Edward Dmytryk was a leading figure in the development of film noir, highly regarded by Humphrey Bogart and the sole director among The Hollywood Ten.
Edward Dmytryk directed acclaimed stars in unconventional roles, often bringing out their best performances.
Despite these achievements, Edward Dmytryk has never been recognized as one of the great directors in Hollywood’s history.
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Edward Dmytryk: A Reexamination of a Hollywood Director’s Legacy
Perhaps it’s because he moved away from creating gritty noir classics early in his career or due to his recantation and cooperation after being imprisoned as a member of The Hollywood Ten.
It could also be attributed to the lukewarm reception of some of the films featuring renowned actors upon their initial release, relegating them to obscurity.
Rarely do cable or Netflix feature films like Soldier of Fortune (1955) starring Clark Gable, The Left Hand of God (1955) featuring Bogart, the unlikely pairing of Sean Connery and Brigitte Bardot in Shalako (1968), or Bluebeard (1972) with Richard Burton.
Despite some of these titles being cringe-inducing, they still offer moments of entertainment.
Regardless of the reasons for Dmytryk’s lack of recognition, his body of work merits a fresh appraisal.
I had the privilege of interviewing him for my book, Lee Marvin: Point Blank, a few years before his passing in 1999.
We met with his wife, former actress Jean Porter, for lunch at the renowned Musso & Frank in Hollywood in September 1996. The details that didn’t make it into the book are below.
As readers will discover in part 1, the conversation wasn’t filled with the embittered musings of a disillusioned older man but rather the captivating recollections of a life well-lived.
Dwayne Epstein: Do you adapt your approach based on the actor you’re working with?
Edward Dmytryk: When I was a film editor in the 1930s, I worked alongside directors like George Cukor, each with their methods.
Once a film begins, the actors become my closest collaborators. I was fortunate to work with exceptional people and was free to make decisions, even if they upset the studio.
During a challenging time in Europe, I even offered to resign due to crew issues. Realizing they couldn’t easily replace me, the studio ultimately allowed me to work as I saw fit.
I had significant control over staging and pacing, which is crucial as actors often struggle with pacing, especially those from a theatrical background.
DE: Well, they can’t anticipate the film’s editing process.
ED: Yes, and I personally edited all my films. With actors like Tracy, I expect them to infuse scenes with unexpected nuances, offering a degree of freedom within certain boundaries.
While I allow for some improvisation, I maintain control over script changes. Unlike John Cassavetes, whose films I didn’t favor as they tended to meander, I guide actors on when and how to alter dialogue.
I often made substantial script modifications, sometimes up to 50%, to breathe life into the films.
Many modern scripts lack detailed direction, so I’ve had instances where I’ve demanded new sets and scenes to enhance the storytelling process.
DE: What stands out from your experience working with Lee Marvin on Eight Iron Men (1952)?
ED: Lee Marvin and Bonar Colleano had a night out while filming, causing them to arrive an hour late on set, which I found unacceptable. I reprimanded them, and they were genuinely remorseful. They never repeated the behavior. Although I knew Lee drank, he never did so while working. Lee was intriguing, and I appreciated working with such captivating actors.
DE: How was your relationship with Montgomery Clift during the making of Raintree County?
ED: I faced significant challenges working with him on Raintree County due to his struggles with drugs and alcohol following his accident.
He had difficulty working in the afternoons, which prolonged the filming to about 160 days. Despite this, when I was offered The Young Lions, I immediately thought of Clift for the role, and he agreed to it.
Surprisingly, in that film, he never missed a day of work. While he was friendly with the cast, he had personal battles with substance abuse and pain from his injuries.
DE: Did Clift get along well with the rest of the cast on Raintree County?
ED: Yes, he was well-liked by everyone. We filmed in New Orleans and Natchez, and I don’t recall him drinking with anyone.
He struggled with pain, especially as his jaw was wired up due to his accident. Despite his difficulties, he was admired by his peers.
DE: In the scenes where Lee Marvin and Montgomery Clift’s characters have a competitive dynamic, how did Marvin make Clift appear to win in the foot race?
ED: Lee Marvin knew that Monty had to win, and he ensured that it appeared so. He adjusted his stride to make it seem like Clift was ahead, even though he could have beaten him in an honest race.
Marvin’s own athletic background likely helped him in portraying the scene convincingly.
DE: Was Elizabeth Taylor protective of Montgomery Clift on the set of Raintree County?
ED: Yes, they were very close. She was a great friend to him, and they supported each other. He would assist her with her acting, going through the script during rehearsals and offering guidance. She received a nomination for her performance in that film.
DE: What activities filled the time between set-ups on a film set?
ED: We often played cards, particularly poker and sometimes Chinese poker. It was a way to pass the time during the downtime on set.
DE: Did rehearsals differ from what we see in the final film?
ED: Rehearsals are crucial in shaping the performances, and by the time filming begins, it’s about capturing those moments rather than creating them anew.
I’ve always believed in allowing spontaneity and not pushing the actors too hard during rehearsals. I often encouraged natural dialogue and made gradual adjustments to fit the characters.
Giving credit to the actors and allowing for flexibility enhances their performance. I advise against storyboarding as it can limit creativity, and I prefer to keep the possibility of changes open until filming begins.
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