Death of a Salesman (Columbia Pictures) (1951)

Mat 1-A; Still No. 158 FREDRIC MARCH Mat 1-B; Still No. 116 MILDRED DUNNOCK Mat 1-C; Still No. 143 KEVIN McCARTHY Mat 1-D; Still No. 80 CAMERON MITCHELL ‘Salesman’ Reveals Extraordinary New Production Technic Hollywood magic, which can create almost anything, has pulled another rabbit out of the hat. Having successfully created on _ the screen such assorted wonders as the San Francisco earthquake, the fall of Rome and the parting of the Red Sea, the film magicians were faced with perhaps their toughest assignment for Columbia Pictures’ “Death of a Salesman,” the Stanley Kramer production starring Fredric March at the* 2)... neatre. For “Death of a Salesman,” the past and present had to be photographed simultaneously. Such cinematic sorcery might baffle an expert in Einstein’s famed theory of time and space, but for the Kramer production team, it wasn’t too difficult. Impossible by most standards, the time trick simply took Columbia experts a little longer. Kramer’s tampering with time was no flight of whimsey but an absolutely essential element for honest translation of the Pulitzer prizewinning play to the screen. As written for Broadway, where the drama won more honors than any other in our time, “Death of a Salesman” changed scene constantly as Willy’s wandering memory took him back 20 years into the past. The camera can—and does—photograph those settings that could only be suggested on the stage and Hollywood’s technical ingenuity enables the movie audience simultaneously to see Willy’s world of past and present. For the screen version of “Death of a Salesman,” a production team consisting of director Laslo Benedek, scenarist Stanley Roberts and production designer Rudolph Sternad came up with such imaginative innovations as duplicate and distorted sets, special lighting and sound effects, and unusual wardrobe and makeup transitions. Sternad’s art department, to help carry out this unusual treatment, built six duplicate sets to carry the principal action. There are two Loman kitchens, two Loman parlors, two subway stations, two Boston hotel rooms, two front porches and two exterior streets. One group of twin sets shows the settings as they actually are, the other group as they appear to Willy in the fantasy of his memories. The cast supporting March in “Death of a Salesman” includes Mildred Dunnock, Kevin McCarthy, Cameron Mitchell and Howard Smith. Screen Newcomer Although Kevin McCarthy makes his movie debut in Stanley Kramer’s production of “Death of a Salesman” the Columbia picture now at the . . . . Theatre, he was selected above all other aspirants for the key role of Biff in support of star Fredric March. A veteran of the stage and television, McCarthy enacted his present screen role in the London company of “Death of a Salesman,” with Paul Muni starred. Was in Prize Play Howard Smith, a veteran of the original Broadway cast of “Death of a Salesman”, re-enacts the role of Charlie, life-long friend and neighbor of Willy Loman in Stanley Kramer’s screen version of the Pulitzer Prize play. Fredric March stars in the powerful new Columbia Pictures’ drama at the .... Theatre. Repeats His Role Cameron Mitchell, who registered with an impressive performance as Happy in the Pulitzer Prize-winning play, “Death of a Salesman,” repeats his role in the Stanley Kramer screen version for Columbia Pictures. Fredric March is starred in the drama at the .... Theatre. Columbia Pictures’ ‘Death of a Salesman’ Stanley Kramer’s Greatest Production Columbia Pictures’ producer Stanley Kramer, who moved into the “wonder-boy” class with his first hit, “Champion,” has long ago traded this ephemeral status f Hollywood innovator whose production methods have had a revolut Kramer, whose screen production of “Death of a Salesman,” stars Fredric March at the . or a more solid reputation as a ionary impact on movie-making. the Columbia picture which . . . Theatre, eschews the formula approach to picture-making. He prefers off-beat themes and dares to produce them without necessarily resorting to the so-called ps Kramer’s most original contribution to the movie “safety-insurance” factors of star names. Perha making art has been his technique of intensive pre-shooting rehearsals and the plotting of every movement on the sound-stage. This results in an economy of production costs without sacrifice of creative integrity and the envy of almost every producer in Hollywood. With such films as “Champion,” “Home of the Brave,” “The Men” and “Cyrano de Bergerac,” Kramer has given the indus @ try some of its Also available in 1most exciting column size: Mat 1-E new personalities. or Still No. Kramer 2. Kirk Douglas, Ruth Roman, Marilyn Maxwell, Frank Lovejoy, Lloyd Bridges, Marlon Brando, Jack Webb, Mala Powers and the Academy Awardwinning Jose Ferrer, are just a few who became important film names because Kramer dared to cast them in roles for which they ordinarily would not have been considered. Following his graduation from New York University in 1933, Kramer methodically grounded himself in the fundamentals of every phase of movie making. He has worked as a _ writer, swing-gang worker, scene shifter, studio carpenter, technician, researcher, film editor and associate producer. During the war, he worked on training and orientation films for the Signal Corps. It was in that Army unit, no doubt, that he first discovered how simply effective motion pictures can be made. “Death of a Salesman,” Kramer’s most important production to date, is based upon the Pulitzer Prize play. The film stars Fredric March, one of America’s greatest actors, in his greatest role. “Death of a Salesman” features, in support of March, Mildred Dunnock, Kevin McCarthy, Cameron Mitchell and Howard Smith, all of whom appeared in Broadway or London productions of the play. Mat 1/,,-A Stanley Kramer Mat 1-G; Still No. 164 THE PULITZER PRIZE PLAY, ‘‘Death of a Salesman,”’ in its Columbia Pictures’ version at the . . Theatre, stars Fredric March, shown above’ with Claire Carleton. “iA Page 11 “Death of Salesman”’ Mat 2-D; Still No. 57 THE SALESMAN and HIS FAMILY, as they appear in Columbia Pictures’ “Death of a Salesman,”’ the Stanley Kramer production at the .. . . Theatre, are Fredric March, second from left, star of the film version of the Pulitzer Prize play, Kevin McCarthy, left, Mildred Dunnock and Cameron Mitchell. Young ‘Salesman’ Player in Debut Stanley Kramer, brilliant young producer and starmaker of Kirk Douglas, Ruth Roman, Marlon Brando, Jose Ferrer and Mala Powers, may very well have done it again. Newest Kramer discovery is Kevin McCarthy, who is featured in support of Fredric March in Kramer’s first screen production for Columbia Pictures, “Death of a Salesman,” currently to be seen at the . «cco bneatre: McCarthy makes an auspicious film debut in the key role of Biff in “Death of a Salesman.” The young actor, a veteran television and stage player, played the Biff role in the London production of “Death of a Salesman,” the Pulitzer Prize play. March also is supported in “Death of a Salesman” by Mildred Dunnock, Cameron Mitchell and Howard Smith. The film was directed by Laslo Benedek from Stanley Roberts’ screen play. ‘ain Pulitzer Prize Play, ‘Death of a Salesman’ Most Honored Stage Drama of Our Time Columbia Pictures’ screen version, Stanley Kramer’s production of “Death of a Salesman,” starring Fredric March at the .... Theatre, is based on what is generally recognized as the most honored play of our time. Prize jewel in the play’s diadem of laurels is, of course, the Pulitzer Prize, the highest honor an original work in the American theatre can achieve. The New York Drama Critics added their tribute by naming “Death of a Salesman” the best American play. Theatre craftsmen presented “Death of a Salesman” with their tribute—the coveted Donaldson Award. The Newspaper Guild’s Page One Award, the American Theatre Wing’s Antoinette Perry Award, the Theatre Club’s Gold Medal followed inevitably. The Book-of-theMonth Club distributed the printed version of the play, the first time that organization had ever selected a play for its readers, In almost two years on Broadway, “Death of a Salesman” was given 742 performances. Successively, in the demanding title role, were Lee J. Cobb, Gene Lockhart, Thomas Mitchell and Albert Dekker. The national company of “Death of a Salesman” toured 34 American cities. The play was a sensation in numerous cities in Germany, the Scandinavian countries, Switzerland, Italy, Belgium, Holland, Ireland, South America, Israel and England. The play has been translated into 26 languages. Cameron Mitchell ‘Salesman’ Veteran It took his work in an “old” role really to establish Cameron Mitchell in Hollywood. Currently featured in support of Fredric March in Stanley Kramer’s new screen production, Columbia Pictures’ “Death of a Salesman,” at the . . .. Theatre, Mitchell until now has played some good roles in big pictures without being tagged as one of the brighter young stars. In the film version of “Death of a Salesman,” Mitchell plays the same role that he created on Broadway for the Pulitzer Prize play. He’s definitely established now, on Broadway and in Hollywood! Featured in support of March, in addition to Mitchell, are Mildred Dunnock, Kevin McCarthy and Howard Smith. Laslo Benedek directed the drama from the screen play by Stanley Roberts which, in turn, is based upon the stage play by Arthur MilTer: LAM = = = = = = = = = = = = =| = ll “_cnnnii