THE BAD AND THE BEAUTIFUL (1952)

Fitting that having begun in Hollywood with CITIZEN KANE, helping Orson Welles on a film that used William Randolph Hearst, America’s best known, if declining, newspaper mogul as inspiration, John Houseman’s first A-list movie as producer would land on David O. Selznick, America’s best-known, now declining, film mogul as inspiration.  And if this Hollywood-on-Hollywood story isn’t quite as good as once was thought, it remains posh, glossy, facile fun, good enough to hold a high spot among dishy, Hollywood insider pics.  Just don’t expect more depth than a wading pool.  Vincente Minnelli, delivering a smash set piece with every reel, keeps the pace & scenery chewing up (in a good way) as hard-driving Hollywood Heel Kirk Douglas, our Selznick-like charmer, successively woos (than shits on) rising director Barry Sullivan, B-pic producer Walter Pidgeon*, lush vamp actress Lana Turner, Southern novelist (with ditzy wife) Dick Powell (with Gloria Grahame).  Somehow, they all come out better for the mistreatment.  (The idea unusually callous since he all but arranges the death of a loved one along the way.)  And while the film doesn’t exactly condone his acts, it does think it was worth it.  Maybe the films he birthed into being were significantly better than THE BAD AND THE BEAUTIFUL.

DOUBLE-BILL: Messy, slightly ridiculous, butchered by the front office, with its entire cast apparently on steroids & suffering thru attacks of manic/depression, TWO WEEKS IN ANOTHER TOWN/’62, a near sequel with Houseman, Minnelli & Douglas repeating, is by any measure the lesser pic.  Yet now looks rather more interesting.  It’s certainly less neat!  (If only it had a juicy role for this film's wonderful Gilbert Roland rather than George Hamilton!)  OR:  M-G-M made another Hollywood-on-Hollywood film in 1952.  SINGING IN THE RAIN, maybe you’ve heard of it.  Less prestigious at the time, now . . . 

ATTENTION MUST BE PAID: *Perpetually distinguished Walter Pidgeon convinced Houseman he could play the B-movie producer by donning a stiff wooly toupée that looks more like a carpet remnant than hair in the flashback scenes.  The prologue & epilogue retreat to the flowing grey locks of an elder statesman.