The 50th Anniversary of The Graduate (1967)

This year marks the 50th anniversary of the cultural phenomenon that is The Graduate (1967). Prior to this month I had never watched the film in its entirety. Key scenes are so ingrained in our collective pop culture knowledge that there's no escaping them. And no one could spoil the movie for me because I knew the famous ending well. Why did it take me so long to watch The Graduate? I must have been holding out for just the right moment and that opportunity arose I attended this year's TCM Classic Film Festival.

Author Beverly Gray

On the first day of the festival and a couple days before the screening, I had the opportunity to speak to author Beverly Gray on the red carpet. She's been hard at work writing a new book all about The Graduate. Here's what she had to say:

On day three of the festival, Ben Mankiewicz interviewed screenwriter and actor Buck Henry on stage at the TCL Chinese Theatre. Buck had suffered a stroke and Mankiewicz was the kindest and most patient interviewer helping Buck when we was struggling with answers. Mankiewicz reassured Buck that he was in front of the most patient crowd in the world and it was true. But we didn't have to be too patient because Buck had many clever and witty responses to Mankiewicz's questions and had us all laughing with delight.

Mankiewicz and Buck Henry discussed the making of The Graduate at length. Based on the novel by Charles Webb, Buck Henry along with Calder Willingham the story for the screen. Buck also has a small part as a hotel clerk in the film. According to Mankiewicz, Webb's book only sold a couple thousand copies. Buck had read it previously but it took producer Lawrence Truman to get the concept to director Nichols in order for the project to move forward. Buck joked that he was one of the "brave two thousand" to read the novel.

Director Mike Nichols had his eye on Robert Redford for the lead role. Looking back now it seems impossible that anyone other than Dustin Hoffman as Ben Braddock. According to Mankiewicz, Redford's persona was closer to the depiction in the book than what was presented on screen. When asked whether Redford would have been wrong for the film role, Buck Henry replied "according to Redford, yes." Nichols desperately tried to woo Redford. They had discussed the part and Redford told Nichols that he just couldn't understand the role. Nichols offered to fix anything Redford didn't like. Nichols said "Bob you must have made dates with girls in your long career as an eligible male and had them stand you up?". Redford replied, "what does that mean?" And that was the end of that.

Dustin Hoffman was under contract to be in stage production of The Producers and was let go to make The Graduate. Mankiewicz joked that Mel Brooks being married to the film's lead actress Anne Bancroft probably helped a little. Hoffman was considered by many to be an odd choice for the lead role. Buck Henry once said about Hoffman, "the reaction in Hollywood was that his nose was too big, he was funny looking, his voice was too strangled, he walks funny and he has odd cadence."

Gene Hackman was originally supposed to be in the film but he was fired three weeks into filming. Buck thought Nichols was "slightly insane" for letting him go. Mankiewicz pointed out that because Hackman was not in The Graduate he was able to make Bonnie and Clyde.  As they say, when one door closes another one opens!

Dustin Hoffman in The Graduate (1967) - Photo credit: Rialto Pictures

Did you know that the iconic shot of Anne Bancroft's leg framing Dustin Hoffman was storyboard artist Harold Michelson's idea? After you watch The Graduate for the 50th anniversary make sure you watch Daniel Raim's documentary Harold and Lillian to learn about Harold Michelson and his wife film researcher Lillian Michelson (who happens to be one of my personal heroes). Harold and Lillian opens theatrically later this month in NY and Los Angeles and will be playing in more cities soon.

Rialto's 4k restoration of The Graduate is part of Fathom Events and TCM's Big Screen Classics series. It will be screened across the US in theaters on April 23rd and 26th.

TCM Classic Film Festival 2017 Red Carpet

Conducting red carpet interviews has always been a dream of mine and I can't believe I've been able to do it. Twice! I had the privilege of being on the red carpet again for this year's TCM Classic Film Festival. The opening night premiere was for the 50th anniversary of In the Heat of the Night (1967). 

I was at the end of the line and not in the best spot for capturing quality audio, I did manage to get five quality interviews and lots of photos. Unfortunately Sidney Poitier didn't walk the red carpet so I didn't get to see him. However I saw plenty of other stars and special guests and I snapped a lot of photos.

Interviews with:

Film Critic Leonard Maltin

Actor Stathis Giallelis, America America (1963)

Author Beverly Gray

Director Producer Todd Fisher

Talk Show Host Dick Cavett

And here are some photos of who I saw on the red carpet.

TCM's Sean Cameron and TCMFF red carpet spectators

Wyatt McCrea

Angela Allen

Stathis Giallelis

Producer Walter Mirisch

Keir Dullea

Beau Bridges

Lee Grant

John Landis

Dick Cavett

Todd Fisher

Fred Willard

I had a great moment with Fred Willard. As I saw him walking down the red carpet I yelled out "Hey handsome!" He stopped to pose for me and I got a couple quick shots. I said "looking good" and thanked him.

Bob Balaban

Ruta Lee

Then came the beautiful Ruta Lee who looked absolutely stunning. I called out to her and told her she was beautiful and she quickly posed so I could get a shot. Doesn't she look fantastic?

Special shout out to Danny Reid who helped me with equipment, photography and live tweeted my red carpet interviews and to Marya Gates of TCM who helped guide Dick Cavett down the line to my spot. And thank you to my friends in the bleachers especially Kate Gabrielle, Millie and Casey who cheered for me from the stands and to Nikki and Brian who took photos of me. I appreciate your support!

America America (1963) with Stathis Giallelis #TCMFF

Alicia Malone and Stathis Gialellis at the TCM Classic Film Festival

"I am a Greek by blood, a Turk by birth, and an American because my uncle made a journey." 

Elia Kazan

What's a more American story than one of immigration? America America (1963), Elia Kazan's three hour epic was the most personal of all of his films. Inspired by his family's emigration from Turkey to America, Kazan adapted his autobiographical novel to screen. America America tells the story of Stavros, a young Greek man living in Turkey when Greeks and Armenians were suffering under Turkish oppression. He sets out for America with the intention of bringing his family there one by one. But his journey is filled with many obstacles that test his will and determination. Shot on location in Istanbul, Turkey and parts of Greece, it stars a young unknown Greek actor Stathis Giallelis in a part of a lifetime.

When the opportunity arose to watch America America at the 2017 TCM Classic Film Festival I could not turn it down. Given our current political climate this film is now more relevant than ever. The UCLA TV & Film Archive provided a beautiful print and Filmstruck host Alicia Malone was on hand to interview the movie's star Stathis Giallelis before the screening.

Malone started the conversation by noting that America America is about an epic journey and that Giallelis had his own epic journey to get the title role of Stavros.  The main character is in every scene in the film and carries the movie on his shoulders. It was no small feat and Giallelis needed to convince Kazan he was right for the part.

Elia Kazan and Stathis Giallelis on the set of America America (1963)

Giallelis remembered the audition process as being "a long journey." He auditioned for Kazan who responded with a letter telling him that he had to learn English. Giallelis met with producer Charles H. McGuire and while things seemed to be moving forward Kazan wasn't ready to commit. Determined to impress him, Giallelis enlisted his friend Vassillis Vassilikos, author of the novel Z, to write letters in English to Kazan on his behalf. They sent letters back and forth and Kazan finally replied saying that there was a visa waiting for him at the American Embassy. An invitation? Not quite. Giallelis remembers, "but he didn't send me any money and I had no money so I borrowed some money from my uncle, from some friends and I got the cheapest ticket to come to America. And I didn't tell him I was coming to America."

When Giallelis arrived he surprised Kazan in New York City. Kazan gave him fifty dollars to find a room in the city to stay in. Still not fluent in English, Giallelis told the audience that he tried gesturing to a taxi driver what he wanted and tried to pay him with the fifty dollars but had no luck. Finally Giallelis got settled. He was assigned an English tutor and Kazan and Giallelis meet with each other every day. Just when things were starting to progress Kazan introduces Giallelis to a French actor who was also a candidate for the part of Stavros. This didn't stop Giallelis who kept trying for the role. He remembers, "[Kazan] was very elusive about who was going to get the part. He gave me a red book and it was the script. He says to me read this... One day he came up to me and said the French actor went back to France."

Over the years Kazan changed his story of how he cast Giallelis, who joked that the older Kazan got the more the story changed.

Alicia Malone in conversation with Stathis Giallelis

Malone went on to say, "you must have had incredible determination to get that role and that of course mirrors your character. Such grit and hope and optimism. How would you say this film sums up the immigrant spirit?"

Giallelis replied, "you have to give up everything. Mine looked like an easy journey. All of us are from somewhere. Our grandfathers, our fathers they came here."

For Kazan, this message was everything and it's so beautifully and harrowingly expressed in his film. Malone asked Giallelis if he got a sense of how special the film was to Kazan while they were on set. Giallelis replied, "yes many times. Sometimes after a scene he'd be hiding on the set. Sometimes you would see him crying. It was very emotional for him."

Kazan would communicate with his actors what he wanted but wasn't very demonstrative. Giallelis remembered, "he would say "I want you to give me this emotion for the scene" [but] he would never show you how to get it... He always knew about his actors. He knew about our lives and what moves us. And sometimes ... you would let him use his knowledge because it would help you as a performer. That was his secret."

The set of America America was a small one and Giallelis remembers there being a lot of camaraderie and love among the group.  Kazan remained friends with Giallelis up until Kazan died in 2003. Giallelis also became good friends with America America cinematographer Haskell Wexler. On Wexler Giallelis said, "he was my best friend.. Every two years we'd come and stay with him for a while. Haskell was a very special man. Not only a great talent and fantastic cinematographer but he was also a great human being. His political views were very hopeful for everybody. And sometimes people thought he was too far to the left. He was a man who always fought for justice. For justice for the under dog. He was always fighting." Giallelis shared with us a funny story of how Wexler was shooting some test footage to see how Giallelis' face would photograph and asked him to shave his mustache. He directed Giallelis to the wrong bathroom. When he opened the door a gang of Italian women started screaming and chased him out of there.

Stathis Giallelis in America America (1963)

After America America, Stathis Giallelis went on to make a smattering of films. He was in The Eavesdropper (1966) by legendary Argentine director Leopoldo Torre Nilsson and producer Paul Heller. He then made a couple of political films and the war movie Cast a Giant Shadow (1966) with Kirk Douglas, Yul Brynner and John Wayne. He worked with Jules Dassin on The Rehearsal (1974) and remembered it being "another great experience because [Dassin] was very much like Kazan." Giallelis didn't say why he gave up acting but I imagine it was difficult to eclipse the work he did on America America.

Giallelis left us with one last tidbit before the screening began. Malone asked him what the audience should be looking out for when they watch the film. He pointed to his favorite scene when his character Stavros is on a boat on his way to America. He contemplates the tough journey that brought him there and says when he arrives at his destination that he will be washed clean again.

Out of all of the films I saw at the 2017 TCM Classic Film Festival, this was the one I was the most excited about. I wish it had been a packed house but the film was in a tricky time slot and a three hour drama will have steep competition from shorter, lighter fare. However I hope everyone who did attend was as moved by the film as I was. I had seen the film before and reviewed it some years ago but hadn't revisited since then. When I saw it announced on the TCMFF schedule and that Stathis Giallelis would be in attendance I made it a priority to go. The film blew me away for new and different reasons than it had the first time. If you didn't get a chance to attend this screening or if you've never seen the film before, make it a point to watch America America. You won't regret it.

I had the honor of meeting and briefly interviewing Stathis Giallelis. Stay tuned for my TCMFF Red Carpet coverage coming soon.