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The Bad and the Beautiful

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Title: The Bad and the Beautiful  
Author: World Heritage Encyclopedia
Language: English
Subject: Vincente Minnelli, Kirk Douglas, Robert Surtees (cinematographer), Paul Stewart (actor), Lana Turner
Collection: 1950S Drama Films, 1952 Films, American Drama Films, American Films, Black-and-White Films, English-Language Films, Films About Actors, Films About Film Directors and Producers, Films Directed by Vincente Minnelli, Films Featuring a Best Supporting Actress Academy Award Winning Performance, Films Set in Studio Lots, Films That Won the Best Costume Design Academy Award, Films Whose Art Director Won the Best Art Direction Academy Award, Films Whose Cinematographer Won the Best Cinematography Academy Award, Films Whose Writer Won the Best Adapted Screenplay Academy Award, Metro-Goldwyn-Mayer Films, United States National Film Registry Films
Publisher: World Heritage Encyclopedia

The Bad and the Beautiful

The Bad and the Beautiful
Promotional poster for the film
Directed by Vincente Minnelli
Produced by John Houseman
Screenplay by Charles Schnee
Based on "Tribute to a Badman" by George Bradshaw
Starring Lana Turner
Kirk Douglas
Walter Pidgeon
Dick Powell
Barry Sullivan
Gloria Grahame
Music by David Raksin
Cinematography Robert L. Surtees
Edited by Conrad A. Nervig
Distributed by Metro-Goldwyn-Mayer (1952, original) Warner Bros. (2002, DVD)
Release dates
  • December 1952 (1952-12)
Running time
118 minutes
Country United States
Language English
Budget US$1,558,000[1]
Box office $3,373,000[1]

The Bad and the Beautiful is a 1952 Charles Schnee.

The Bad and the Beautiful resulted in five Academy Awards out of six nominations in 1952, a record for the most awards for a movie that was not nominated for Best Picture nor for Best Director.

In 2002, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry. The song, "The Bad and the Beautiful", penned by David Raksin, has since become a jazz standard.


  • Plot 1
  • Cast 2
  • Relation to real-life personalities 3
  • Reception 4
  • Academy Awards 5
  • Song 6
  • DVD 7
  • References 8
  • External links 9


In Lana Turner), and director Fred Amiel (Barry Sullivan) each refuse to speak by phone to Jonathan Shields (Kirk Douglas) in Paris. Movie producer Harry Pebbel (Walter Pidgeon) gathers them in his office and explains that Shields was calling them because he has a new film idea and he wants the three of them for the project. Shields cannot get financing on his own, but with their names attached, there would be no problem. Pebbel asks the three to allow him to get Shields on the phone before they give their final answer.

As they await Shields' call, Pebbel assures the three that he understands why they refused to speak to Shields. The backstory of their involvement with Shields then unfolds in a series of flashbacks. Shields is the son of a notorious former studio head who had been dumped by the industry. The elder Shields was so unpopular that his son had to hire "extras" to attend his funeral. Despite the industry's ill feelings toward him because of his father, the younger Shields is determined to make it in Hollywood by any means necessary.

Shields partners with aspiring director Amiel, whom he meets at his father's funeral. Shields intentionally loses money he does not have in a poker game to film executive Pebbel, so he can talk Pebbel into letting him work off the debt as a line producer. Shields and Amiel learn their respective trades making B movies for Pebbel. When one of their films becomes a hit, Amiel decides they are ready to take on a more significant project he has been nursing along, and Shields pitches it to the studio. Shields gets a $1 million budget to produce the film, but betrays Amiel by allowing someone with an established reputation to be chosen as director. The film's success allows Shields to start his own studio, and Pebbel comes to work for him there. Amiel, once independent of Shields, goes on to become an Oscar-winning director in his own right.

Shields next encounters alcoholic small-time actress Lorrison, the daughter of a famous actor Shields admired. He builds up her confidence and gives her the leading role in one of his movies over everyone else's objections. When she falls in love with him, he lets her think that he feels the same way so that she does not self-destruct and he gets the performance he needs. After a smash premiere makes her a star overnight, she finds him with a beautiful bit player named Lila (Elaine Stewart). He drives Lorrison away, telling her that he will never allow anyone to have that much control over him. Crushed over being jilted by Shields, Lorrison walks out on her contract with his studio. Rather than take her to court, Shields releases his rights to her, freeing her to go to another studio, which makes a fortune from her as she becomes a top Hollywood star.

Finally, Bartlow is a contented professor at a small college who has written a bestselling book for which Shields has purchased the film adaptation rights. Shields wants Bartlow himself to write the film's script. Bartlow is not interested, but his shallow Southern belle wife, Rosemary (Gloria Grahame) is, so he agrees to do it for her sake. They go to Hollywood, where Shields is annoyed to find that her constant distractions are keeping her husband from his work. He gets his suave actor friend Victor "Gaucho" Ribera (Gilbert Roland) to keep her occupied. Freed from interruption, Bartlow is able to make excellent progress on the script. Rosemary, however, runs off with Gaucho and they are killed in a plane crash. When the script is completed, Shields has the distraught Bartlow remain in Hollywood to help with the production as Shields takes over directing duties himself. A first-time director, Shields botches the job, which leads to his bankruptcy. Then Shields lets slip a casual remark that reveals his complicity in Rosemary's affair with Gaucho, so Bartlow walks out on him. Now able to view his late wife more objectively, Bartlow goes on to write a novel based upon her (something Shields had previously encouraged him to do) and wins a Pulitzer Prize for it.

After each flashback, Pebbel sarcastically agrees that Shields "ruined" their lives, making his true point that each of the three, despite feeling betrayed, is now at the top the movie business, thanks largely to Shields. At last, Shields' telephone call comes through and Pebbel asks the three if they will work with Shields just one more time; all three reject the plea. As they leave the room, Pebbel is still talking to Shields. Out of Pebbel's sight, the three eavesdrop using an extension phone while Shields describes his new idea, and they become more and more interested.


Relation to real-life personalities

There has been much debate as to which real-life Hollywood legends are represented by the film's characters. Jonathan Shields is thought to be a blending of John Barrymore (Diana Barrymore's career was in fact launched the same year as her father's death), but it can also be argued that Lorrison includes elements of Minnelli's ex-wife Judy Garland.[4]

Gilbert Roland's Gaucho may almost be seen as self-parody, as he had recently starred in a series of Cisco Kid pictures, though the character's name, Ribera, would seem to give a nod also to famed Hollywood seducer Porfirio Rubirosa. The director Henry Whitfield (Leo G. Carroll) is a "difficult" director modeled on Alfred Hitchcock, and his assistant Miss March (Kathleen Freeman) is modeled on Hitchcock's wife Alma Reville. The James Lee Bartlow character may have been inspired by Paul Eliot Green, the University of North Carolina academic-turned-screenwriter of The Cabin in the Cotton.


The film earned $2,367,000 in the US and Canada and $1,006,000 elsewhere, resulting in a profit of $484,000.[1]

Academy Awards



"The Bad and the Beautiful" is a 1952 song written by David Raksin for the film .[6] It has since become a jazz standard.


The Bad and the Beautiful was released to DVD by Warner Home Video on February 5th, 2002 as a Region 1 fullscreen DVD.


  1. ^ a b c The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study .
  2. ^ Tim Dirks. "The Bad And The Beautiful (1952)". 
  3. ^  
  4. ^  
  5. ^ " -- The Bad and the Beautiful". Academy of Motion Picture Arts and Sciences. Retrieved January 7, 2014.
  6. ^ "The Bad and the Beautiful". Retrieved 13 December 2012. 

External links

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