Word: kanin
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Dates: during 1950-1959
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Rashomon (by Fay and Michael Kanin) is essentially a stage remake of the eight-year-old Japanese film classic, and some of the charm and power of the film has spilled away in transit. Culled originally from two short stories by Japan's late mordant satirist, Akutagawa, Rashomon poses a philosophic question that means all things to all men: What is truth...
Rashomon, a stage version (by Fay and Michael Kanin) of the widely admired Japanese movie, is a whodunit about the death of a nobleman in a medieval forest. There are four different versions of the crime, but the solution is left to the audience. Rashomon (opening on Broadway Jan. 27) beguiled Philadelphia with its fine acting by Claire Bloom, Rod Steiger, Noel Willman, Akim Tamiroff, Oscar Homolka. The fable may be inscrutable, but, said Variety, "for some playgoers it is exciting entertainment...
...title bearing such intimations of immorality that the studio had to fight the censors to retain it. The movie was a spoof of bastardy. But with Ginger Rogers and David Niven starred in it and with Hollywood's boy wonder of the day, 26-year-old Garson Kanin, directing, the spoof was wholesome, human and hilarious. Bundle of Joy is wholesome. It is an energetic attempt to prove that what was done so deftly in the '30s, Hollywood's golden age of light comedy, can be done just as well in the '50s. Producer Edmund Grainger...
After nearly four years on Broadway and a successful movie run, Garson Kanin's ragtag yarn was an eventual certainty for TV. It also marked Kanin's first crack at TV directing. He was surprised at the prissiness of TV censors: four of the several references to Billie as a "broad" had to go. Anything that might be construed as a reference to mental illness was also cut: "crazy broad" became "dizzy broad." "Off her nut" became "blow her stack." Suggestions of physical impairment were primly deleted, viz., Billie, trying on her glasses, to Harry: "What...
...time enjoyed the satirical thrusts and hair-pulling matches. In this version, however, Producer Joe Pasternak has sugared everything up with pretty Metrocolor, with June Allyson, who plays the spirited heroine as a teary little dearie, and with a batch of sentimental tunes. Worse still, the Fay and Michael Kanin script carelessly tosses away one of the play's best ideas. There are men in the picture. In the play, men never appeared; it was as if the world were one vast, closed powder room. And though the scriptwriters have kept the play's plain plot (gossip wrecks...