William Holden & Stellar Cast in Billy Wilder’s ‘Stalag 17’

William Holden sees the light in Billy Wilder's "Stalag 17" from 1953.

I avoided Stalag 17, despite my admiration for Billy Wilder and William Holden, because I grew up subjected to Hogan’s Heroes reruns, and thought they were basically the same story. I’m amazed that sitcom still has admirers, because even as a little kid, I realized that the show was incredibly sanitized, silly, and worst of all, unfunny. The creator of Hogan’s Heroes claimed there was no deliberate imitation of Stalag 17 from the show. Despite the fact both stories featured a smart aleck American soldier, a dopey German sergeant, and a preening German colonel, with the wiley American POWs always outwitting the inept Nazi captors. Yet, they are different—in terms of quality and depth.

I added Stalag 17 to my list of 2025 classic films to watch that I had never previously seen. And unlike Hogan’s Heroes, I was wowed by these POWs!

"Stalag 17" came out a dozen years before "Hogan's Heroes" aired, but was still more
 gritty and satiric, thanks to Billy Wilder.

Since Billy Wilder directed Stalag 17, it’s no surprise that the story is not watered down. The POW camp comedy-drama is still gritty. Billy Wilder's take on war and its spoils may seem cynical to some, I find Wilder’s outlook realistic. He covered similar themes in 1948’s A Foreign Affair, with John Lund as the soldier/black market profiteer. Stalag 17 is a microcosm of life during wartime.

Considering Stalag 17 is mostly stage bound in a prison barracks, the film is stylishly told. In a nutshell, there’s a rat in the ranks of Stalag 17. Most of his fellow prisoners think it is William Holden’s opportunist. While that plot expertly unfolds, this stage play is perfect for the intimacy of film to focus on the characters, as this is truly a character piece. The way of photographing them interacting or having a solo moment is done imaginatively, so it’s not stagey. The guys get outside enough in the drab prison yard, which it breaks the monotony and brings some drab atmosphere.

Amidst the satire & antics, scenes like this show the grim reality of "Stalag 17."

Stalag 17 boasts a large and diverse ensemble cast. There’s hardly a dud in the bunch. They look realistically lean, scruffy, and dirty. They are quite a mix of personalities and they play their archetypes admirably and entertainingly. Holden’s the star, but Wilder doesn’t make it a star vehicle, he’s part of an ensemble, and Bill leads admirably.

William Holden's willing to barter as the barracks profiteer, in 1953's "Stalag 17."

Wilder's subversive subtext is there in Stalag 17, with the men’s interaction with the Germans and each other. The two groups are always trying to outfox each other. Of course, the Germans are the captors so they have the ball. But the POWs got game.

Did William Holden rightly win the Best Actor Oscar that year? Cast as the lead in an ensemble piece is tricky. Pundits will question whether a star won on their own steam or were they bolstered by the great cast. Bill was on a roll after Sunset Blvd., so it was a popular win and a career Oscar, as well.

William Holden is suspected of being the barracks rat in 1953's "Stalag 17."

William Holden as J.J. Sefton is cynical, Wilder-style. Bill’s Sefton makes the most of his enforced stay at Stalag 17. He’s genial when mixing it up and doing business with the guys, but tough and cynical when it comes to realities of camp life. Holden probably brought some of his ambivalent feelings about studio era stardom to his character’s using his charm to succeed in a corrupt environment.

William Holden won an Oscar as prisoner/profiteer J.J. Sefton in 1953's "Stalag 17."

Even William Holden felt the lead character as the cynical barracks profiteer was a bit too unlikable—and Bill had fought to get away from a decade’s worth of “Smiling Jim” roles in the ‘40s. Wilder got his way, though there is a nudge at the end, when the nice Bill Holden comes out—as he's escaping the barracks!

Otto Preminger’s cool charm is extra sinister for Colonel von Scherbach. Sig Ruman is the clownish Sgt. Schulz, which Hogan’s Heroes later borrowed. Both characters are comic villains, which allow Wilder to satirize them even more.

Otto Preminger, as the charming/creepy Colonel in 1953's "Stalag 17."

Robert Strauss is comic relief, “The Animal,” somewhat like John Belushi in Animal House. And Strauss also seems to have been an inspiration to Brad Garrett’s persona, who came to fame as Robert on Everyone Loves Raymond. Strauss’ “Animal” and partner in crime, Shapiro, are a bit much at times, but Wilder knew the grim premise needed some broad comic relief. Harvey Lembeck, an expert comic actor, is Harry Shapiro, the wise guy/straight guy for “The Animal.”

Robert Strauss goes big as "The Animal" in 1953's "Stalag 17." After one scene with Strauss, I realized where Brad "Everyone Loves Raymond" Garrett got his shtick!

Neville Brand is baby-faced here as sullen Duke, the barracks bellyacher. He’s too good, I wanted Holden’s Sefton to belt him one! Jay Lawrence as Bagradian, one of the new prisoners, was a captivating personality, full of imitations. And why not, he was the brother of F Troop’s live-wire, Larry Storch. Gil Stratton is “Cookie” Cook, who narrates and is Sefton’s wingman. He offers everyman likeability and insight to J.J. Sefton’s personality. Robinson Stone is silently awesome as Joey, the traumatized soldier.

Jay Lawrence (center) is a live wire as the new POW in "Stalag 17."

Robert Shawley is adorable as “Blondie” Peterson and William Pierson very amusing as Marko the Mailman—my gaydar went off for both! Shawley has hardly has any lines, but is right in the mix, and is quite natural. Oddly, his subsequent career went nowhere. And Pierson, with his nasal rat a tat delivery of the barrack’s announcements is quite hilarious.

Robert Shawley as "Blondie" Peterson, "Stalag 17's" platinum twink!

Remember David Bowie as a WWII POW
in "Merry Christmas, Mr. Lawrence?"

On the downside, there’s two rather dud performances, but they’re not bad enough to hurt Stalag 17. Peter Graves is Frank Price, who’s in charge of barracks security. Graves is decent but not especially dynamic, which is why he never became a top star in movies or television. He was one of those actors, like Robert Stack, who acted with his voice, like a radio announcer. Don Taylor, dull as always, is Dunbar, one of the latest captives. You may remember him as the groom in the original Father of the Bride.

Peter Graves as barracks security, barely gets by in 1953's "Stalag 17."

Stalag 17 is a solid two hours, but moves at a good pace, especially impressive since it’s a filmed play, with most of the action taking place inside the barracks. Billy Wilder’s way with actors, expert storytelling, and willingness to push the envelope, all play to Stalag 17’s advantage.

I don’t like the war movie genre and yet I was mesmerized the entire time by Stalag 17. And I’m pleased to add this film classic to my classic film blog. And if you like my blog, click Follow for free! https://ricksrealreel.blogspot.com/

See the link below for an excellent copy
of 1953's "Stalag 17."

Here is an excellent, free copy of Stalag 17 to watch on YouTube:

https://www.youtube.com/watch?v=njcqwleu9kc

My look at William Holden’s breakout year as an actor here: https://ricksrealreel.blogspot.com/2022/04/william-holdens-golden-year-1950.html

Look who came to visit "Stalag 17," all the way from "Sunset Blvd.!" Norma Desmond herself, i.e. Miss Gloria Swanson. Maybe she wanted to see if Otto Preminger was interested in being her new butler!

Holden & Hepburn: ‘Paris When It Sizzles” 1964

Audrey Hepburn & William Holden teamed a second time for "Paris When it Sizzles."

Here's the link! http://clamba.blogspot.com/2022/05/its-time-for-cmba-spring-blogathon-fun.html

I’ve avoided the ‘60s rom-com Paris When It Sizzles because of its rotten reputation. Until recently, I wrote it off as just another lame sex comedy, a campy spoof from the ‘60s. Bedroom farces are one of my least favorite film genres. In this era, it was mostly talk about sex, with much winking and nudging. These movies are usually loud and frantic, with lavish visuals and slim plots—not to mention a dated mentality. Think That Touch of Mink, A New Kind of Love, What a Way to Go!, and What’s New, Pussycat? These films are just a few of many titles.

Audrey Hepburn brings her usual class and comedic style to "Paris When it Sizzles."

What sets Paris When it Sizzles apart is that it spoofs sex farces and the film industry. Richard Quine deftly directed this comedy and screenwriter/playwright George Axelrod supplied the zingers. The shaggy dog style of storytelling perplexed critics and audiences alike when Paris was released. More than a few critics pointed out that William Holden wasn’t Cary Grant. Hey, Cary Grant himself once said, “Even I want to be Cary Grant!”

William Holden as a hard-drinking screenwriter wasn't exactly a stretch, but Bill
gives a solid comedy performance in "Paris When it Sizzles."

Holden’s subtle comedic skills are one of the saving graces of Paris When It Sizzles. William Holden seemed to be playing Norman Maine of A Star is Born off-camera; Audrey Hepburn, his once co-star in Sabrina, was now a superstar. And Audrey chose not to be his Vicki Lester. The stars apparently had an affair during Sabrina. But his bad marriage, drinking, and vasectomy put an end to any thoughts of Audrey marrying Bill. While she remained most fond of Holden, Hepburn was now married to Mel Ferrer and starting a family. This disappointed Holden and furthered his drinking despair. Still, the two got on well during the shoot, despite Bill’s angst and antics. Holden and Hepburn displayed a warm chemistry on film, if not sizzling.

I love this shot of Bill & Audrey, on location for "Paris When it Sizzles."

As Richard, the screenwriter who drinks more than he writes, Holden has most of the dialogue, with the showbiz veteran sharing his font of knowledge to Hepburn’s newbie secretary. The writer with the gift of gab also narrates the film. This seemed to be a Holden hat trick, especially with his Hollywood-set films: Sunset Blvd., Paris When It Sizzles, and Fedora. That’s just fine, because Bill had a warm, distinctive speaking voice.

Audrey Hepburn is a secretary sent to Bill Holden's screenwriter to get the script done!

Yes, William Holden looks prematurely aged in Paris When It Sizzles. But his weathered looks had been noticed for a decade, as when Bill’s hair was dyed blonde in Sabrina as the carefree playboy. It was again noted a year later, when Holden played 20-something Hal in Picnic, at age 37. Even on Sunset Blvd., when clean-living Gloria Swanson refused to wear old-age make up at 50, they gave Bill a college boy haircut and plenty of pancake makeup.

Bill Holden in "Sunset Blvd.," a dozen years before filming "Paris When it Sizzles."

Now William Holden was 44, and people were really startled by his fading good looks. This was a bit of karmic irony, since back on Sabrina, the main criticism was that Humphrey Bogart was too old to play Bill’s brother and Audrey’s suitor—and rightfully so. Perhaps Holden should have played the older brother and a younger star should have played the young playboy, like Tab Hunter or Robert Wagner. Or John Kerr, who looked like Holden.

Just four years after "Sunset Blvd.," Bill at 36, with Audrey Hepburn in "Sabrina."

Despite Bill’s face, he’s in fine form. Holden is semi-shirtless for the first segment of the film and he doesn’t have an ounce of fat on him. At one point, Audrey’s character even finds him doing a headstand! Bill’s quite graceful in his extended comic moments, literally laying out the empty script pages as he moves about the apartment, spouting non-stop dialogue all the while. And he’s relaxed and loose in the dance scene that spoofs Funny Face.

William Holden's drinking was taking it's toll on his face, but his body was still fit.

While the movie genres spoofed are more silly than smart, Holden and Hepburn are most game. What really provides most of the genuine laughs are the asides that the duo delivers on the sex comedy genre and movie industry. The plot revolves around a weekend where the screenwriter must finish a long delayed project, “The Girl Who Stole the Eiffel Tower.” The producer has sent a charming typist with a background in film to help him finish. Holden and Hepburn’s characters strike me as equals: Holden isn’t a wolf looking to seduce a helpless woman; Hepburn isn’t a desperate female looking for a hapless male.

A nifty scene when Bill Holden's erratic screenwriter decides not to quit writing.

None of the nonstop banter and flirting is the heavy-handed double entendres that were typical of the era. It’s true that Paris When It Sizzles doesn’t have the snap of Billy Wilder’s best films. Yet, the type of ironic banter reminds me of later TV shows like Friends or Seinfeld. Apparently ‘60s audiences or critics didn’t appreciate subtlety in their sex comedies.

The scenes where Bill and Audrey’s characters are holed up in his lavish apartment, feverishly working on his script, are the most charming. I especially love where the script’s sophisticated lead characters order a sumptuous lunch which dissolves to the scriptwriter and secretary ravenously ordering lavish room service. And when Bill puts on those glasses like he did in Born Yesterday, they are framed by his warm blue eyes and wry smile.

Occasional scenes like this show Holden's premature aging in "Paris When it Sizzles."

The only cringe-worthy moments are during a horror movie spoof , where Holden is supposed to be Dracula and the Wolf Man, with colored lights shining up his face to make him look scary—but just makes 40-something Bill look 60!

Audrey has some good lines, too. Unlike most of the ‘60s sex comedies, Hepburn is no unwilling participant, defending her honor. At one point, Gabrielle says, “I’m not that kind of girl.” Then she looks toward the camera and says, “I hate girls that say things like that!”

Audrey Hepburn lets her hair down as a "seductive spy" in "Paris When it Sizzles." 

Hepburn uses her lanky physicality well, when getting chased by Bill in his various movie spoof guises. Audrey’s charmingly flirtatious in her understated way and of course looks like a million in her Givenchy wardrobe. In several scenes, Hepburn’s lovely frocks and Holden’s classy casual wear would make Mad Men’s Don and Betty Draper green with envy.

Holden & Hepburn make a stylish couple as they work on his film script!

George Axelrod’s script doesn’t feel dated like some of his previous work, since the leading lady’s not the butt of his jokes, as in The Seven Year Itch. He also wrote the script for Breakfast at Tiffany’s and must have had a crush on Audrey. Because while Holden gets much of the dialogue, Hepburn gets so much homage from her previous films it’s like Audrey’s greatest hits. Roman Holiday, Sabrina, Funny Face, Breakfast at Tiffany’s, and My Fair Lady all get a nod here.

Tony Curtis is a riot as a vain, clueless actor in "Paris When it Sizzles." 

There are a few star cameos: Noel Coward is his usual latter day precious self as the crass producer; Marlene Dietrich looks divine for the hot minute she’s on screen; Tony Curtis, not a favorite, is hysterical as the ham actor. Curtis is at the absolute peak of his great looks here—and knows it! First, he’s the actor pretending to be a method actor, through Holden’s eyes. Tony is utterly daft in his delivery, but also quite funny in his mannerisms and catchphrases of the hip serious actor. Later, Curtis shows up again, this time as a different version of the character, playing a preening movie star who was impersonating a method actor. Curtis’ clueless actor is just as funny and Tony steals the show. Lucky, Bill was delivering his performance or Curtis might have replaced Holden!

When I was a wee child of the '60s, I used to get
Audrey Hepburn and Jackie Kennedy mixed up!

Two great stars in lovely Paris, lovely clothes and sets, tossing some clever lines—a classic it ain’t—but Paris When It Sizzles is pretty breezy fun.

William Holden & Audrey Hepburn in a close-up clinch for "Paris When it Sizzles."

Bonus!Here's my look at Bill Holden's breakout year! 

https://ricksrealreel.blogspot.com/2022/04/william-holdens-golden-year-1950.html

Director Richard Quine, Bill Holden, & Audrey Hepburn in "Paris When it Sizzles."

 

William Holden’s Golden Year: 1950

 

William Holden was ambivalent about stardom despite his natural acting ability.

William Holden was a much respected actor in his time. And 40 years after his passing, Holden’s performances look even better today.

Check out this three day Blogathon dedicated to William Holden! 
https://loveletterstooldhollywood.blogspot.com/ 
https://thewonderfulworldofcinema.wordpress.com/
https://theflapperdamefilm.wordpress.com/

Most aptly, Bill’s acting idols were Frederic March and Spencer Tracy, for their command of the craft and their natural style. How ironic that Bill idolized Tracy, who also went through bouts of depression and drinking, and a troubled marriage, too. And like Tracy, Holden didn’t live a long life, either. Holden’s style recalls a more animated Henry Fonda. William Holden wasn’t the standard stoic like Gary Cooper and Gregory Peck, but he had their same strength. Holden was handsome and knew it, but was not a showboat; Bill was restrained, but not wooden. Bill Holden was empathetic and real; there was no macho posturing or jaw-jutting over-emoting like Burt, Kirk, and Charlton.

While William Holden was confident about his masculine good looks, there was
no macho swagger, like Burt Lancaster, Kirk Douglas, and Charlton Heston.

Holden was one of countless actors who had a love/hate attitude about life as a film star. Holden also suffered from the "imposter" syndrome over stardom. Bill was smart enough not to believe his own publicity, but he went too far the other way, and beat himself up about his status as a man versus the image. 

When Holden started in Hollywood, he was natural, relaxed, and self-assured on-camera. Post-WWII, Bill was willing to dig deeper and tap into his self-doubts for his roles. Off-screen he was plagued by insecurity and depression; sadly, alcohol wreaked havoc with his gifts.

William Holden in 1950.

William Holden became a top star in 1950, and it seemed like a long time coming. After his big debut in 1939’s Golden Boy, Holden did a few more decent films, Our Town and I Wanted Wings, but he was cast in a lot of genre films before he went off to war in 1943. After WWII, like many returning actors, Bill had to regain his footing in Hollywood. The big stars, such as Gable, Stewart, and Fonda, had the advantage, of course. But even they had to choose carefully, aware that audience tastes were changing and they weren’t young bucks anymore. Pre-war up and comers like Holden and his pal Glenn Ford were basically back to square one. Ford got lucky when Bette Davis chose him as her co-star in A Stolen Life, her biggest commercial success. Then home studio Columbia chose Glenn as co-star with top star Rita Hayworth in Gilda. Even so, Ford got stuck with just as much fluff as Holden, and became a top star about the same time as Bill.

William Holden's restlessness in the '40s as a second-string leading man
is aptly captured as a frustrated screenwriter in "Sunset Blvd."

William Holden was merely back to doing westerns and playing Mr. Nice Guy. He later said, back at Paramount, the studio guard didn’t even recognize him upon his return. But I think Bill’s post-war slump has been overstated a bit because it makes such a great Hollywood story: William Holden’s decade-long climb to the top! Well, there was nothing wrong with Bill’s acting, for starters. He worked hard to get better, even if the pictures the studios foisted on him didn’t. Then Holden got sidelined by the service. While Bill still got cast in romantic comedies and westerns, more than a few were hits, and Holden was also got increasingly better notices: Dear Ruth, Rachel and the Stranger, and Apartment for Peggy. What’s interesting is that post-war “new” stars like Burt Lancaster and Kirk Douglas were actually older than Bill—in Burt’s case, five years older.

After his fill of “Smiling Jim” roles, Holden was just past 30 when he was cast in Sunset Blvd. and Born Yesterday back to back, with Paramount and Columbia studios, respectively. Bill had a dual contract with them from the start.

Was Norma Desmond was expecting Holden's Joe Gillis to sing "Puttin' on the Ritz!"

William Holden’s one-two punch in 1950 was partly luck. Montgomery Clift was originally cast as Joe Gillis in Sunset Blvd., but dropped out at the last minute when he realized that it was too close to his own relationship with one-time singer Libby Holman. With Sunset Blvd. and Born Yesterday, Holden had the opportunity to show both sides of his persona. As Joe Gillis in Sunset Blvd., Bill got to show the grittier side of himself. In Born Yesterday, Holden got to display his sense of humor and his flair for light comedy. And while many critics and fans were wowed by Holden’s leading ladies in their signature parts, Bill’s contributions didn’t go unnoticed. Today, William Holden’s natural and modern performances still hold up beautifully.

William Holden's cocks his head as he plunges headfirst into Norma Desmond's life!

Sunset Blvd. is considered one of director Billy Wilder’s very best and is still much shown and quoted today. While Born Yesterday was a greater commercial hit in its day, I think Sunset is a much more fresh film and relevant film today. The Andrew Lloyd Webber musical has helped keep the original Wilder film in the public’s mind, too. Born Yesterday now feels like an overdressed Broadway play, which I’m sure audiences loved, back then.

How adorable did William Holden look with glasses in "Born Yesterday?"

What’s interesting is that Holden holds his own opposite both Gloria Swanson and Judy Holliday in their great star turns. Bill offers subtle, empathetic support to both stars. Joe’s mixed feelings toward Norma in Sunset Blvd. are wonderfully signaled; Holden’s attraction and charm toward Holliday in Born Yesterday is subtle and believable. And how handsome is Holden in his tux in Sunset Blvd. or his glasses in Born Yesterday? I’d say that Holden’s Paul Verrall and the locations in Washington DC are the two most authentic things about Born Yesterday. Otherwise, it’s a theatrical shout fest between Broderick Crawford and Judy Holliday.

William Holden's reporter observing Broderick Crawford & Judy Holliday in "Born Yesterday?"

As Joe Gillis, Holden used his own desperation and self-loathing to show what drove the screenwriter, other than that broken down car that lands him at 10086 Sunset Blvd. Holden’s casting was a bit like Elizabeth Taylor, when she was an unlikely star as Martha in Virginia Woolf ,and who looked into her own dark side. Bill was willing to play the role of Joe Gillis with no rationalizing, but his innate decency and empathy made it palatable to audiences.

William Holden wasn't afraid to reflect on his or Hollywood's dark side in "Sunset Blvd."

William Holden’s natural gifts should have shot him straight to the top. And Bill seemed to catch on to the art of film acting early and was known a hard working pro. The vagaries of show business are strange, in that some great talents struggle while others who are less gifted rise to the top with ease. Often heard is it’s a matter of luck. Real life, like the war and supporting a family, also came into play for Holden’s career. Yet at last, William Holden’s potential was realized in 1950, and he was later dubbed “Golden Holden” for some of his most memorable roles in the post-war era.

Here’s my other look at Holden, when Bill was cast as Hal in Picnic:

https://ricksrealreel.blogspot.com/2021/08/picnic-1955.html

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Call him "Smiling Jim" if you want,
but William Holden's wry twinkle had its charms!

 

‘Picnic’ 1955

William Holden & Kim Novak as the drifter & the beauty queen in 1955's "Picnic."

 

Picnic portrays the lives of quiet—or raucous, in the case of Roz Russell—desperation. Set in a small Kansas town during the 1950s, the story revolves around the effect that a charismatic young drifter has on the repressed townspeople one sizzling Labor Day.

Picnic is the Pulitzer Prize winning play by William Inge, at the height of his acclaim. The domestic drama was a huge Broadway hit that was brought to the screen by its stage director, Joshua Logan. Noteworthy about the stage version were some up-and-coming actors: Ralph Meeker as drifter Hal Carter; Paul Newman in his Broadway debut as rich kid Alan; Janice Rule as beauty queen Madge; and Kim Stanley at age 28, as kid sister Millie! Eileen Heckart portrayed Rosemary, the spinster teacher who spins out of control on Labor Day evening.

William Holden's "boyishness" act as Hal is as awkward as Kim Novak's acting. 

I’m sure Columbia Studios paid William Inge a pretty penny to bring his play to the big screen. Columbia head honcho Harry Cohn was giving Kim Novak a huge build up and decided this property would be perfect to launch her as a leading lady. Therefore, a “name” leading man was needed. Instead of going off the studio lot for a suitable male star to play the sexy young college dropout/drifter—say Brando?—Cohn chose studio homeboy William Holden to play Hal. And Harry didn’t have to pay a pretty penny for Bill, because it was the last film on Holden’s old studio contract. It’s a shame Marlon Brando did Guys and Dolls instead of Picnic. Brando was six years younger than Holden, far more boyishly charismatic.

William Holden was a fine actor, but too careworn & not carefree as Hal in "Picnic.

While Holden was an especially subtle male actor for the era, he was a decade too old for the part. What made this especially noticeable was that while Bill’s bod was still in fine form, Holden’s face was already showing signs of alcoholic dissipation at just 37. When Holden acts like an over-aged teenager, it’s especially awkward as he tries to impress Madge, played by 22-year-old Novak.

William Holden's form was fine, but his close-ups showed hard living in "Picnic."

Still, Bill had charisma, authority, and “rugged” sex appeal, so Holden as the young stud wasn’t a total dud. Hal Carter reminds me of Tennessee William’s later character, Chance Wayne, in Sweet Bird of Youth. They’re golden boys who come to a small town and stir things up, and both want to make off with the lovely ingénue. Both are Peter Pans, star athletes with aspirations of movie stardom, but neither have never amounted to anything. Ironically, Paul Newman was the same age as Holden in Picnic when he played Chance in ’62. While Newman liked his beers, it didn’t show, like the effects of whatever Holden hoisted.

Rosalind Russell lets rip on William Holden's shirt, as passions get heated in "Picnic."

An amused eye roll comes when Columbia cut the line from Picnic’s climactic dance scene: “I feel just like Rita Hayworth!” I guess they were more concerned with shining a spotlight on Columbia’s new love goddess, Kim Novak!

Cliff Robertson as the rich beau that Kim Novak's Madge "should" want, in "Picnic."

Kim as Madge is a contradiction, as often is the case with Novak’s acting. Kim’s shyness and uncertainty works for the character, and she was often cast thusly. I’m sure playing a girl who is valued mainly for her looks hit home for insecure Kim, who was treated like an object by Harry Cohn. Yet, Novak’s studio-trained mannerisms and dazed demeanor reminds me of another actress who often felt uncomfortable in front of the camera, Jennifer Jones, thrust into the spotlight by her Svengali, David O. Selznick. Kim’s Madge is an uneven performance, yet her vulnerability goes a long way, and she and Holden have a strong chemistry. Kudos to whoever decided that Novak temporarily drop her “lavender blonde” look. With her simple makeup and a long reddish brown wig, Kim looks pretty yet realistic as the local beauty queen.

Columbia Studios' blonde bombshell Kim Novak was toned down
for the small town drama "Picnic."

Rosalind Russell as Rosemary, the middle-aged teacher who boards at the Owens’ home, is another mixed blessing from the leads. Eileen Heckart was said to be a wow in the role on Broadway, though she was known to play big, too. While Roz bravely goes glamour-free and plays her age, unlike most of her contemporaries, Russell plays to the rafters far too often. It’s a tricky role, because Rosemary is an over the top character, which can be problematic when played by an actress who is often the same. As often the case with a “big” performance, Roz fares best in the smaller moments, when her Rosemary shares the fear of growing old alone. Russell is obviously a skilled actress and a smart one, but like the other lead actors in this film, she would have benefited from a more experienced film director, and not a theater director whose film work showed a heavy hand.

Rosalind Russell emotes as Rosemary, the desperate school teacher in "Picnic."

Arthur O’Connell is appealing and effortlessly believable as Howard, the store owner across the river, who sees Rosemary, but from a safe distance. Betty Field doesn’t play brassy for a change, as Madge and Millie’s mother. Field’s Flo has been deserted by her husband to raise the two girls the best she can. Betty is totally natural as a woman whose dreams are now for her daughters. Only in a ‘50s movie would Susan Strasberg be cast as the “plain” sister. Susan’s naturalistic as the brainy kid sister (with eyeglasses!). Strasberg’s as emotional as Novak is remote as the pretty sister, Millie’s outburst—“Madge is the pretty one!”—was the “Marcia, Marcia, Marcia” of the ‘50s!

Lovely Susan Strasberg is Millie, Kim Novak's "bookworm" kid sister in "Picnic."

Cliff Robertson does what he can with the role Alan, the rich, weak kid.

In the smaller supporting roles, Nick Adams is cockily amusing as Bomber, the brash neighborhood teen; Verna Felton is most endearing as the neighbor lady who’s the first to befriend Hal; and Reta Shaw is salty as a fellow teacher. The entire supporting cast is strong, but it’s the three leads that are a mixed bag.

The superb supporting cast of "Picnic" bring reality to this slice of life drama.

Others have noted that Inge, just as popular as Tennessee Williams in the ‘50s, with a string of hits, isn’t as well remembered. Well, Williams went through a period where he was considered passé, too. I’ve read that it’s perhaps that Inge’s dialogue wasn’t as poetic and quotable. Still, William Inge did write plays about real people and their problems, often small town people. Come Back, Little Sheba, Bus Stop, Picnic, The Dark at the Top of the Stairs were huge hits. On film, he wrote screenplays for Splendor in the Grass and All Fall Down. Not too shabby!

Playwright William Inge & Director Joshua Logan surely loved this opening title!

Director Joshua Logan had an incredible string of musical, comedy, and dramatic successes on Broadway. That’s probably why Logan was asked to recreate some of those stage hits on film, as well as other blockbuster productions. That said, most films I’ve seen directed by Joshua Logan all seem a bit off-kilter: Picnic, Sayonara, South Pacific, Camelot, and Paint Your Wagon. The man had mad stage credentials, but I don’t think Logan was in film making on a regular basis to learn its intricacies. In Picnic, that’s apparent with the uneven lead performances and the very intrusive music score.

Madge gets out of Dodge at the finale of 1955's "Picnic."

Picnic is one of those movies which are frequently labeled dated. Indeed a product of its time, the drama is a snapshot of the repressed ‘50s. However, how much has really changed in small towns since then? We are obviously less repressed and are able to communicate through the internet and social media. Still, how many people feel stuck and stifled in small towns, with dreams that don’t come true? As someone who lives in rural Upper MI, I see it all the time. In that sense, Picnic is timeless.

My look at Kim Novak, teamed with Sinatra, in The Man with the Golden Arm: https://ricksrealreel.blogspot.com/2018/07/the-man-with-golden-arm-1955.html

And here’s my take on Rosalind Russell, in her signature role as Auntie Mame: https://ricksrealreel.blogspot.com/2020/12/rozs-signature-role-auntie-mame-1958.html

FYI: I put all the movie overflow on my public FB  movie page. 

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The poster of "Picnic" promises more than it delivers--typical of the era!