SLANDER

US, 1957, 85 minutes, Black and white.
Van Johnson, Ann Blyth, Steve Cochran, Marjorie Rambeau, Harold J. Stone, Lurene Tuttle, Richard Eyer.
Directed by Roy Rowland.

Slander is a small and brief drama from MGM as it moved out of the era of musicals where stars, Van Johnson and Ann Blyth had done so well during the early 1950s.

The film has a strong theme, spending a good deal of the opening highlighting the character of the editor of a scandal magazine, Real Truth, played in a somewhat dogged and unemotional way by Steve Cochran, always appearing respectably in suit and tie. It emerges that he has no scruples. He is concerned about circulation and targets a star of musical theatre in New York to boost his sales.

Van Johnson appears as a puppeteer, skilful with children, auditioning for the makers of the breakfast food and children’s program and succeeding. Ann Blyth is his wife. Harold J. Stone is his agent.

The editor, with his group of hack journalists, uncovers a scandal concerning the puppeteer, the fact that he had spent time in prison for armed robbery and assault. He decides to print the story but will not print it if the puppeteer offers information about the targeted star. This causes a great deal of anguish for husband and wife and, eventually, for their son leading, unexpectedly and very emotionally, to his death.

The film makes a strong statement about the gutter press, about ethics, about the destructive nature of the publication of gossip under the guise of integrity and truth. At the end, Van Johnson goes on a television programme making an impassioned speech about the death of his son and the effect on his family and the boy’s death.

Marjorie Rambeau appears as the editor’s pampered mother who does have a conscience, confronts her son – and, perhaps in too American way, shoots him dead at the end.

Very interesting to compare with 21st century social media and the spread of gossip, slander and calumny.

1. An MGM drama of the late 1950s? Topical? Scandal magazines and their popularity? Readers wanting gossip? Wanting scandalous stories? In comparison with later decades – and social media?

2. Black-and-white photography, MGM style, the cast? Musical score?

3. The title, scandal-mongering? Magazines, readership? Critique of the publishers, with little effect? The continual search for gossip, for uncovering dark pasts?

4. The setting of the theme? Manley, serious, suit and tie, his background, building up the magazine, two years, Walsh and the investment, 500,000 buying
the magazine, signs of diminishing readers? His secretary, the staff, the staff meeting, the background of each of the journalists, their hard times, uncovering scandals, making suggestions? His seizing on the musical theatre star? Walsh and his intrusion? Learning that he owed Walsh $100,000?

5. Manley, his mother, pampered, in bed, not welcome at the restaurant, her plan for the day, the mink stole, the restaurant, tea? At the restaurant, with her assistant, her reaction to her son? Her not agreeing with him? The cancellation of the television appearance and the reasons? Watching the critique on television? Statements about her disapproval of his work life? His retort about her comfort, Park Avenue, drinking?

6. The introduction to Scott, the puppet show, with the executives, Connie and her being anxious? Love for their son? The success of the audition? His performance, the executives happy, the children excited, rushing for autographs? Possibilities for the future, a home in the suburbs?

7. Connie, the phone call, the visit to Manley, and knowing her husband’s background, Manley’s ruthlessness, the excessive emphasis on the truth, the plaque on the wall, that the truth will set people free? His questions about the singer? His background on Scott, Scott and growing up in Brooklyn, the tough neighbourhood, his mother ill, the robbery, the knife, hurting his victim? Four years in jail? Paying his debt to society? His right to a new life?

8. Connie, returning home, showing Scott the paper mock-up? Her tears, worry, thinking about their son? Scott, acknowledging the past, his integrity, the threat to his job, the agent and the support, understanding? The son, returning home, the tension?

9. The discussions, Connie and the boy going to his mother’s? Scott’s visit, talking with his son, explaining the broken window and lying, explaining his past, the support of his son?

10. The visit to the producer, the letters against Scott, the fact that children were to be protected?

11. Scott, the visit to Manley, Manley and his presumption that he had trapped Scott? His associate present? His mistake, Scott refusing to give any
information about the singer?

12. Connie, with Scott’s mother, her fears in anticipation, after the explosion, calm? Supportive of her husband?

13. The phone call from the television producer, Scott not wanting to go, changing his mind? On television, his appeal to people, the death of his son, Manley and his being responsible for the death?

14. The son, school, being taunted, bullying, running across the street, hit by the car, his death?

15. Manley’s mother, watching the television, shamed in her visit to Connie? Her son’s behaviour, capitalising on a scandal, admitting that it seemed hard-hearted, his mother with the gun, shooting him?

16. A melodramatic ending – but the emotional impact on the audience?