Relentless: Preminger with Jean Sebourg on the set of Joan of Arc in 1957. Photo: Keystone-France
Otto Preminger's greatest films are the pinnacle of a certain kind of intellectually exploratory Hollywood entertainment. This prolific, intimidating, and culturally insatiable producer and director did not achieve authorial status through mastery of suspense, as Hitchcock did—indeed, Preminger's acclaimed film noir Laura (1944) unfolds instead with a dreamlike sense of mystery.
Over time, he carved a niche for dissecting institutions and refusing to shy away from controversial topics. He became famous for putting his characters on trial—literally, in the case of his classic Anatomy of a Murder (1959) and the Senate intrigue Advice and Consent (1962). His impressive study of drug addiction, starring Frank Sinatra, The Man with the Golden Arm (1955), combined distinctive directorial flair with breakthrough content. Indeed, Preminger often spoke out against the forces of censorship in America—on issues such as breaking taboos for his time, such as drug addiction, homosexuality, promiscuity, and rape.
However, he also suffered reputational damage. Born to an Austrian Jewish family in 1905 and living in Hollywood since the 1930s, Preminger could be an intimidating bully, demanding what he wanted on movie sets. His behavior towards the numerous unfortunate actors as well as numerous other employees has undoubtedly exposed the ugly side of his personality.
Very few of Preminger's sets were absolutely harmonious. Unskilled actors could be chewed up in front of their co-stars and left in tears; even veterans had to come up with strategies to defend their position. During the London filming of his macabre kidnapping thriller Bunny Lake Is Missing (1965), he left Carol Lynley «sobbing uncontrollably,» according to a visiting journalist, and sarcastically poked fun at the talents of Keir Dullea, who had just won a Golden Globe. as the most promising new actor of 1963.
Even Laurence Olivier, who played the comparatively minor role of Chief Inspector, felt that the «little man» he played was «mocked» by Preminger, whom he took a deep dislike to, calling him a «heavy man.» armless egoist» in the book «About Acting». However, according to Dullea, Olivier intervened with at least one invaluable response during an altercation involving his stage partners. «Otto, dear boy, I wish you wouldn't yell at the kids.»
Pioneer: with Frank Sinatra on the set of The Man with the Golden Arm, 1955. Photo: United Artists/Kobal/Shutterstock
Preminger was known both for his talent scouts and notorious for his simmering frustrations and the psychological scars that would follow. An example is Jean Seberg, whom he pulled from complete obscurity at age 19 to play Joan of Arc in Saint Joan (1957), choosing her from around 18,000 applicants. Caught in a frenzy of publicity, she would have had a horrific experience from which Preminger did little to protect her.
Seeing him primarily as a «father» and «saviour», Seberg allowed him to put her up at the Dorchester Hotel, where he was also staying, for him to take charge of every element of her preparation. There were rumors of an affair, although biographer Seberg says they always puzzled her.
According to film editor Helga Cranston, who, after Seberg's criticism of her role as Joan, witnessed her second chance the following year in Bonjour Tristess (1958), Preminger had another form of submission in mind. “He really made her unhappy to perform badly. It was so simple and brutal.» Richard Widmark, who played Charles VII, called witnessing her being treated the worst experience of his career. «It was sadism.»
Saint Joan star Jean Seberg also appeared in Otto Preminger's Bonjour Tristesse. Snap/Shutterstock
In the very last week of filming Saint Joan, an exhausted Seberg was engulfed in flames when one of Joan's gas tanks misfired under Joan's fire, scarring her torso indelibly. Although Preminger could not be personally blamed for this terrible disaster, the resumption of hostilities on the French Riviera, in the case of Tristesse, could definitely be blamed.
In the words of Mylène Demongeot, Preminger «was always she's in hell.» David Niven kept his composure, and he and Deborah Kerr tried to support Seeberg as much as they could.
Tom Tryon, the aspiring actor chosen by Preminger to play the aspiring Catholic priest in The Cardinal (1963), had – by most accounts – even harder times than Seeberg. “He was a tyrant who ruled with terror. He tied me in knots,” Tryon would later say, giving up acting entirely to become a successful thriller writer, a career shift that Preminger outrageously gave himself credit for.
Marilyn Monroe and Otto Preminger quarreled during the filming of River of No Return. Photo: 20th Century Fox/Kobal/Shutterstock
However, there were contradictions in Preminger's personality, which are explored in detail in Chris Fujiwara's book The World and Its Double. Fujiwara combines not only the scientific insights into films (and performances) that Preminger's brutal work ethic spawned, but also the redemptive testimonies of many who loved him and his directing style. “He was very powerful and very gentle, no matter what anyone said,” according to Paula Prentiss
(In Harm's Way). Walter Newman, screenwriter of The Man with the Golden Arm, called him «infinitely patient and always polite.»
Demongeot, who was certainly not spared from the director's attacks, really loved him despite everything. «He was a very intelligent man, a charming storyteller with a strong Viennese accent, and even outside of work he could be charming and very funny.»
Robert Mitchum saw both sides on the set of Angel Face (1952). After repeated shots of being forced to punch Jean Simmons until her cheeks turned red, Mitchum snapped and punched Preminger instead, who quickly agreed to type one last take. Mitchum considered Preminger «a very gifted producer with great taste»—indeed, a better producer than he was a director—as well as «one of the funniest people I know». Joan Crawford, who starred in his film Daisy Kenyon (1947), called him «a nice man — a kind of Jewish Nazi, but I love him.»
Dear Man: Joan Crawford (right) with Otto Preminger (left), 1947 Photo: 20th Century. Fox/Cobal/Shutterstock
Dana Andrews, who has worked with him five times and played perhaps his best role in Preminger, admitted that he gave some actors very hard times. «He does not tolerate inefficiency.» With huge male stars — Gary Cooper, Henry Fonda, John Wayne — he also tended to back off. Anyone who stood face to face with him earned his respect, while the slightest hint of weakness or evasiveness would cause him to lash out.
Perhaps Preminger's most plausible criticism comes from Lawrence Luckinbill, who played the role in one of the director's last films, the poorly received comedy-drama Such Good Friends (1971). “I don't think he plays well. He catches himself. Then he is forced to tell everyone what he expects of them, down to the smallest detail.”
Preminger's style of irascible perfectionism is definitely out of the question these days. But his films, as understood in Fujiwara's book, reflected a complex concept, and no one ever doubted that it was clear in his mind. From a certain point of view—and even if he often inexcusably crossed the line from autocrat to tyrant—his intimidation was a tool. Would his masterpieces be as great if he held back?
The World and Its Double: The Life and Work of Otto Preminger (Faber, £20)
is out now by Chris Fujiwara
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