7/17/23
Newsletter #399
The Crack of Dawn
I’ve loved From Here to Eternity (1953, Best Picture) since I was a young kid. To me it’s a perfect Hollywood movie: it stars the amazing Montgomery Clift at his otherworldly best; co-stars my favorite actor, Burt Lancaster, at his youngest best; was shot on location (which was a big deal in 1953); is loaded with great supporting parts and actors – Frank Sinatra, Donna Reed (both won Oscars), Deborah Kerr (who is a brilliant, though unexpected, choice), and Ernest Borgnine at his pre-Marty meanest, and it has an astounding script by Daniel Taradash, who deservedly won the Oscar for Best Adapted Screenplay.
I didn’t realize just how great Mr. Taradash’s screenplay was until I was 18-19 years old and read the book. [I own two 1st editions of the book: one is red, has thick pages, looks like it’s a thousand pages long, but is really 790; the other is green, half the size, has thin pages and is 860 pages. I also have an old paperback edition, which is the one I read.] James Jones’ book is terrific, and here is why I read it.
In the movie Hud (1963), Brandon de Wilde is looking at paperback books on the rack in the drugstore. He looks at that same paperback edition of From Here to Eternity that I have, and says, “I guess this is about the best book you ever had here” (or something like that), which was enough of a recommendation for me.
The book is pretty damn long – about 800 pages, more or less. The movie is 118 minutes, and it doesn’t have a frame of fat on it. How Daniel Taradash accomplished that astounding feat of condensation, without losing the feel of the book, but also not feeling rushed, is a miracle.
Also, the film was directed by the great director, Fred Zinneman, who won the Oscar for Best Director for From Here to Eternity. Mr. Zinneman (who won another Oscar for Best Director 13 years later for A Man for All Seasons [1966, Best Picture]), directed two films in 1953, the other being one of my all-time favorites, A Member of the Wedding. 1953 was a good year for Fred Zinneman.
This version of the script is listed on the cover page as, “(Second Draft - 8/29/1952).”
[I don’t know why this background comes and goes.]
EXT. COMPANY STREET - DAY
MEDIUM SHOT WARDEN AND PREW
as they come out of the Orderly Room. Prew hoists his
barracks bags to his shoulders, balancing them delicately.
CAMERA TRUCKS with him and Warden as they walk down the
porch.
WARDEN
(one of his unexpected
INTENSE BURSTS)
Know what you did just now?
When you turned down Dynamite
Holmes' boxing squad? You put your
head in a noose. Things are soft
for a boxer in his Compny.
Otherwise, you better know how to
soljer.
PREW
I can soljer with any man.
WARDEN
This ain't the Bugle Corps -- this
is straight duty.
PREW
I'll take my chances.
A convertible, top down, drives by and pulls up outside the
Orderly Room. KAREN HOLMES, a tall, lean blonde woman, gets
out. Her skirt hikes up a little as she goes up the
stairs to the Orderly Room. Warden and Prew stop walking and
watch her. Karen stops, glances at Warden momentarily, then
goes into the Orderly Room.
[Prew leaves. Sgt. Warden talks to Supply Sgt. Leva.]
LONG SHOT KAREN HOLMES FROM WARDEN AND LEVA'S ANGLE
as she walks along porch toward them. She is at a
considerable distance. Karen is about thirty. She wears
sweater and skirt. She is aware the men are studying her.
MEDIUM CLOSE SHOT WARDEN AND LEVA
watching Karen. Leva leans over the counter.
LEVA
Her and them sweaters.
LONG SHOT KAREN FROM WARDEN AND LEVA'S POV
as she continues toward them. As much as a man can make out,
she is probably not wearing a brassiere. Warden's and Lava's
voices, loud at first, get softer and softer the nearer
Karen gets to camera. At end of the shot, as she is only a
Few yards away, they are practically whispering.
WARDEN'S VOICE
Army women... They're cold,
they got no more warmth than a
diamond. There's no pleasure in
them...
LEVA'S VOICE
Yeah, but this one knows the
score... Like I been tellin you.
WARDEN'S VOICE
(SARCASTIC)
Is that right?
LEVA'S VOICE
Okay, not around here. But I was
back at Fort Bliss with Holmes.
When they was married only a year
or two. I heard plenty about the
lady then. Plenty.
WARDEN'S VOICE
You heard.
LEVA'S VOICE
Okay, never me. But a lot of them.
I know some of the Use she played
'around with, don't tell me.
WARDEN'S VOICE
I ain't tellin you. You're tellin
me.
Karen stops, a few paces from camera.
KAREN
Good morning, Sergeant.
MEDIUM SHOT
Lava watches, listens avidly but discreetly in b.g. During
the dialogue, Karen seems irritated by Warden, who looks at
her coolly, appraisingly, physically.
KAREN
I'm looking for my husband.
WARDEN
Captain Holmes just went in town,
ma'am.
KAREN
Oh. Of course, He was to have left
some things for me.
(STUMBLES SLIGHTLY)
That he was to have purchased. Do
you know anything about them?
WARDEN
No, ma'am, I don't. Is there
anythin I can do for you?
KAREN
No, thanks, Sergeant.
She makes slight move to go, pauses.
KAREN
He's been telling me quite a bit
about you lately. My husband. He
says you're very efficient.
WARDEN
Yes, ma'am.
KAREN
What is it that makes you so
efficient, Sergeant?
WARDEN
I couldn't help it if I was born
smart, ma'am.
Karen laughs suddenly, loudly.
KAREN
I love that. Well, good-bye,
Sergeant.
Karen turns and walks back up the porch toward her car.
Warden and Leva watch her. When she is out of earshot Leva
speaks.
LEVA
But man, she sure is one, ain't
she?
WARDEN
One what?
LEVA
One woman.
WARDEN
(UNCONVINCINGLY)
I've seen better.
There are almost too many good scenes and great lines in this movie. I chose the first one that came to mind.
Taradash has an odd screenplay style.
I just raised my shade, and it is still full night.
But I know that the dawn will soon crack.
As sure as shit sticks to a blanket.