Never one to shy away from the controversial, director Otto Preminger early on bought the rights to Allen Drury's Pulitzer Prize-winning novel 'Advise and Consent' and engaged writer Wendell Mayes and cinematographer Sam Leavitt, both of whom were obvious choices, having collaborated on his masterpiece 'Anatomy of a Murder.' His regular editor Louis Loeffler provides a stately, unhurried pace whilst Jerry Fielding supplies a marvellously jagged debut score. Critic David Thomson has pointed out that the decision to shoot it in black and white Panavision has meant that it is not shown much today but on the positive side the monochrome look has neutralised what could have been 'starry' performances and Preminger has ensured ensemble playing of the highest quality.
True to the Hollywood tradition, none of the original Broadway cast has made it to the screen but we are treated here to actors of substance and quality, the likes of whom we are unlikely ever to see again, notably Henry Fonda, Walter Pidgeon, Franchot Tone, Charles Laughton and a scene stealing cameo from Burgess Meredith which deservedly won him recognition from the National Board of Review. Mr. Laughton's masterly portrayal of a wily Senator was to be his swansong and earned him a BAFTA nomination as Best Foreign(!) Actor. Nice to see the return of the enchanting but troubled Gene Tierney who had previously shone for this director and as a self-effacing, idealistic vice-President Lew Ayres proves perfect casting. Don Murray gives arguably his best performance as a senator whose refusal to compromise has such tragic consequences. Peter Lawford, at the time John F. Kennedy's brother-in-law, is ideally cast as a ladies' man but was apparently treated pretty shoddily by Preminger after his crew was shooed out of the Oval Office by Jackie! Messrs. Fonda, Pidgeon and Tone represent sheer class, suffice to say.
By the time the film was released it had acquired topical relevance due to the Paranoia resulting from the Cuban Missile Crisis whilst already echoing the all too recent HUAC witch hunts which had demonised both communism and homosexuality. Novelist Drury had been a political reporter in Washington for fifteen years and was at great pains to point out that the events and people depicted were merely AKIN to and did not reflect real events and people. There is little doubt however that Robert Leffingwell is inspired by Alger Hiss and a senator's suicide is far from fictional.
Otto Preminger, although not exactly a jackpot of admirable character traits, was an indisputed master of his craft and his sense of the spatial is never more apparent than in the scenes shot in the Upper House.
This film is all about Democracy at work, with its quid pro quo philosophy, constant compromises and backroom bargainings. No system is perfect of course but as we all know, there are far worse alternatives.
True to the Hollywood tradition, none of the original Broadway cast has made it to the screen but we are treated here to actors of substance and quality, the likes of whom we are unlikely ever to see again, notably Henry Fonda, Walter Pidgeon, Franchot Tone, Charles Laughton and a scene stealing cameo from Burgess Meredith which deservedly won him recognition from the National Board of Review. Mr. Laughton's masterly portrayal of a wily Senator was to be his swansong and earned him a BAFTA nomination as Best Foreign(!) Actor. Nice to see the return of the enchanting but troubled Gene Tierney who had previously shone for this director and as a self-effacing, idealistic vice-President Lew Ayres proves perfect casting. Don Murray gives arguably his best performance as a senator whose refusal to compromise has such tragic consequences. Peter Lawford, at the time John F. Kennedy's brother-in-law, is ideally cast as a ladies' man but was apparently treated pretty shoddily by Preminger after his crew was shooed out of the Oval Office by Jackie! Messrs. Fonda, Pidgeon and Tone represent sheer class, suffice to say.
By the time the film was released it had acquired topical relevance due to the Paranoia resulting from the Cuban Missile Crisis whilst already echoing the all too recent HUAC witch hunts which had demonised both communism and homosexuality. Novelist Drury had been a political reporter in Washington for fifteen years and was at great pains to point out that the events and people depicted were merely AKIN to and did not reflect real events and people. There is little doubt however that Robert Leffingwell is inspired by Alger Hiss and a senator's suicide is far from fictional.
Otto Preminger, although not exactly a jackpot of admirable character traits, was an indisputed master of his craft and his sense of the spatial is never more apparent than in the scenes shot in the Upper House.
This film is all about Democracy at work, with its quid pro quo philosophy, constant compromises and backroom bargainings. No system is perfect of course but as we all know, there are far worse alternatives.