20th Century-Fox Dynamo (February 1960)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CRACK IN THE MIRROR continued ORSON WELLES (STANDING, RIGHT), AS THE CELEBRATED CRIMINAL LAWYER, SURPRISES THE COURT BY PLACING MURDER BLAME COMPLETELY ON JULIETTE GRECO (SEATED, BEHIND HIM), AFTER SHE HAD DOUBLE-CROSSED BRADFORD DILLMAN BY TESTIFYING HE INSTIGATED THE CRIME. LIFE’S MOST BASIC EMOTIONS EXPOSED DARRYL ZANUCK PRESENTS HIS MOST SEARCHING DRAMA Continued from page 36 In the other, Dillman as the sleek young lawyer faces the cameras in a tawdry flat as his double stands in half-shadow, partially turned away from the cameras. Before the makeups ofthe three stars for each of their roles were decided upon, extensive tests were made. Welles, like Alec Guinness and many top character artists, is himself a master of makeup and prefers the do-it-yourself method. Orson re- ported with a sizeable collection of artificial noses. For his role as the crude laborer who becomes a murder victim, a somewhat pug-like creation was chosen which seemed to alter all his features. He then let his beard grow—and voila! He was ready. For his other character, that of the eminent lawyer, he wore a somewhat Roman model which somehow makes his face seem longer, almost pa- trician, in contrast with the rotund flabbiness of his other face. A session with the barber and the tailor and Welles’ transformation was complete. But, it was Miss Greco’s preparation for the role of the fashionable mistress which aroused Paris, elicited Page 1 stories in the press. Known as “the Legend of St. German-des-Pres”, the sym- bol of the Existentialists (fore-runners of the beat- niks) and the idol of Left Bank bohemians, Juli- ette had her famed long, careless locks cut fairly short. Although “Crack In The Mirror” marks Miss Greco’s fourth English-speaking role, it is the first in which she has worn more than two costumes. Eight high-fashion numbers by Givenchy, $145,000 worth of diamond jewelry by Van Cleef & Arpels and a stunning new up-swept coiffure transformed. as her Welles put it, “a talented cocoon into a glamorous butterfly.” The transformation was ef- fected only after Miss Greco had completed her other role in the picture; that of the hard-bitten Parisienne from the city’s seamy side, with virtu- ally no makeup, no coiffure. As the young, ambitious lawyer who covets his employer’s social position and his mistress. JULIETTE GRECO AND BRADFORD DILLMAN Bradford Dillman required only a few light streaks in his hair which emphasized his sleek good looks. But preparing for his alter ego-the crude, dull- witted murder accomplice—involved long makeup sessions wherein his straight hair was curled, small sponges inserted in his nostrils to give them a pre- datory flair, more sponges behind his molars to further alter his naturally clean-cut features, give him a vaguely animal look. “Crack In The Mirror” was filmed entirely in Paris, the exteriors against such varied, colorful backgrounds as the Palace of Justice, the banks of the Seine, fashionable residential streets, the crowded near-slums behind Montparnasse, at “Gare de Lyons , the vast railway station, it’s rococo up- stairs cafe, in and around the Wagon Lit’s famed “Blue Train”. Despite, considering the problems inherent in three dual roles, a tight schedule of 53 days, Di- rector Fleischer brought his movie in only a week late, due entirely to bad weather during exterior shooting. But, as Zanuck pointed out: “Why film it in Paris if we don’t show Paris?” Supporting the three stars in principal roles are Alexander Knox, who scored his greatest personal triumph in another Zanuck production, “Wilson”, in which he played the title role; William Lucas, Catherine Lacey, and Austin Willis. Mark Canfield wrote the screenplay and Maurice Jarre the musical score. Henri Patterson wrote the song, “Eponine’s Song” that Miss Greco sings. Incidentally, cinematographer Mellor, who has already been mentioned, did the photographic work on “A Place In The Sun”, “Peyton Place”, “Diary Of Anne Frank” and “Giant”. 37