Take Her, She's Mine

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Take Her, She's Mine
Take Her, She's Mine.jpg
Lobby card
Directed by Henry Koster
Screenplay by Nunnally Johnson
Based onTake Her, She's Mine
1961 play
by Henry Ephron
Phoebe Ephron
Produced byHenry Koster
Starring James Stewart
Sandra Dee
Audrey Meadows
Cinematography Lucien Ballard
Edited by Marjorie Fowler
Music by Jerry Goldsmith
Distributed by 20th Century-Fox
Release date
  • November 13, 1963 (1963-11-13)
Running time
98 minutes
CountryUnited States
LanguageEnglish
Budget$2,435,000 [1]
Box officeest. $3,400,000 (US/ Canada) [2]

Take Her, She's Mine is a 1963 American comedy film starring James Stewart and Sandra Dee and based on a 1961 Broadway comedy written by the husband-and-wife team of Henry and Phoebe Ephron. The film was directed by Henry Koster with a screenplay written by Nunnally Johnson. It features an early film score by prolific composer Jerry Goldsmith. [3] The character of Mollie, played by Elizabeth Ashley on Broadway and in the film by Dee, was based on the Ephrons' 22-year-old daughter Nora Ephron. The supporting cast features Robert Morley, John McGiver and Bob Denver.

Contents

Plot

Los Angeles attorney Frank Michaelson is overprotective concerning his teenage daughter Mollie as she leaves home for college and to study art in Paris. Concerned over the letters that Mollie has written describing her beatnik friends and activist beliefs, Frank travels to Paris to investigate her living situation.

Cast

Original play

The film was based on a popular play starring Art Carney. It was written by Henry and Phoebe Ephron based on Phoebe's correspondence with their daughter Nora, who was away at college. They wrote the script in six weeks and sent it to their agent. Both Josh Logan and Hal Prince wanted to produce the play, but the Ephrons selected Prince, as Logan had wanted big stars. [5]

George Abbott directed the play version. Elizabeth Ashley, who played the daughter, said the play was originally about the parents but was adjusted during rehearsals and previews to focus more on the father-daughter scenes. She wrote Abbott "staged it interestingly like a musical, with a lot of short vignettes that cut in and out very quickly, but it was essentially a string of recognition jokes calculated to get laughs from the theater party ladies who were its natural audience. The big joke was the father's anxiety about his daughter's virginity. It was all cute and innocent, like a situation comedy on television." [6]

Ashley said reviews were mixed but "because of Carney the play sold out". [7]

Production

The film rights were bought by 20th Century-Fox, which hired Nunnally Johnson to write the script. Johnson submitted a draft, but new studio head Darryl F. Zanuck demanded a rewrite with the last act set in Paris to lend the film more international appeal. [8] Johnson later called the ending "a very lousy third act, all taken on the back lot and the French didn't understand that any more than the Americans either, by that time. But he (Zanuck) insisted on it." [9]

The film was released on November 13, 1963, just nine days before the assassination of John F. Kennedy. A radio advertisement for the film aired on KLIF in Dallas, the site of the assassination, just a few minutes after the station's first news bulletin of the shooting. 20th Century-Fox quickly recalled all 350 copies of the film in order to delete a scene in which a character supposedly speaks with Jacqueline Kennedy. [10]

Reception

In a contemporary review for The New York Times , critic Bosley Crowther wrote:

Let's all be thankful that society is generally, if not entirely, free of such farcical types as the doting father played by James Stewart in 'Take Her, She's Mine.' And let's hope the screen will not be burdened for too much longer with such drivel as is in this old-hat Hollywood picture ... For here is a prime example of the magnification of absurdity in a supposedly adult person in order to coax a few low-level laughs. In the stage play, from which the film was fashioned, the father was silly enough in his concern for the way his older daughter was pursuing her college career. But here the old boy is downright dotty, and his daughter, played by Sandra Dee, is such a hideously vulgar young creature that she makes an average sensitive grown-up cringe. ... The only thing funny about this picture is the image it gives of the shape of the characters' heads. [11]

According to Fox records, the film needed to earn at least $6,100,000 in film rentals to turn a profit but returned only $5 million, resulting in a loss. [12]

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References

  1. ↑ Solomon, Aubrey. Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series). Lanham, Maryland: Scarecrow Press, 1989. ISBN   978-0-8108-4244-1. p253
  2. ↑ "Big Rental Pictures of 1964", Variety, 6 January 1965 p 39. Please note this figure is rentals accruing to distributors not total gross.
  3. ↑ Clemmensen, Christian. Jerry Goldsmith (1929-2004) tribute at Filmtracks.com. Retrieved 2011-04-14.
  4. ↑ To Michaelson's annoyance, people repeatedly mistake him for "that, uh, actor" James Stewart. He laments that this has been happening "ever since Mr. Smith Goes to Washington came out."
  5. ↑ Ephron, Henry (1977). We thought we could do anything : the life of screenwriters Phoebe and Henry Ephron . Norton. p.  196-197. ISBN   978-0-393-07510-6.
  6. ↑ Ashley, Elizabeth (1979). Actress : postcards from the road. p. 246.
  7. ↑ Ashley p 252
  8. ↑ Johnson p 367-368
  9. ↑ Johnson p 369
  10. ↑ "Movie Will Lose JFK References". Buffalo Evening News (Buffalo, New York). November 27, 1963. p. 21.
  11. ↑ Crowther, Bosley (1963-11-14). "The Screen: 'Take Her, She's Mine'". The New York Times . p. 41.
  12. ↑ Silverman, Stephen M (1988). The Fox that got away : the last days of the Zanuck dynasty at Twentieth Century-Fox . L. Stuart. p.  323. ISBN   978-0-8184-0485-6.

Bibliography

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