Production
The film was adapted by Oliver H.P. Garrett, Ben Hecht (uncredited) and David O. Selznick from the novel by Niven Busch. It was directed by King Vidor, Otto Brower (uncredited), William Dieterle (uncredited), Sidney Franklin (uncredited), William Cameron Menzies (uncredited), David O. Selznick (uncredited) and Josef von Sternberg (uncredited).
It was nominated for Academy Awards for Best Actress in a Leading Role (Jennifer Jones) and Best Actress in a Supporting Role (Lillian Gish).
The film received the nickname "Lust in the Dust", which eventually became the name of another movie. A scene in which Pearl does a seductive dance for Lewton was cut from the film before it was released. The film as shot could not make it past the Hays Code censors or religious review boards and so was heavily edited. This reportedly included the changing of rape scenes to love scenes and downplaying the original story's more overt sexuality.
Selznick had high hopes that Duel in the Sun would surpass his success with Gone with the Wind. The film received poor reviews, however, and was highly controversial due to its sexual content and to Selznick's real-life relationship with Jones, which broke up both of their marriages. Despite the bad press, it was a box-office success for Selznick, although not a second Gone with the Wind. It earned $11,300,000 in rentals during its initial release and much more overseas and in the 1954 re-release. Because of the film's huge production costs (rumoured to be over $6,000,000), its $2,000,000 advertising campaign (unheard of at the time) and Selznick's costly distribution tactics, the film apparently only broke even.
Read more about this topic: Duel In The Sun (film)
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“To expect to increase prices and then to maintain them at a higher level by means of a plan which must of necessity increase production while decreasing consumption is to fly in the face of an economic law as well established as any law of nature.”
—Calvin Coolidge (1872–1933)