961. Oscar eligible foreign adaptations this year included Nights of Cabiria and Gervaise, both of which were 1957 in New York, 1958 in Los Angeles.
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Re: Best Screenplay 1958

Post by Big Magilla »

Mister Tee wrote: It is weird to note (as BJ does) that, even in that era of so many musicals winning best picture, for Gigi to have won a screenplay prize was an anomaly. An American in Paris managed the same, but in the generally-easier original category; Gigi is the only one to accomplish the feat in adaptation, against the big boppers of the best picture race. The size of the film’s sweep presumably helped, but West Side Story and My Fair Lady similarly dominated (and had Shakespeare and Shaw as inspiration – take that, Colette!), yet failed to take the category. Maybe it’s the fact the script was fashioned from a novel rather than directly from a stage work (though there was a play adaptation of Gigi in the early 50s – is anyone familiar enough with it to know if it resembles Lerner’s version?). Or maybe it’s just one of those flukes unrelated to quality -- like Gandhi and Return of the King winning screenplay as epics, while Lawrence of Arabia and The English Patient didn’t. In any case: Gigi is a thoroughly likable film, and, while the songs and design elements may be what one most takes away from it, there’s enough wit in the script that the win here isn’t undeserved. I’m not voting for it, but I respect it.
Anita Loos' 1951 play was different from the novel, the 1949 French film (available as an extra on the most recent DVD and Blu-ray and an occasional showing on TCM) and Lerner's screenplay.

The play was given a negative review by Brooks Atkinson in the New York Times on 11/26/51, but I don't think you can access it without a Times subscription. He liked the actors including Audrey Hepburn and Cathleen Nesbitt (as the aunt) but found it trivial and old-fashioned. The play had just seven characters including (according to Atkinson) a butler, an "obese" girl, and an "old harridan" who were not in Lerner's script. It did not have Honoré, Maurice Chevalier's character, a curious omission, as he had been a major character in the novel and earlier film.
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Re: Best Screenplay 1958

Post by The Original BJ »

Mister Tee wrote:I can’t vote in original because I haven’t seen The Sheepman (I couldn’t figure out what to do with that site Magilla linked).
It's just like the DVD portion of Netflix -- you can choose how many DVDs you want at a time, and pay per month accordingly. Obviously not every person wants to pay for another DVD service, but they have a ton of pre-1970 titles that Netflix doesn't carry. I'm glad Big Magilla alerted me to it. (Mister Tee, I'm sure you can figure out how to sign up if you gave it another look, if you're interested.)

I went to go watch The Goddess -- the one Original nominee unavailable to me -- on YouTube, only to find that the first of the movie's parts had been removed. So, given that I have no desire to watch any movie starting ten minutes late, I'm going to have to pass on Original for the time being. (Not that I was that excited about voting in that category either.)

To at least offer up some back-and-forth discussion, I agree that the issue of men molesting young women is certainly something we're more attuned to in today's era (and rightfully so), but I felt like once the specifics of Niven's actual crime came out in Separate Tables, my response was, "That's IT?" Obviously, times change, and even what censors allowed on film was clearly very different a half century ago, so what was shocking once can now feel far more tame. But I can only report my honest response in the aughts, and that's that this reveal didn't have much kick to it now.

And I'm pretty sure Mercedes McCambridge's biker chicks have already achieved immortality!
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Re: Best Screenplay 1958

Post by Mister Tee »

I can’t vote in original because I haven’t seen The Sheepman (I couldn’t figure out what to do with that site Magilla linked). I will say it’s a thinnish field, and I can’t come up with a single terribly interesting replacement. Magilla’s right, that all the action’s on the adapted side (though I’m closer to BJ on the relative value of the nominated adapted slate).

It’s been MANY years since I saw Houseboat, and the only thing I remember about it is that maddening song (“Pronto, pronto, any way you want to…”). Since I’m not voting, it doesn’t really matter.

Teacher’s Pet I’ve seen a bit more recently – like, in the 90s – and it’s wholly inconsequential, though not as smarmy as the Day/Hudson movies that followed. I recall Gig Young being funny, but that may have just been me being indulgent.

I blow hot and cold on Paddy Chayefsky. He has a strong blowhard streak, and, even in his better work, often has characters speak in wildly unlikely prose (though I liked Marty, after a fashion, I could understand why Damien loathed it so). The Goddess is not, for me, among his better work – not only is the dialogue overblown, it reeks of condescension, with Chayefsky displaying way too much assurance HE knows just what his lead character needs to do to rescue her life (“find love!”). The things I don’t like about Chayefsky drown out the things I do in this effort.

Which leaves The Defiant Ones, for which I’d probably have to vote if I wasn’t taking a pass. Stanley Kramer’s vices are well-known and have been often discussed here, but I’d say either this or Judgment at Nuremberg represent him at his least problematic. The Defiant Ones is not lacking in sledgehammer moments…but it also has a number of strong scenes, and more interesting/compelling characters than you find in much of Kramer’s work. I can see why it’s winning here.

There are plenty of decent alternatives on the adaptation side, though most come with caveats: Vertigo of course deserves notice, but, while the high points are truly thrilling, there are also a few expository scenes that border on abject dullness. The Quiet American is an exceedingly faithful, intelligent translation of Graham Greene’s novel – but for the awkward/dominant fact that the ending 100% subverts Greene’s prescient take on Vietnam and American foreign policy. The Last Hurrah has a lot of strong elements, but its final death scene feels stretched out to eternity. And, for those of you pitching Touch of Evil: do you really want to immortalize the writer who gave us Mercedes McCambridge’s biker chicks? I salute much of Welles’ visual work on the film, but for me it’s a classic case of silk purse from sow’s ear; I think the script is borderline stupid. Oh, and the obligatory “I don’t know if it was eligible” candidate: Elevator to the Gallows, which starts out like film noir and ends up an early New Wave entry.

I’m only half with BJ on his Separate Tables evaluation. I agree the Kerr character’s level of repression is off-the-charts laughable, and it –plus the “watch her finally tell off her tight-ass mother” climax -- plays to the cheap seats. However, I think the Niven character’s offense – molesting young women – might actually be viewed as less forgivable in today’s men-behaving-badly society. (The irony is, many assume the gay Rattigan was writing in code, really imagining the Major as pursuing men -- which WOULD be spectacularly less scandalous today). There’s decent enough stuff in the rest of the script – I agree, Wendy Hiller is the strongest character -- but on the whole this is another movie I loved in my teens and thought considerably less of later on.

It is weird to note (as BJ does) that, even in that era of so many musicals winning best picture, for Gigi to have won a screenplay prize was an anomaly. An American in Paris managed the same, but in the generally-easier original category; Gigi is the only one to accomplish the feat in adaptation, against the big boppers of the best picture race. The size of the film’s sweep presumably helped, but West Side Story and My Fair Lady similarly dominated (and had Shakespeare and Shaw as inspiration – take that, Colette!), yet failed to take the category. Maybe it’s the fact the script was fashioned from a novel rather than directly from a stage work (though there was a play adaptation of Gigi in the early 50s – is anyone familiar enough with it to know if it resembles Lerner’s version?). Or maybe it’s just one of those flukes unrelated to quality -- like Gandhi and Return of the King winning screenplay as epics, while Lawrence of Arabia and The English Patient didn’t. In any case: Gigi is a thoroughly likable film, and, while the songs and design elements may be what one most takes away from it, there’s enough wit in the script that the win here isn’t undeserved. I’m not voting for it, but I respect it.

It may just be my overall affection for crime procedurals, but I really like I Want to Live! It’s clearly way better than any of Susan Hayward’s other nominated vehicles, and I honestly like it best of Robert Wise’s nods, as well. Of course, like most anti-death penalty films, it chooses to characterize the executionee as almost surely innocent (something on which there’s more controversy than the film allows), but simply as a walk through the legal machinations leading to Graham’s demise I found it a pretty gripping film. Still, not a vote-getter.

Like These Three, Cat on a Hot Tin Roof suffers from our knowledge of what’s been changed from the original play – we can feel the hand of the censor, and it makes us rebel somewhat against the work. But, also like These Three, this version of Cat demonstrates the structural strength of the original – the change in details (and some sentimentalization of Big Daddy) may weaken our overall response, but the film still plays as gripping drama, filled with crackling dialogue. I saw the film in college, and friends and I quoted some lines endlessly – “The nightly pleadings and the nightly refusals”, “Little no-neck monsters”; I myself took enormous pleasure in the line “I don’t care about the AP, the UP, or any other kind of P”. This is an enormously energetic, engaging film, and I fully support its nomination.

But I’ll offer what BJ expected from the board, and declare my vote for The Horse’s Mouth. I was an enormous fan of the Ealing comedies throughout the 50s – for me, they were among the best reasons to keep believing in film during that decade of decline (spoiler alert: I expect to be voting for them again). But even among that series of very fresh films, I think The Horse’s Mouth stands out. It’s a work of significant literary merit, digging deep into the soul of the artist, exploring what makes him tick – and all the while it engenders enormous laughs, as many as classics like The Lady Killers. Gully is a fascinating character, and, for me, it occasions Alec Guinness’s best film performance. I do acknowledge the film’s final segment doesn’t work quite as well as the rest -- that keeps it from being an all-time favorite, and probably my favorite film of the year. But, even with that, the film is easily my favorite of this group. A screenwriting Oscar for Sir Alec, to stand alongside his acting prize.
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Re: Best Screenplay 1958

Post by Big Magilla »

BJ is not alone in his putdown of Separate Tables, which gets a generally bad rap from today's audiences that I don't quite get. The Rita Hayworth, Burt Lancaster, Rod Taylor and Audrey Dalton characters may be clichés, but the David Niven, Deborah Kerr, Wendy Hiller, Gladys Cooper, Cathleen Nesbitt, May Hallatt and Felix Aymer characters are wonderful British eccentrics that don't really exist anymore.

I've always felt that the film is slyly constructed around Gladys Cooper's character. Critics may dismiss her portrayal of Mrs. Railton-Bell as a retread of her deliciously vile Mrs. Vale in Now, Voyager, but I've always found it more in tune with her haughty Mrs. Hamilton in The Bishop's Wife. In Now, Voyager you can't wait for her character to die, but in The Bishop's Wife and Separate Tables you just want her to be put in her place, which she eventually is.

Two of the characters even have Gladys Cooper's name. Her real life friend Cathleen Nesbitt, fresh from playing Mrs. Higgins in Broadway's My Fair Lady, a role Cooper will play on screen, plays her friend "Gladys". Wendy Hiller's hotel manager is called "Miss Cooper". The film's resolution revolves around her comeuppance as one by one everyone, even her easily intimated daughter, Deborah Kerr, snubs her by acknowledging the thoroughly chagrined David Niven. It's a perfect ending to a not always perfect film, but a good one.
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Re: Best Screenplay 1958

Post by The Original BJ »

I have an entirely different take on the Adapted Screenplay race than Big Magilla does. For starters, I think it's a pretty dreary set of nominees -- pound for pound, I wouldn't say they're HORRIBLE, but I really have no desire to choose any of them. I cast my vote pretty much under duress.

There were some screenplays this year I definitely could get excited about -- Vertigo and Touch of Evil above all, Nights of Cabiria if it were eligible this year. (The Last Hurrah is better than some actual nominees, but it just doesn't excite me enough on a narrative level for me to bemoan its exclusion the way Magilla does.)

And in terms of picking a winner, I think Separate Tables would probably be the least likely to get my vote. There are some interesting enough characters in the movie (Wendy Hiller's especially), and I like the way the writing makes those characters feel like they have lives that extend well beyond the events depicted on-screen. But I think too much of the central plot comes off as wan now -- it's hard to buy David Niven's behavior as scandalous today, and Deborah Kerr's level of repression borders on ridiculous.

I Want to Live! is certainly a lot more grounded in reality than a lot of Susan Hayward vehicles, to the extent that it deals with obviously weighty subject matter in an engrossing enough ripped-from-the-headlines storyline. But I still think it wallows in the lurid, and definitely tips into quite a bit of melodrama by the end. And I didn't find the movie had anything really insightful to say about the death penalty issue at its core.

I actually thought The Horse's Mouth might win our poll here -- it's definitely the KIND of quirkier effort I'd want to choose under screenplay. And I think it has merits, like an appealingly sour protagonist who isn't someone I felt I'd seen on screen before, and funny moments from scene to scene. But, when it comes to the movie as a whole, I just have to be honest and say that I don't really get it. Every new sequence just felt like the movie started over, with virtually zero connection to anything that had come before. And by the end of it, I had no idea what I was supposed to feel about anything I had just watched, or what meaning I was supposed to take away from it. I know that this is a movie that many hold in high esteem, but I was left mostly baffled by it.

I can see why Cat on a Hot Tin Roof is running ahead -- it's obviously the best piece of writing here. But once again, I have the Who's Afraid of Virginia Woolf problem. I just don't feel comfortable voting for Richard Brooks's script when it would really just be a de facto honor for the fact that Tennessee Williams wrote a great play. And in this case, there's another problem beyond just the filmed play nature of the film -- unlike Virginia Woolf, I think the adaptation here pretty clearly flattens the material, removing its edgiest elements to the point where certain aspects of the story struggle to make sense. It's hard for me to vote for an adaptation where most of what counts as screenwriting diminishes the material.

That leaves Gigi, which gives me all kinds of reasons not to choose. To start with, the movie as a whole is much more notable for other elements -- Minnelli's typically graceful direction, the gorgeous visual design elements, a strong original score -- than its screenplay. And even from a content standpoint, there are aspects of the story -- like Chevalier singing "Thank Heaven for Little Girls" or the fact that the main plot line essentially revolves around turning a perfectly nice girl into a high class whore -- that can make one queasy today. But it's worth noting that, in an era when many musicals were winning Best Picture, screenplay was almost always a category denied in those sweeps. Yet voters opted to single out Gigi here, perhaps because the fact that it was a novel adaptation rather than a Broadway one made the screenwriting more apparent. And though very lightweight, that script is an entertaining enough souffle throughout, with both humor and heart. So I end up making the same call the Academy voters did, but please don't ask me to strongly defend it.
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Re: Best Screenplay 1958

Post by Big Magilla »

Precious Doll wrote: Omissions abound: Vertigo, The Tarnished Angels, Touch of Evil, Some Came Running, A Time to Love and a Time to Die, Man of the West, Me and the Colonel, Bonjour Tristesse, Home Before Dark, No Time for Sergeants, I Married a Monster from Outer Space, The Last Hurrah & God's Little Acre.
Yes, but they're all adaptations. With five strong nominees already in play I don't know how many could realistically have also been in play. Vertigo and Touch of Evil are my favorite films of the year, but they owe more to their directorial brilliance than their screenplays, or so it seems to me. A nomination for A Time to Love and a Time to Die might have prevented it from falling into the obscurity it may never recover from in the U.S., but most of the others seem to have weathered time successfully.
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Re: Best Screenplay 1958

Post by Precious Doll »

Original: The Goddess
Adapted: I Want to Live
Omissions abound: Vertigo, The Tarnished Angels, Touch of Evil, Some Came Running, A Time to Love and a Time to Die, Man of the West, Me and the Colonel, Bonjour Tristesse, Home Before Dark, No Time for Sergeants, I Married a Monster from Outer Space, The Last Hurrah & God's Little Acre.
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Re: Best Screenplay 1958

Post by Big Magilla »

Original

Most of the year's memorable films were adaptations. That being the case, I can't think of anything of note that they overlooked here.

The Sheepman is a nicely done western comedy. Houseboat is a nicely done romantic comedy. Teacher's Pet is a nicely done newspaper comedy. Nominations were enough for all three.

Paddy Chayefsky's thinly disguised biography of the early days of Marilyn Monroe, The Goddess was well-written but ultimately unsatisfying. The Defiant Ones, co-written by blacklisted Nedrick Young under a pseudonym, is easily the best of the lot and deserved its Oscar win.

Adapted

Missing is my favorite screenplay of the year, Frank Nugent's adaptation of Edwin O'Connor's The Last Hurrah. The former New York Times critic and John Ford's chief screenwriter from 1948-1963 was from 1957-58 president of the WGA so he, as well as his screenplay, was certainly high profile enough to be recognized, but it was a strong year for adapted screenplays.

Alec Guinness' screenplay for The Horse's Mouth from Joyce Cary's novel is bright and very, very funny but pales for me in comparison to The Last Hurrah so no vote from me.

The screenplay for I Want to Live! is quite strong, especially the closing scenes, but it's more than a bit of a downer than it probably needed to be.

Alan Jay Lerner's Gigi adaptation is more accomplished than it might seem on the surface. Just watch the 1949 French film made form Colette's novel and you'll see what I mean. Still, the Oscar win was more likely attributable to the film's sweep than anything else.

Cat on a Hot Tin Roof is a well-written, if toned down, adaptation of one of Tennessee Williams' best plays and as good an adaptation of a stage-play as is often nominated.

Best of the nominees, for me, was Separate Tables, an adaptation of Terrence Rattigan's play that takes two separate acts and integrates into one cohesive narrative. It gets my vote.
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Re: Best Screenplay 1958

Post by Big Magilla »

Sorrry, guys, but I screwed up. I went in to allow re-voting and must have put a checkmark next to "delete poll" instead as the whole thing got wiped out.

Anyone who already voted, please re-vote in order to have your vote count.
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