Saturday July 24, 2021
Young Man With a Horn, Old Man With a Harm
Here's more on Jack Warner, Warner Bros., Hollywood and race, from Alan K. Rode's recommended book Michael Curtiz: A Life in Film, this time about the making of the 1950 movie “Young Man with a Horn,” starring Kirk Douglas. The movie was based on the novel by Dorothy Baker, which was based on the short, alcoholic life of the brilliant jazz trumpeter Bix Beiderbecke:
[Screenwriter] Edmund North used most of Baker's reinterpretations of Beiderbecke's life, with the principal exceptions of changing Smoke from a young black drummer to an adult Caucasian pianist played by Hoagy Carmichael and another character, Josephine, from a black to a Caucasian singer. [She was eventually played by Doris Day.] A Wald preproduction memo noted the “elimination of the colored angle” ...
Wald got his two days of location filming in New York in much the same way Curtiz overcame an earlier wrangle with [Jack] Warner over the key scene at Art Hazzard's funeral. Curtiz attended an African American church service in Los Angeles specifically to prep for this scene, which he shot with great care. Warner, already uncomfortable with the picture's depiction of racial comity in the jazz world, sought to have the scene dropped. Curtiz insisted that the scene was crucial to the overall narrative, and it remained in the picture.
Warner also insisted on a happy ending and got it—even when everyone else, from Curtiz to Douglas to right-wing Hollywood Reporter publisher W. R. Wilkerson, thought it nonsensical. “But Jack, why that ending?” Wilkerson wrote. “It was our impression that the ending took away about 25% of the value of the picture because it was a false ending.” Rode adds: “All the entreaties simply made Warner more adamant. The film had his name on it and he would choose how it would end.”
Here's earlier notes on Jack Warner and race.