THE GAZEBO
US, 1959, 100 minutes, Colour.
Glenn Ford, Debbie Reynolds, John Mc Giver, Doro Merande, Carl Reiner, Martin Landau.
Directed by George Marshall.
The Gazebo is a black comedy, murder story adapted from a play by the popular writer Alec Coppell. Coppell has contributed to quite a number of screenplays also. Glenn Ford teams again with Debbie Reynolds (under George Marshall's direction also in It Started With A Kiss).
This was the period of Glenn Ford's highest popularity. From the mid-fifties to the mid-sixties he made over twenty films. Debbie Reynolds had moved from her young, musical days into her period of good light comedy. They match quite well.
However the humour is very much to the fore in the supporting performances of Doro Merande as the maid and John McGiver? as the architect. There are some ironic twists in the plot and a rather satirical tone taken about murder.
1. The focus of the title, the actual gazebo and its history, its prominence within the film? The humour of the credits and the presence of the pigeon? The irony of the presence of the pigeon throughout the film? A humorous symbol? A focus of themes? The humour of the pronunciation of the name throughout the film, especially by Thorpe?
2. Black and white photography and atmosphere, cinemascope, the quality of the stars?
3. Was it evident that the film was based on a play? How well was the play adapted in terms of structure, situations, confined acting spaces, strength of dialogue, a murder mystery?
4. How realistic was the world in which these characters lived? How much of it was a fantasy world? A fantasy for the audience? The irony of the presentation of the TV world and Nellie's work within it? Emotional response to this fantasy world, judgments about good and evil, crime and honesty?
5. The picture of America, the TV atmosphere of America, wealth and blackmail, success? The humour of the crime and the irony of Elliott's consulting Hitchcock? Indications that the film, its world and its morals should not be taken over seriously?
6. Elliott and the comic portrayal of the American man: Being busy, the nature of his nerviness, the importance of earning more money, saving money, especially on the house? His love for Nellie, his wanting to protect her? The quality of his relationship with Nellie, his dislike of Harlow and Harlow's continued presence at the house? The humour of his spoiling the house in order not to have to sell it? The build-up of the harassment? Was it sufficiently dramatic and credibly comic to prepare for Elliott, actions, even to murder?
7. How was Elliott meant to typify the American male? The contrast with Nellie, Debbie Reynolds' style, her common sense, her skill as a musical comedienne, her devotion as a wife, her work in the house, her shrewd understanding of Elliott and what was going on, the nature of the whole puzzle to her? The irony that she would not have been worried by the photos at all? Misunderstanding with Elliott?
8. The comic portrayal of Harlow, the neighbour, the rival, his atmosphere, audience laughs? Sam Thorpe and his serious approach to building the gazebo, his comments, his doing the work, taking account of the rain, making mistakes about the cement? The humour of the maid and her loud shouting?
9. How humorous and suspenseful was the build-up about the selling, of the house? People coming to inspect? The contrary messages from husband and wife?
10. How serious was the money issue, the nature of the blackmail?
11. The build-up to the killing, Elliott's decisions, morality? The actual killing and its reality? Elliott and the gun, the importance of the long sequences about burying the victim? The black humour about death and burial? The gazebo and the irony of the truth?
12. How satisfied was the audience when the truth was told? Harlow, police interrogation, the important presence of the pigeon for revealing the truth?
13. Audience response to the ambiguity of the fantasy immorality and realism? Can this kind of ambiguity be satisfactorily present in comedies?
