04/26/2022
The Infamous Slap rekindled uncomfortable parallels to an awkward,situation years ago involving major artists, an insulted wife, a mean-spirited protagonist, and hovering Oscars:
RYAN'S DAUGHTER'S SLAPS
On November 9, 1970, the highly anticipated, years in the making RYAN'S DAUGHTER, directed by David Lean and written by Robert Bolt, his similarly acclaimed screenwriter of Lawrence Of Arabia and Doctor Zhivago, opened in New York to largely disappointing reviews.
The film was MGM's most important and expensive production, supported by a massive publicity campaign, sending Oscar winning cinematographer Freddie Young and costume designer Jocelyn Rickards on cross-country tours, months before Robert Mitchum, Sarah Miles, Trevor Howard and future Oscar-winner John Mills, the film's A-list cast, began their promotional schedules.
So despite the critical reaction, led by Pauline Kael's scathing review attacking Lean with her full throttle provocations, audiences were primed to see the film they had heard was a terrific movie.
Among the marketing plans were Lean retrospectives and press conferences in key cities, a then unusual promotion event I advocated as MGM's National Publicity Manager. In New York, the retrospective's home was The Museum of Modern Art, whose film department was headed by the distinguished Willard Van D**e. Shaken by the reviews and personal attacks, Lean and Bolt were not eager to be the center of a press conference but were convinced it was important to maintain a strong front until the film proved its appeal.
So it was with some trepidation that I arrived early at MOMA to make sure everything was properly arranged, per my discussions with Willard. Though never specified, it was my assumption that he would moderate the press conference, representing the Museum, fielding the Q&A's. However, after exchanging pleasantries, he revealed he was a terrible public speaker who avoided such roles and I would have to moderate.
Being similarly awkward in any public speaking situation, never having done this before, and without the imprimatur of a museum official, I was on edge, forced to rise to the occasion.
The Titus Theatre @ MOMA was packed with journalists and media representing every key outlet. Lean and Bolt took their seats and the questions began. After a few softball openers, I recognized John Simon, the crusty critic of The New Leader, an intellectual writer famous for decimating and dissecting the physical attributes of an actor or actress that didn't please him. His later highly publicized attack against Liza Minnelli became a cause celeb.
Directing his question to Lean, John Simon asked,
"How could you cast Sarah Miles, such an unattractive, untalented actress in the leading role, someone who so obviously was out of her depth, one who could never be the catalyst for a love affair, one who….
Both Lean and Bolt, perfect gentlemen, were taken aback.
"Whoa, John," I plunged in. "I thought you would know that Sarah Miles is married to Robert Bolt. And if somehow that well known fact eluded you, your question is out line, insulting to Mr. Bolt as well as to Mr. Lean. And not permissible here. We're moving on."
With that, and hoping to assuage both gentlemen, the press conference proceeded in a traditional way until Simon raised his hand again, which I recognized.
It was as if nothing had sunk in from the previous encounter,
"I still can't understand how a woman with such undistinguished, offensive bearing could be considered for a leading role in anything…"
"John, that's enough," I interrupted, broiling. "I told you before you are out of order. You should be apologizing to Mr. Bolt in particular, but I expect that is beyond you. You are no longer welcome at this press conference. Please leave now."
There was total silence in the room. Simon stood up, put on his long coat and left the theater.
I waited until the exit door closed behind him before continuing.
* * * * *
That introduction in dealing with an explosive, embarrassing public forum was an ordeal by fire. I thought it would be the end of the retrospective tour but Lean remained game.
We next went to San Fransisco, where an unforgettable memory was watching David Lean backstage, as the opening scenes of his BLITHE SPIRIT filled the giant screen, hand on hip, entranced by his images.
It was said that the critical reception to RYAN'S DAUGHTER was the reason David Lean did not make another film for 14 years. Since then, RYAN DAUGHTER has been re-released several times with critical re-assessments praising Lean's romantic pic…"His overlooked masterpiece." It became one of the most successful films of its year, doubling its $15,000,000 cost at the domestic box-office.
For her moving performance, Sarah Miles received a 'BEST ACTRESS" Oscar nomination and was similarly honored by the British Film Academy (BAFTA) and the Golden Globes.
* * * * *
MIKE KAPLAN
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