Production
Hollywood legend has it that Frank Sinatra got the role in the movie because of his alleged Mafia connections, and that this was the basis for a similar subplot in The Godfather. This has been dismissed on several occasions, however, by the cast and crew of the film. Director Fred Zinneman commented that "...the legend about a horse's head having been cut off is pure invention, a poetic license on the part of Mario Puzo who wrote The Godfather." More plausible is the notion that Sinatra's then-wife Ava Gardner persuaded studio head Harry Cohn's wife to use her influence with him; this version is related by Kitty Kelley in her Sinatra biography. Sinatra himself had been bombarding Cohn with letters and telegrams asking to play the ill-fated Maggio, even signing some of the letters "Maggio". Sinatra benefited when Eli Wallach, who was originally cast as Maggio, dropped out to appear on Broadway instead. Sinatra gained the role, ultimately taking a pay cut in the process (earning $8,000, a huge drop from his $130,000 salary for Anchors Aweigh) to star in the film.
Sinatra's screen-test was used in the final cut of the film; the scene included Sinatra improvising with a handful of olives, pretending they were a pair of dice.
Joan Crawford and Gladys George were offered roles, but George lost her role when the director decided he wanted to cast the female roles against type while Crawford's demands to be filmed by her own cameraman led to the studio taking a chance on Deborah Kerr, also playing against type.
The material of the rather explicit novel had to be considerably toned down to appease the censors of the time. For example, in the famous beach scene, it is less obvious that Kerr's and Lancaster's characters are having sex than it is in the novel and in the later, miniseries based on the book. Also left out of the film are Maggio being a male hustler and the portrait of the gay nightlife in Waikiki.
The on-screen chemistry between Lancaster and Kerr may have spilled off-screen; it was alleged that the stars became romantically involved during filming.
A rumor has been circulating for years that George Reeves, who played Sgt. Maylon Stark, had his role drastically edited after preview audiences recognized him as television's Superman. This is depicted in the film Hollywoodland. However, Zinnemann maintains all his scenes were kept intact from the first draft, nor was there ever a preview screening.
The U.S. Army withheld its cooperation from the production (most of the movie was filmed where it was set, at Schofield Barracks, Hawaii) until the producers agreed to several modifications, most noticeably the fate of Captain Holmes. Numerous barracks locations are still intact and still occupied by active duty troops. In both the movie and the book the bar and restaurant called Choy's, where the fight scene takes place in the movie and where the novel opens is named Kemo'o (pronounced "kay-moe-o" in Hawaiian) Farms Bar and Grill. Choy's was chosen by James Jones in honor of Kemo'o Farms' head chef. Kemo'o Farms Bar and Grill is still in operation and remains deeply associated with the adjacent Schofield Barracks, and the cast and crew, especially Sinatra, are reputed to have patronized the bar to the point of excess.
Two songs are noteworthy: "Re-Enlistment Blues" and "From Here to Eternity", by Robert Wells and Fred Karger.
Read more about this topic: From Here To Eternity
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)
“... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life.”
—Emma Goldman (1869–1940)
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)