Production
"When Columbia pictures bought the screen rights to Fer-de-Lance for $7,500 and secured the option to buy further stories in the series, it was thought the role would go to Walter Connolly. Instead Edward Arnold got it," reported John McAleer in Rex Stout: A Biography (1977). "Columbia's idea was to keep Arnold busy with low-cost Wolfe films between features. Two films presently were made by Columbia, Meet Nero Wolfe (Fer-de-Lance) and The League of Frightened Men. Connolly did portray Wolfe in the latter film, after Arnold decided he did not want to become identified in the public mind with one part. Lionel Stander portrayed Archie Goodwin. Stander was a capable actor but, as Archie, Rex thought he had been miscast."
Meet Nero Wolfe was the second film directed by Herbert Biberman (1900–1971), a director rooted in the theater who became best known as one of the Hollywood Ten.
"Fresh from the theater, Biberman blocked shots instead of composing them," wrote Bernard F. Dick in Radical Innocence: A Critical Study of the Hollywood Ten (1989):
- Biberman opened up the action a bit, but the plot, based on Stout's Fer-de-Lance (1934), defeated him. He simply did not understand the medium; the cast reacts as it would on stage, but in film a stage reaction is overacting. Apart from some filmic touches — swish pans, dissolves, wipes, and an eerie shot of a dead man's hand clutching a newspaper clipping that another hand reaches down to retrieve — Meet Nero Wolfe is like a West End melodrama aimed at the tourist trade — slick, but so ephemeral that two days later the plot has vanished from the memory.
The film's greatest departure from the original story is the creation of Mazie Gray, who can indeed call herself Mrs. Archie Goodwin at the end of Meet Nero Wolfe. The decidedly un-Wolfean character is played by Dennie Moore, memorable for her performance as Olga the gossipy manicurist in the 1939 film, The Women.
Read more about this topic: Meet Nero Wolfe
Famous quotes containing the word production:
“The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—Albert Camus (1913–1960)
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
—Charles Darwin (1809–1882)
“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)