CAREER (1959)

 

Films about show business, especially focusing on the complicated lives of actors and actresses, are some of the most enjoyable films ever made, especially for those of us who are obsessed with the myths of Old Hollywood. Quite a few classics are included in this particular sub-genre. Hal Wallis' 1959 production CAREER may well be considered at least a minor classic. The film was inspired by the off-Broadway play of the same title, produced in 1957. 

Anthony Franciosa, in an intense, energetic performance, stars as Sam Lawson, a WW2 veteran from Lansing, Michigan, whose dream is to try his luck as an actor in New York. He leaves behind his fiancé, Barbara (Joan Blackman), promising to send for her when he finds success. Barbara later shows up in New York unexpectedly and she and Sam get married. Sam struggles to find work, finally getting involved with a theater group called the Actor's Rostrum, which is run by Maury Novak (Dean Martin), another struggling actor and director. Maury is romantically involved with Sharon Kensington (Shirley MacLaine), the alcoholic, rebellious daughter of powerful Broadway producer Robert Kensington (Robert Middleton). Sam becomes the client of Shirley Drake (Carolyn Jones), a former struggling actress, who gave up the rat race to become a theatrical agent. Sam goes through many difficult years of personal and professional disappointments trying to achieve success as an actor.

This is one of the movies I remember seeing at the drive-in with my family back around 1959 or 1960 when I was eight or nine years old. My folks didn't seem to have any qualms about taking my sister and me to see movies with adult themes, for which I am eternally grateful. Given the era, and the prevailing standards of censorship, there was nothing graphic regarding language, etc. But the film made a lasting impression on me. There was a downbeat, cynical tone to the story, typical of the times, and CAREER was one of the first movies to deal with the Blacklisting of show business figures who were accused of subversive political connections.

Since Sam Lawson is included in practically every scene, the film's success depends heavily on Anthony Franciosa, and he doesn't disappoint. I will say, however, that the man is a little too physically robust and healthy looking to give the impression of being a starving actor who's trying to survive. But Franciosa makes his characterization work by the force of his talent and sincerity. Top billing goes to Dean Martin, who threatens to steal the picture from Franciosa with his fine work as the complicated, conflicted Maury Novak. Considering Martin's image as a light comedian and congenial television star, it's easy to forget how good he could be in serious film roles. Shirley MacLaine was one of the hottest actresses in films at the time, having received an Oscar nomination for SOME CAME RUNNING the previous year. MacLaine's quirky acting style and unconventional looks bring an edgy, desperate dimension to the character of Sharon. The film's second leading lady, the excellent Carolyn Jones, had a unique look and style that made her another one of the most fascinating actresses of the 1950's. Jones achieved a solid reputation as a character actress, and won an Oscar nomination for BACHELOR PARTY (1957). While watching the film again recently, I found myself wondering what Jones might have done with the role of Sharon Kensington. Not that MacLaine wasn't perfect for the role herself. But Jones could have burned right through the screen playing such a woman.

Joan Blackman is moving and convincing as Sam's wife, who tries hard to accept and understand her husband's ambitions. Also in the supporting cast we have Jerry Paris, known forever as Jerry Helper from The Dick Van Dyke show, as Sam's hometown friend. The elegant, beautiful actress playing his wife is none other than Donna Douglas, looking strikingly different than her Ellie Mae Clampitt persona that she would adopt a few years later for The Beverly Hillbillies. There are also two other familiar, very welcome faces: Frank McHugh, a prolific character actor from the Golden Age is seen as a waiter, and diminutive, gravel-voiced Marjorie Bennett is briefly seen as a Hollywood reporter.

The film's director, Joseph Anthony, was not only an accomplished actor, but also a thrice nominated director in the theater. He also directed the films THE RAINMAKER (1956), which he had directed on stage, and THE MATCHMAKER (1958). The striking Black & White cinematography was done by Joseph LaShelle, the Oscar winner for LAURA (1945).

CAREER won three Oscar nominations: Best Cinematography (LaShelle), Best Costume Design (Edith Head), and Best Art Direction. Anthony Franciosa won the Golden Globe for Best Actor.