Chapter 17 Chapter Seventeen
The premiere of "The Bachelor and the Chick" was held at Radio City Music Hall, the largest movie theater in the world with 6,000 seats.The film was screened here for seven consecutive weeks and is the highest-grossing box office in the theater's history.In the U.K., it was the second-highest box-office taker.
I'm also delighted by the comments the video has received:
"Please, don't miss The Bachelor and the Posh..."
"The best comedy film in this city in the past year or so..."
"The perfect blend of entertainment, absurd humor and love..."
"Top comedy, hilarious..."
"Sidney Shelton has written the best movies to see..."
The cast is acclaimed, the director is acclaimed.All the reviews are unanimously positive.It won best box office and I was nominated for an Oscar.I know that now there is no longer any obstacle in front of me.In Hollywood, one's career is like an elevator going up and down. The trick is that you don't get out of the elevator when it's going down.
There is no doubt that my elevator has begun to rise.Now I'm on top of the world.
I wrote a new play called "Orchids for Virginia," and it's about an unhappy marriage. One of RKO's directors, Eddie Dmitrik, fell in love with the script. "I'm going to let the company buy this script for me to direct, and let you write the script. I can get you three thousand five hundred dollars." "That's great." I couldn't be happier because I needed the money. A week later, Dor Shari became RKO's executive producing director.He called me into his office, and I figured he was going to congratulate me on Orchids for Virginia, and I was going to ask him when he was going to start writing the script. "Eddie Dmitrik wants to direct your story," Dole said. I smiled slightly, "Yes, that's great news." "I'm not going to let the company buy this script." It took me a while to come back to my senses, "What? Why?" "I wouldn't make a movie about a man cheating on his wife and plotting to kill her." "But Dole..." "That's it. We'll get you the script back." I gave up trying, "Okay then." I must find something else to do. Little did I know at the time that my life would be changed by Dole's rejection.
My agent, Sam Weisborough, called. "I just signed a deal with MGM on your behalf, with a two-week trial period. They want you to write it." I hadn't read this book in years, except that it was Jane Austen's book, an early Victorian classic about five waiting sisters in search of their perfect husband. It's really exciting to be working at MGM.MGM is the Tiffany of Hollywood. They have dozens of classics such as "Fire Tree and Silver Flower", "Philadelphia Story" and "Zig Fei". When I was twenty-nine, I walked into an MGM set for the first time and was in awe.MGM is like a city, with its own water, electricity and food supplies, and any need you can think of can be met on the spot. Like the other Big Six studios, MGM produces an average of one movie a week.MGM has 150 signed screenwriters, many of whom are well-known novelists and playwrights. At noon on the first day there, I went to eat in the company's huge cafeteria.They invited me to take a seat at the writers' bench, where there were already a dozen writers.Everyone was very friendly, and many people gave me advice. "Don't worry if your script doesn't get shot. The rule here is that as long as you get a play every three years, everything will be fine..." "Find a way to work with Arthur Freed, he's the number one producer here..." "When the contract is about to expire, you must ensure that you have work on hand, so that they will renew your contract..." I didn't tell them my contract had a two week trial period. They gave me a small office with a secretary. I said to my secretary, "We're going to write next, can you get me a book? I want to read it again." "of course can." She made an intercom call. "Mr. Shelton wants a copy." Thirty minutes later, the book arrived. This is my first time intervening in the company's system.Every movie company has a library, a research department, a casting department, a set department, a camera department, and a business department.This place is simply the paradise in the Bible. You just need to open your mouth to ask for something, and someone will bring it to you immediately. The next morning, Sam Weisbord came to my office. "How are you doing here?" he asked me. I said, "Just getting started." "Arthur Freed wants to see you." I was curious, "what's the matter?" "Let him tell you himself. He's waiting for you." I have heard many stories about Arthur Freed.He started out as an insurance broker and later became a moderately accomplished songwriter, including "Melody of Broadway," "Good Morning," "Sunday Afternoon," "Singin' in the Rain," and others. He was close to Louis B. Mayer, who helped him become a producer. It was said that Fried had a foresight about everything.A screenwriter told me a story: A friend asked Fried to see the premiere of a play, and he said, "I've seen it." Another time, he was asked if he wanted to see a play. At the premiere of the movie, he said, "I've seen it." That night, another friend asked him if he wanted to go to a baseball game, and he said, "I've already seen it." Sam and I walked down the corridor to the elevator and took the elevator to the third floor, where Arthur Freed's office was.His office is huge.He sat behind a desk, a stocky man in his fifties with thinning gray hair. "Sit down, Sheldon." I sat down as promised. "I've got a problem right now. I have a script and everyone is refusing to shoot it and it looks like it won't be made. It's a musical, it's well written, it's just wrong, it's too heavy, and we need Polish it up a bit. Do you think you can do it?" "Um, I'm adapting, but..." Fried interrupted me: "Don't do that. From now on, this script is your job." "What's the name?" "A Thousand Flowers. Your partner is Irving Berlin." It was such a magical moment.I had only been at MGM for three days before I had the opportunity to work with the legendary Irving Berlin. I quickly said, "I'm more than happy." "Starring Judy Garland and Gene Kelly." I try to look nonchalant about myself, "Oh?" "I hope this film can be released as soon as possible." "Yes, sir." "You read the script first, think about what changes you can make, and come here tomorrow to meet with Owen." I floated out of Fried's office.Weisbo looked at me with a smile on his face. He said: "Seize this opportunity well, you will benefit from it for life." I said confidently, "I know." The elevator was literally going up. The original manuscript for "A Thousand Flowers" was written by the husband-and-wife duo Albert Hackett and Frances Goodrich, both brilliant screenwriters, who would go on to make the Broadway hit The Diary of Anne Frank. "is written by them. However, Fried is right that the script lacks a bit of humor and lightness right now.The Hacketts did write a story that was a little too heavy for a musical.I sat down and started thinking about a new storyline. The next morning, I was called to Arthur Freed's office.Beside him was a short man with an angelic face and bright, curious eyes. "This is Irving Berlin." Finally saw a real person, this is the genius who wrote "Alexander's Jazz Band", "God Bless America", "Entertainment First", "Dressing Elegantly", "Top Hat".Jerome Cohn was once asked what he thought of Irving Berlin's place in the American music scene. Cohn's answer was succinct: "Irving Berlin was American music." "I'm Sidney Sheldon." I tried to hide my awe. Mr. Berlin held out his hand, "Nice to meet you. I heard that we will work together in the future." He spoke in a high-pitched voice. "Yes, sir." I made no mention of my experience in New York, of my near supplanting him as America's number one songwriter.Now that we're about to work together, I don't want to make him nervous. When we worked together on "A Thousand Flowers", Irving Berlin was already sixty years old, but he still retained the enthusiasm of a young man.Born in Russia, originally named Israel Balin, he immigrated to the United States at the age of five.He started out as a singing waiter in a cafe in New York's Chinatown.He can't play an ordinary piano because he only uses the black keys on it.He has a musical instrument that can be tuned with a joystick. I talked about my ideas for the script adaptation, and Irving Berlin would ask questions and make comments here and there.Oddly, however, Arthur Freed remained silent and seemed to take little interest in our conversation.Only later did I understand why. I said: "Mr. Berlin, I want to tell you..." He interrupted me, "Call me Owen." "Thank you. I want to tell you how excited I am to be working with you." He smiled. "We'll have a good time working together."
The adaptation went well.I am reminded of the words of Sam Weisbord: Take this opportunity well, it will last you a lifetime. A few times a week, while I was writing a script, Irving Berlin would come rushing into my office. "Tell me your opinion," he'd say passionately, and then he'd sing in his high-pitched voice a song he'd just written, and the problem was he couldn't get the tune out, so the song would end up being I can't hear any effect.He can't play the piano, he can't sing, he has talent. I have lunch every day in the screenwriter's booth in the cafeteria, and a screenwriter often invites me to visit his studio after dinner.Filming began at the time, with Mona Roy and Frederick March, Gary Cooper and Ingrid Bergman in The House of Man, Danny Kay and Virginia Mayo The Secret Life of Walter Mitty. I went to the studio and watched the stars rehearse just a few feet away.These were the stars I saw in the back aisle when I was an usher at the RKO Jefferson Cinema.Now, every week I get to be there and see some of the biggest names in Hollywood in action, and it's just amazing.
When the script for "A Thousand Flowers" was nearly finished, Sam Weisbord came into my office. "I have good news for you, Sidney. I got a call from MGM. They intend to sign you with a very good deal." I said out loud, "That would be great." It's every Hollywood screenwriter's dream. "We haven't negotiated all the details yet, there are still many things to discuss," he said with a smile, "but don't worry, it will definitely be negotiated." I am overjoyed.I took the script to Arthur Freed and waited to hear from him.No reply.I guess he must not like the script. Another day passed.I re-read the script.The critic in New York was right that I lacked talent, and my lines were hard enough to stab someone. No wonder Arthur Freed didn't want to see me. A week later, his secretary finally called. "Mr. Freed wants you to meet Judy Garland and Gene Kelly in his office at ten o'clock tomorrow morning." I suddenly panicked.I can't go see them.They'll find me a liar and hate my script just as Arthur Freed did.I know I can't see them.A feeling of deja vu came to my heart.Max Ritchie said: Come meet me in my office at ten o'clock tomorrow morning so we can start working together.Owen Rhys said, "Cameras are in place...the filming is on." I ran away from Cary Grant's audition once, and I had to do it again. I barely slept that night.In the dream, Arthur Freed yelled at me, scolded me for writing such a bad script, the dream was very clear. In the morning, I made a decision.I'd go to them, but I wouldn't say a word, just listen to their accusations, and run away as soon as they're done.In the hour leading up to the meeting, I was in the office packing up and getting ready to leave the company. At ten o'clock sharp I entered Arthur Freed's office.Fried was sitting comfortably behind his desk. He nodded at me, "The script is interesting." What did he mean by that?Is it a euphemism for "you're fired"?Why doesn't he just say what he really thinks? Just then, Judy Garland walked in, and my spirits lifted.She is Becky Booth, the girlfriend of Mickey Rooney's character in the "Andy Hardy" series, Dorothy in "Andy Hardy", and Esther Smith in "Fire and Flowers", and she looks like an old friend.When I was an usher, I watched a lot of her videos, over and over again. Judy Garland, formerly known as Frances Garm, signed with MGM when she was a teenager, and became famous at the age of fifteen.She was so popular that the company asked her to make films one after another without any rest time.She made nineteen films in nine years. To keep her energy up, she started taking barbiturates and became addicted, taking stimulants during the day and sleeping pills at night.I found out later that she had tried to kill herself.She had just returned from the Meininger Clinic when I met her. The first thing she said when she saw me was, "Hello, Sidney. I really like your script." I stayed for a moment, then grinned like a fool, "Thank you." Arthur Freed said, "That's nice, isn't it?" That was the first comment I heard him say about my script. The door opened and Gene Kelly walked in.By now I am finally relaxed.Gene Kelly is another familiar face.I have seen his "Thousands of Applause", "Cover Girl" and "Cuifengyanqu".To me, he's like an old friend. He greeted Judy and Arthur, then turned to face me. "Great writer," he said, "you write really well." "Of course it is," said Arthur Freed. My heart was suddenly filled with ecstasy, the original worries were really superfluous. I said, "What do you suggest..." "I don't think there's a problem anymore," Judy said. Gene Kelly also said: "Me too, it's already perfect." Arthur Freed said with a smile: "It seems that this meeting will not last long. Now that we are all ready, we will start shooting on Monday." After the meeting, I went back to the office and took out the packed things again. The secretary watched in confusion, "May I ask what happened?" "I've changed my mind."
On Friday, Arthur Freed called me into his office. "We have a problem," he said. I held my breath, "Is there a problem with the script?" "No, it's Gene Kelly, he broke his ankle playing volleyball over the weekend." I swallowed, "So, our filming plan will be postponed?" "I sent your script to Fred Astaire. He retired last year, but if he likes your script, he will come out again." I shook my head. "Fred is forty-eight and Judy is only twenty-five. The audience won't approve of them pairing up. It won't work." He said indulgently, "Let's hear what Fred has to say." Fred Astaire replied in the affirmative, and I met Arthur Freed in his office the next day.He said: "Thank you for writing such a wonderful script. It is really exciting to be able to make such a film." After seeing him in person, my worries were all gone.He looks young, quick and full of life.He is known for his pursuit of perfection.When working with Ginger Rogers once, he kept rehearsing a new dance step with her, and it is said that Ginger's feet were bleeding from the practice. On Monday, the filming of "Splendid Flowers" officially started, and I came to the studio.When we were getting ready to shoot the first scene, Fred Astaire stood at one end of the stage and I at the other end, telling Judy a story.The assistant director in the middle of the stage hurried over, "It's your turn, Miss Garland." I'm going to get up. But Judy said, "No, let's finish the story first." "Okay." I began to speak faster, because I knew how expensive it would be to keep the entire film crew waiting.I looked across the stage and they were all set.I said, "Judy, I'll tell you later. It's really not that important..." "No," she insisted, "let's finish now." She looked worried. "Judy, don't you want to do this scene?" She shook her head, "I don't want to." "Then why?" She hesitated for a moment, then blurted out: "I have to kiss Mr. Astaire this time, but I've never seen him before." Everyone assumed that the two superstars knew each other.I had a deep understanding at that time, how fragile Judy Garland is. I said, "Come on." I took her by the hand and led her to the other side of the stage, where everyone was getting impatient. "Fred," I said, "this is Judy Garland." He smiled back, "Of course, I'm your loyal fan." "I'm also your fan." Judy also smiled. Director Chuck Walters said: "Everyone on your marks." The filming of "Splendid Flowers" has started.
One day, I passed the rehearsal hall, and Fred was practicing a new dance piece by himself.He was doing tap dancing around the stage so he didn't see me.I sneaked up to him, and when he stopped, I patted his shoulder.He turned around. "It's not like that, Fred, it's got to be," I said patiently, and then I went a little way in my moccasins. He laughed. "That's great. That's how I used to dance." No way.
Shortly before filming began, Arthur Freed hired New York actor Jules Mensing for a gag role.I gave him the small role of butler in the script.The day before Meng Xin's scene started filming, my disc herniated again.I was lying on my bed at home in pain. The phone rang and it was Jules Mensing. "Sidney, I need to see you." "Not now. I won't get out of bed for three days..." "No, I have to see you today, right now." I was in so much pain that I couldn't speak, "Jules, I can't do it now, I'm really sick, I..." "The secretary gave me your address. I'll be there in fifteen minutes." I took another painkiller, gritted my teeth and persisted. Fifteen minutes later, Jules Mensing was standing by my bed."You look very well," he said cheerfully. I glared at him. "The company brought me over from New York, but there was only one small scene for me to do. I want you to change that one." One small problem: I'm in so much pain that all I can remember now is his name. He reminded: "I will film that scene tomorrow." I closed my eyes and thought about this scene about him.He was going to play a haughty butler who smugly showed off his salad-mixing skills with exaggerated gestures, a food-loving snobby. Meng Xin said: "This scene has no weight." I had an epiphany, thinking of a way to make this scene feel weighty, "Jules, it's very simple." "what way?" "Don't really have a salad on stage, you're just gesturing with your bare hands." In the end, this scene is one of the funniest and most entertaining in the whole movie. A Thousand Flowers won the Best Box Office Award and the 1948 Writers Guild of America Award for Best American Musical Screenplay, which I shared with Frances Goodrich and Albert Hackett. "A Thousand Flowers Splendid" has also become MGM's most successful musical.For the past thirty-five years, Easter TV has rebroadcasted the film every year.
I wrote a new play called "Orchids for Virginia," and it's about an unhappy marriage. One of RKO's directors, Eddie Dmitrik, fell in love with the script. "I'm going to let the company buy this script for me to direct, and let you write the script. I can get you three thousand five hundred dollars." "That's great." I couldn't be happier because I needed the money. A week later, Dor Shari became RKO's executive producing director.He called me into his office, and I figured he was going to congratulate me on Orchids for Virginia, and I was going to ask him when he was going to start writing the script. "Eddie Dmitrik wants to direct your story," Dole said. I smiled slightly, "Yes, that's great news." "I'm not going to let the company buy this script." It took me a while to come back to my senses, "What? Why?" "I wouldn't make a movie about a man cheating on his wife and plotting to kill her." "But Dole..." "That's it. We'll get you the script back." I gave up trying, "Okay then." I must find something else to do. Little did I know at the time that my life would be changed by Dole's rejection.
My agent, Sam Weisborough, called. "I just signed a deal with MGM on your behalf, with a two-week trial period. They want you to write it." I hadn't read this book in years, except that it was Jane Austen's book, an early Victorian classic about five waiting sisters in search of their perfect husband. It's really exciting to be working at MGM.MGM is the Tiffany of Hollywood. They have dozens of classics such as "Fire Tree and Silver Flower", "Philadelphia Story" and "Zig Fei". When I was twenty-nine, I walked into an MGM set for the first time and was in awe.MGM is like a city, with its own water, electricity and food supplies, and any need you can think of can be met on the spot. Like the other Big Six studios, MGM produces an average of one movie a week.MGM has 150 signed screenwriters, many of whom are well-known novelists and playwrights. At noon on the first day there, I went to eat in the company's huge cafeteria.They invited me to take a seat at the writers' bench, where there were already a dozen writers.Everyone was very friendly, and many people gave me advice. "Don't worry if your script doesn't get shot. The rule here is that as long as you get a play every three years, everything will be fine..." "Find a way to work with Arthur Freed, he's the number one producer here..." "When the contract is about to expire, you must ensure that you have work on hand, so that they will renew your contract..." I didn't tell them my contract had a two week trial period. They gave me a small office with a secretary. I said to my secretary, "We're going to write next, can you get me a book? I want to read it again." "of course can." She made an intercom call. "Mr. Shelton wants a copy." Thirty minutes later, the book arrived. This is my first time intervening in the company's system.Every movie company has a library, a research department, a casting department, a set department, a camera department, and a business department.This place is simply the paradise in the Bible. You just need to open your mouth to ask for something, and someone will bring it to you immediately. The next morning, Sam Weisbord came to my office. "How are you doing here?" he asked me. I said, "Just getting started." "Arthur Freed wants to see you." I was curious, "what's the matter?" "Let him tell you himself. He's waiting for you." I have heard many stories about Arthur Freed.He started out as an insurance broker and later became a moderately accomplished songwriter, including "Melody of Broadway," "Good Morning," "Sunday Afternoon," "Singin' in the Rain," and others. He was close to Louis B. Mayer, who helped him become a producer. It was said that Fried had a foresight about everything.A screenwriter told me a story: A friend asked Fried to see the premiere of a play, and he said, "I've seen it." Another time, he was asked if he wanted to see a play. At the premiere of the movie, he said, "I've seen it." That night, another friend asked him if he wanted to go to a baseball game, and he said, "I've already seen it." Sam and I walked down the corridor to the elevator and took the elevator to the third floor, where Arthur Freed's office was.His office is huge.He sat behind a desk, a stocky man in his fifties with thinning gray hair. "Sit down, Sheldon." I sat down as promised. "I've got a problem right now. I have a script and everyone is refusing to shoot it and it looks like it won't be made. It's a musical, it's well written, it's just wrong, it's too heavy, and we need Polish it up a bit. Do you think you can do it?" "Um, I'm adapting, but..." Fried interrupted me: "Don't do that. From now on, this script is your job." "What's the name?" "A Thousand Flowers. Your partner is Irving Berlin." It was such a magical moment.I had only been at MGM for three days before I had the opportunity to work with the legendary Irving Berlin. I quickly said, "I'm more than happy." "Starring Judy Garland and Gene Kelly." I try to look nonchalant about myself, "Oh?" "I hope this film can be released as soon as possible." "Yes, sir." "You read the script first, think about what changes you can make, and come here tomorrow to meet with Owen." I floated out of Fried's office.Weisbo looked at me with a smile on his face. He said: "Seize this opportunity well, you will benefit from it for life." I said confidently, "I know." The elevator was literally going up. The original manuscript for "A Thousand Flowers" was written by the husband-and-wife duo Albert Hackett and Frances Goodrich, both brilliant screenwriters, who would go on to make the Broadway hit The Diary of Anne Frank. "is written by them. However, Fried is right that the script lacks a bit of humor and lightness right now.The Hacketts did write a story that was a little too heavy for a musical.I sat down and started thinking about a new storyline. The next morning, I was called to Arthur Freed's office.Beside him was a short man with an angelic face and bright, curious eyes. "This is Irving Berlin." Finally saw a real person, this is the genius who wrote "Alexander's Jazz Band", "God Bless America", "Entertainment First", "Dressing Elegantly", "Top Hat".Jerome Cohn was once asked what he thought of Irving Berlin's place in the American music scene. Cohn's answer was succinct: "Irving Berlin was American music." "I'm Sidney Sheldon." I tried to hide my awe. Mr. Berlin held out his hand, "Nice to meet you. I heard that we will work together in the future." He spoke in a high-pitched voice. "Yes, sir." I made no mention of my experience in New York, of my near supplanting him as America's number one songwriter.Now that we're about to work together, I don't want to make him nervous. When we worked together on "A Thousand Flowers", Irving Berlin was already sixty years old, but he still retained the enthusiasm of a young man.Born in Russia, originally named Israel Balin, he immigrated to the United States at the age of five.He started out as a singing waiter in a cafe in New York's Chinatown.He can't play an ordinary piano because he only uses the black keys on it.He has a musical instrument that can be tuned with a joystick. I talked about my ideas for the script adaptation, and Irving Berlin would ask questions and make comments here and there.Oddly, however, Arthur Freed remained silent and seemed to take little interest in our conversation.Only later did I understand why. I said: "Mr. Berlin, I want to tell you..." He interrupted me, "Call me Owen." "Thank you. I want to tell you how excited I am to be working with you." He smiled. "We'll have a good time working together."
The adaptation went well.I am reminded of the words of Sam Weisbord: Take this opportunity well, it will last you a lifetime. A few times a week, while I was writing a script, Irving Berlin would come rushing into my office. "Tell me your opinion," he'd say passionately, and then he'd sing in his high-pitched voice a song he'd just written, and the problem was he couldn't get the tune out, so the song would end up being I can't hear any effect.He can't play the piano, he can't sing, he has talent. I have lunch every day in the screenwriter's booth in the cafeteria, and a screenwriter often invites me to visit his studio after dinner.Filming began at the time, with Mona Roy and Frederick March, Gary Cooper and Ingrid Bergman in The House of Man, Danny Kay and Virginia Mayo The Secret Life of Walter Mitty. I went to the studio and watched the stars rehearse just a few feet away.These were the stars I saw in the back aisle when I was an usher at the RKO Jefferson Cinema.Now, every week I get to be there and see some of the biggest names in Hollywood in action, and it's just amazing.
When the script for "A Thousand Flowers" was nearly finished, Sam Weisbord came into my office. "I have good news for you, Sidney. I got a call from MGM. They intend to sign you with a very good deal." I said out loud, "That would be great." It's every Hollywood screenwriter's dream. "We haven't negotiated all the details yet, there are still many things to discuss," he said with a smile, "but don't worry, it will definitely be negotiated." I am overjoyed.I took the script to Arthur Freed and waited to hear from him.No reply.I guess he must not like the script. Another day passed.I re-read the script.The critic in New York was right that I lacked talent, and my lines were hard enough to stab someone. No wonder Arthur Freed didn't want to see me. A week later, his secretary finally called. "Mr. Freed wants you to meet Judy Garland and Gene Kelly in his office at ten o'clock tomorrow morning." I suddenly panicked.I can't go see them.They'll find me a liar and hate my script just as Arthur Freed did.I know I can't see them.A feeling of deja vu came to my heart.Max Ritchie said: Come meet me in my office at ten o'clock tomorrow morning so we can start working together.Owen Rhys said, "Cameras are in place...the filming is on." I ran away from Cary Grant's audition once, and I had to do it again. I barely slept that night.In the dream, Arthur Freed yelled at me, scolded me for writing such a bad script, the dream was very clear. In the morning, I made a decision.I'd go to them, but I wouldn't say a word, just listen to their accusations, and run away as soon as they're done.In the hour leading up to the meeting, I was in the office packing up and getting ready to leave the company. At ten o'clock sharp I entered Arthur Freed's office.Fried was sitting comfortably behind his desk. He nodded at me, "The script is interesting." What did he mean by that?Is it a euphemism for "you're fired"?Why doesn't he just say what he really thinks? Just then, Judy Garland walked in, and my spirits lifted.She is Becky Booth, the girlfriend of Mickey Rooney's character in the "Andy Hardy" series, Dorothy in "Andy Hardy", and Esther Smith in "Fire and Flowers", and she looks like an old friend.When I was an usher, I watched a lot of her videos, over and over again. Judy Garland, formerly known as Frances Garm, signed with MGM when she was a teenager, and became famous at the age of fifteen.She was so popular that the company asked her to make films one after another without any rest time.She made nineteen films in nine years. To keep her energy up, she started taking barbiturates and became addicted, taking stimulants during the day and sleeping pills at night.I found out later that she had tried to kill herself.She had just returned from the Meininger Clinic when I met her. The first thing she said when she saw me was, "Hello, Sidney. I really like your script." I stayed for a moment, then grinned like a fool, "Thank you." Arthur Freed said, "That's nice, isn't it?" That was the first comment I heard him say about my script. The door opened and Gene Kelly walked in.By now I am finally relaxed.Gene Kelly is another familiar face.I have seen his "Thousands of Applause", "Cover Girl" and "Cuifengyanqu".To me, he's like an old friend. He greeted Judy and Arthur, then turned to face me. "Great writer," he said, "you write really well." "Of course it is," said Arthur Freed. My heart was suddenly filled with ecstasy, the original worries were really superfluous. I said, "What do you suggest..." "I don't think there's a problem anymore," Judy said. Gene Kelly also said: "Me too, it's already perfect." Arthur Freed said with a smile: "It seems that this meeting will not last long. Now that we are all ready, we will start shooting on Monday." After the meeting, I went back to the office and took out the packed things again. The secretary watched in confusion, "May I ask what happened?" "I've changed my mind."
On Friday, Arthur Freed called me into his office. "We have a problem," he said. I held my breath, "Is there a problem with the script?" "No, it's Gene Kelly, he broke his ankle playing volleyball over the weekend." I swallowed, "So, our filming plan will be postponed?" "I sent your script to Fred Astaire. He retired last year, but if he likes your script, he will come out again." I shook my head. "Fred is forty-eight and Judy is only twenty-five. The audience won't approve of them pairing up. It won't work." He said indulgently, "Let's hear what Fred has to say." Fred Astaire replied in the affirmative, and I met Arthur Freed in his office the next day.He said: "Thank you for writing such a wonderful script. It is really exciting to be able to make such a film." After seeing him in person, my worries were all gone.He looks young, quick and full of life.He is known for his pursuit of perfection.When working with Ginger Rogers once, he kept rehearsing a new dance step with her, and it is said that Ginger's feet were bleeding from the practice. On Monday, the filming of "Splendid Flowers" officially started, and I came to the studio.When we were getting ready to shoot the first scene, Fred Astaire stood at one end of the stage and I at the other end, telling Judy a story.The assistant director in the middle of the stage hurried over, "It's your turn, Miss Garland." I'm going to get up. But Judy said, "No, let's finish the story first." "Okay." I began to speak faster, because I knew how expensive it would be to keep the entire film crew waiting.I looked across the stage and they were all set.I said, "Judy, I'll tell you later. It's really not that important..." "No," she insisted, "let's finish now." She looked worried. "Judy, don't you want to do this scene?" She shook her head, "I don't want to." "Then why?" She hesitated for a moment, then blurted out: "I have to kiss Mr. Astaire this time, but I've never seen him before." Everyone assumed that the two superstars knew each other.I had a deep understanding at that time, how fragile Judy Garland is. I said, "Come on." I took her by the hand and led her to the other side of the stage, where everyone was getting impatient. "Fred," I said, "this is Judy Garland." He smiled back, "Of course, I'm your loyal fan." "I'm also your fan." Judy also smiled. Director Chuck Walters said: "Everyone on your marks." The filming of "Splendid Flowers" has started.
One day, I passed the rehearsal hall, and Fred was practicing a new dance piece by himself.He was doing tap dancing around the stage so he didn't see me.I sneaked up to him, and when he stopped, I patted his shoulder.He turned around. "It's not like that, Fred, it's got to be," I said patiently, and then I went a little way in my moccasins. He laughed. "That's great. That's how I used to dance." No way.
Shortly before filming began, Arthur Freed hired New York actor Jules Mensing for a gag role.I gave him the small role of butler in the script.The day before Meng Xin's scene started filming, my disc herniated again.I was lying on my bed at home in pain. The phone rang and it was Jules Mensing. "Sidney, I need to see you." "Not now. I won't get out of bed for three days..." "No, I have to see you today, right now." I was in so much pain that I couldn't speak, "Jules, I can't do it now, I'm really sick, I..." "The secretary gave me your address. I'll be there in fifteen minutes." I took another painkiller, gritted my teeth and persisted. Fifteen minutes later, Jules Mensing was standing by my bed."You look very well," he said cheerfully. I glared at him. "The company brought me over from New York, but there was only one small scene for me to do. I want you to change that one." One small problem: I'm in so much pain that all I can remember now is his name. He reminded: "I will film that scene tomorrow." I closed my eyes and thought about this scene about him.He was going to play a haughty butler who smugly showed off his salad-mixing skills with exaggerated gestures, a food-loving snobby. Meng Xin said: "This scene has no weight." I had an epiphany, thinking of a way to make this scene feel weighty, "Jules, it's very simple." "what way?" "Don't really have a salad on stage, you're just gesturing with your bare hands." In the end, this scene is one of the funniest and most entertaining in the whole movie. A Thousand Flowers won the Best Box Office Award and the 1948 Writers Guild of America Award for Best American Musical Screenplay, which I shared with Frances Goodrich and Albert Hackett. "A Thousand Flowers Splendid" has also become MGM's most successful musical.For the past thirty-five years, Easter TV has rebroadcasted the film every year.