A Thousand Clowns (United Artists) (1965)

Publicity Stull TC-30 Mat 2A Jason Robards stars as the humbug-hating dropout from the school of success in “A Thousand Clowns,” opening...... at the...... Theatre, through United Artists release, Anxious to see a better class of garbage, he chastizes his neighbors and chats amiably with the recorded weather lady on the telephone. Barbara Harris co-stars as the social worker who tries to restore him to sanity. Robards’ ‘Thousand Clowns’ Role His First Comedy Portrayal Jason Robards in repose suggests a man on the edge of total defeat. Tall, lean, almost gaunt . . . with dolorous deep-set eyes . . . the actor is always associated with the tragic roles he has played during his career on stage, TV and screen. For this reason, his delightful portrayal of a happy, humbug-hating non-conformist in “A Thousand Clowns” will surprise his fans and delight audiences everywhere. OpenHive sles S. at the Theatre, through United Artists release, the comedy is Robards’ first funnyman role There is little to suggest defeat in the character of Murray Burns, a drop-out from the school of success. For that matter, there is little to suggest gloom in the life of Jason Robards. Married to actress Lauren Bacall, they manage a menage of six wonderful children and two successful careers. Robards’ professional reputation gained its impetus eight years ago when he electrified audiences in Eugene O’Neill’s “The Iceman Cometh” and “Long Day’s Journey Into Night,” for which he won the N. Y. Drama Critics Award as most promising actor of the season. It had taken ten years of uphill struggle to reach this “overnight” success. After an apprenticeship with the eeeecee Stli TC-51 Mat IB Gene Saks recreates his role of Chuckles the Chipmunk, obnoxious favorite of a children’s TV show, in the film version of Broadway’s hilarious “A Thousand Clowns,” opening .... at WRG Seerie acs cctel Theatre, through United Artists release. Jason Robards and Barbara Harris star in the comedy, which introduces Barry Gordon, PAGE 8 American Academy of Dramatic Arts, Robards acted with stock companies, children’s theatre, light opera and on radio—finally becoming assistant stage manager for “Stalag 17” on Broadway. Later he toured with it in a supporting role. Finally, director Jose Quintero cast him in “American Gothic” and in 1956 they did “Iceman” together. Robards subsequent career has been a succession of triumphs. He played a season of Shakespeare at the Stratford Shakespeare Festival, returned to Broadway in “The Disenchanted,” for which he won the Tony award, the ANTA award and the N. Y. Drama Critics? Award for best male lead. During the summer of 1959 he returned to Shakespeare, playing the title role in Macbeth, then appeared on Broadway in “Toys in the Attic.” For this performance, he again won the N. Y. Drama Critics’ Award. His subsequent stage appearances were in “Big Fish, Little Fish,” the original stage production of “A Thousand Clowns” and—just before making the movie of “Clowns” he starred in Arthur Miller’s “After The Fall” and S. N. Behrman’s “But For Whom, Charlie?” Robards’ first film appearance was in “The Journey” and he has since starred in “By Love Possessed,” “Long Day’s Journey Into Night,” “Tender Is the Night,” and “Act One.” Saks as Comic Gene Saks, noted New York actor and director, recreates his stage role of Leo, the television comedian, in the film version of “A Thousand Clowns,” opening bate: tie cites. Theatre, through United Artists release. Saks rejoins stage cronies Jason Robards and Barry Gordon, who star with Barbara Harris in the movie, based on the hit Broadway play by Herb Gardner. In addition to “A Thousand Clowns,” Saks has appeared on stage in “The Tenth Man” and “A Shot in the Dark.” He directed “Nobody Loves an Albatross” and “Enter Laughing.” Herb Gardner Is Playwright, Artist, Novelist, Scenarist At the age of 30, Herb Gardner is working on his third successful career. As author of “A Thousand Clowns,” opening ..... at the..... Theatre, through United Artists release, Gardner’s official career as a playwright came when “Clowns,” opened on the Broadway stage. For several years before then he had been a successful cartoonist with a comic strip called “The Nebbishes.” Originally, he had wanted to be a sculptor, but settled for creating display figures such as bunnies, walrusses and other friendly creatures for toy manufacturers, an occupation at which he was _ enormously successful but not too happy. Brimming over with creative impulses, Gardner always considered himself primarily a writer. His novel, “A Piece of the Action,” was published by Simon & Schuster, later republished in England and more recently released in a paperback edition. Earlier, a short story won honorable mention in Martha Foley’s Best Short Story Collection . and a television script nosed out the competition in a national talent contest. When “A Thousand Clowns” was completed, he submitted it to four producers “ all of whom fought for the privilege of turning it down.” Because he had actor Jason Robards in mind for the role of Murray Burns, the antic television-writer hero, Gardner planted himself in a coffee shop near the theatre in which Robards was then appearing in “Toys in the Attic.” When the actor appeared, the young author handed him the script, said “Please read this” and ran off. Robards, who considered this perfectly normal behavior, read it that night and decided immediately to be Murray Burns. A perfectionist in everything he undertakes, Gardner is jealous of his creations. When he gave up cartooning, the syndicate which distributed “The Nebbishes” offered him a huge sum for the rights to the comic strip—which someone else would draw. He refused. Shortly after “A Thousand Clowns” opened on Broadway, he was offered astronomical figures for the screen rights, but turned them down, preferring to write the scenario himself and follow it through from beginning to end. Believes Writers Should Be Given Carte Blanche Fred Coe, producer-director of the film version of “A Thousand Clowns,” claims his success in television, stage and movie producing is due to his affection for writers. Certainly Herb Gardner, who adapted “A Thousand Clowns” to the screen from his own stage play, can never complain that his material was abused in the transition. The comedy, starring Jason Robards and Barbara Harris, opens eee at the ...... Theatre, through United Artists release. “I don’t get this Hollywood notion,’ says Coe, “that once a writer has done his bit . . . during which time he has gotten to understand his characters better than anyone else ever could . . . he should be barred from the set as a nuisance.” A frustrated writer, Coe insisted that Gardner be on the set at all times. Because he likes writers — not only name writers — Coe has demonstrated again and again that he is willing to take a chance on a complete unknown if he thinks the work warrants it. This he did with Gardner who made his Broadway debut as a playwright with “Clowns” and is now making his bow as a screen writer. When Coe first started producing and directing in television in its early days, his name because synonymous with creative drive, quality productions and a remarkable group of young writers known as “Fred Coe’s Stable.” Robards Leaves Apt.—Strolls About N. Y. In ‘A Thousand Clowns’ Movie Version (Production Story ) Fans of Jason Robards will be glad to know that he’s out of that one-room, junk-filled apartment he lived in for over a year on Broadway! The movie version of “A Thousand Clowns” was filmed on location in New York, all over the city and on eight interior sets. Although the scenes are now more varied than in the original version, more than 95% of the play’s dialogue has been retained by its off-beat author, Herb Gardner. Opening ...... through United Artists release, “A Thousand Clowns” stars Robards in the same role he made famous on stage, also starring Barbara Harris and Martin Balsam with Gene Saks and William Daniels ... and introduces Barry Gordon as Nick. In the play, most of the action took place in Robards’ cluttered one-room apartment which looked out on a dismal, dark areaway where no ray of sunshine ever penetrated. The movie contrasts his lonely life by photographing him and his co-stars as they wander about New York in the summer. Scenes were filmed in Battery Park, on Liberty Island, at the Fulton Fish Market and on the pier from which an ocean liner sails. Other natural “sets” are the Brooklyn Bridge at twilight, the New York Public Library and Wall Street on early Sunday, when the streets are deserted—and a junk yard near South Street. An unusual scene was filmed on the roof of a brownstone building on West 78th Street, where the script called for Robards Passing Time Barry Gordon, who played the precocious 12-year old in the stage production of “A Thousand Clowns” repeats his role in the film version opening Theatre, through United Artists release. Now three years older and four inches taller, Barry is still under five feet and can pass for twelve years old on screen ... although he is fifteen. Jason Robards, who is also three years older—and no taller—also plays the role he created on the Broadway stage, He does not any longer pass for twelve. E. Side, W. Side All Around N.Y. Asa play, “A Thousand Clowns’ was necessarily compact: six characters on one set. As a film, openINP ess ees at the Theatre, through United Artists release, the comedy has broken out of the confines of Broadway staging and used every conceivable New York skyline as its setting utilizing hundreds of extras in addition to the same six principal characters. Starring Jason Robards, who created the role on stage, the story is set in a TV writer’s amazing oneroom apartment in New York. Fred Coe, producer and director of the film (he also co-produced and directed the play) decided to “free” the story visually and called a meeting of author Herb Gardner, who also wrote the screenplay, and his director of photography, veteran cameraman Arthur J. Ornitz. “We're going to free this story,” Coe said. “l’m not writing any new dialogue,” said Gardner. “T want to film at the Fulton Fish Market,” said Ornitz, who had wanted to film parts of “The World of Henry Orient” there, but couldn’t get his way. Both writer and cameraman got their ways from Coe, however . and in return Coe got his “freedom.” Just by using the existing dialogue, which mentions trips made by the cast, Gardner wrote “business” for 35 minutes of exciting exterior shots. Ornitz’s camera moved constantly . from the Battery, to Liberty Island, to Wall Street, to the Public Library, to a ship sailing from a North River pier ... to a kite flying from a Manhattan roof ... and to many other places. The kaleidoscopic view of New York, of course, included the cameraman’s favorite fish market. at the Theatre, oeeeee and Gordon to fly a kite. Robards and Barbara Harris ride a tandem bike in front of Grant’s Tomb and in Central Park and many other picturesque exteriors were used. For the interiors, five weeks of shooting were spent at the Michael Myerberg Studios at Roosevelt Field, where, among other sets, a three story building front was erected to represent the view from Robards’ window. However, the best set is still the original one used on stage: Robards’ apartment: a marvelous melange of odd junk including 16 clocks (all telling a different time), five ancient radios, a steriopticon, Indian clubs, war trophies, a fireman’s helmet, a phonograph with a huge horn, two antique cutlasses, a spindle-back revolving stool, a large carved wooden gold eagle, two high bookkeepers’ stools, a lyre piano peddle, three ship models, campaign buttons and a file cabinet containing old manuscripts and new shirts. All this evidence is mute testimony that the man who lives among the debris is a man who will not conform to the modern notions of decorating or, for that matter, of living. The moyie too, conforms little to the current notions of moviemaking. But producer-director Fred Coe has never been a conformist himself, and author Gardner, star Robards and almost everyone else associated with the film are equally independent in their attacks on life. The result of this perfect collaboration is a valuable glimpse at a wonderful — if sometimes whacky—way of life! Four-in-One Fred Coe, producer and director of “A Thousand Clowns,” comedy opening ati the? o2se.. ie Theatre, through United Artists release, usually makes a minimum of four “takes” for each shot. There was one, however, which he had to get right the first time. It called for Jason Robards and Barbara Harris to wave good-bye to someone on an ocean liner pulling away from a pier. Because Coe was shooting all his scenes on location in New York, he actually went to the pier from which the Holland American liner Niew Amsterdam was sailing. With four cameras shooting at one time (instead of four takes) Coe was able to film his scene perfectly, showing the movie’s stars running to the end of the pier as the boat swings into the North River. Then really hard work began. He had to get “releases” from all reallife friends and relatives who were included in the scene. irony! Jason Robards, starring in “A Thousand Clowns,” opening...... at the Theatre, through United Artists release, became famous not for comedy but for his brilliant portrayals in the tortured plays of Eugene O’Neill. That’s why he considers it ironic that he was so enthusiastically acclaimed for his comedy performance in the Broadway stage version of “A Thousand Clowns.” You see, the play opened at the “Eugene O’Neill” theatre! © Gere 1e,0f 0, Early Bird Herb Gardner starts writing extremely early in the morning. The 30-year old author of “A Thousand Clowns,” opening ...... .. at the Theatre, through United Artists release, says this way he feels he is accomplishing something special. While working he tells himself, “Tennessee Williams is asleep. Bill Inge is asleep. Paddy Chayefsky, Albee, they’re all asleep...” Jason Robards (another early riser) stars in “A Thousand Clowns” with Barbara Harris and Martin Balsam. Fred Coe produced and directed. Starring N. Y.C. New York City could well share star billing with Jason Robards and Barbara Harris in the film version of “A Thousand Clowns,” opening atathe Meets oes Theatre, through United Artists release. Producer-director Fred Coe gives his audiences some of the most fascinating and enjoyable “tours” of the town while shooting scenes in such places as Battery Park, Liberty Island, the Fulton Fish Market, Brooklyn Bridge, Madison Avenue, the Public Library, a totally deserted Wall Street (photographed early one Sunday morning), Central Park and the Hudson River docks. In many of these locations Robards appears with his film nephew, Barry Gordon, and in others he is shown on a tandem bike with Miss Harris. Stull TC-1 Mat 2D Jason Robards cautions Barry Gordon to behave in “A Thousand Clowns,” opening ...... at the oeecevee Theatre, through United Artists release. Gordon’s behavior in the comedy is patterned after Robards, which is the principal trouble and the cause of an investigation by Barbara Harris, playing a representative of the Child Welfare Board who wants to know why the boy is being brought up by an apparently irresponsible non-conformist who complains to his neighbors about the quality of their garbage.