In the mid-50s, Hollywood began to invest more and more in lavish movie spectacles. TV had become an increasingly serious competitor, and in order to attract people back to the cinemas, the studios tried to offer stuff that television couldn't match. So, the executives at United Artist laughed scornfully when Harold Hecht told them about his new idea. The producer wanted to make a film about an overweight, middle-aged man who still lives with his mother. Hecht planned to call the movie "Marty", just like the guy whose life he intended to portray.
Ironically, the play Harold Hecht wanted to film was originally made for TV. And its author, Paddy Chayefsky, had many definite demands before selling the rights to his text. First, he wanted to write the screenplay. Then he wanted to have control over the casting. Last, but not least, Chayefsky wanted Delbert Mann to direct "Marty" (the same guy that had handled the television adaptation). If Hecht had any objections to any of this, he at least didn't mention it.
In September 1954 Delbert Mann began shooting exteriors in the Bronx. After a week of intensive work, the cast and crew then moved on to the soundstages at the Goldwyn Studio in Hollywood. But now it turned out that the film was in an awkward predicament. A bout of financial mismanagement had resulted in an empty production account. It was only after the Bankers Trust of America stepped in and granted a loan that "Marty" could be finished.
Unfortunately, the executives at United Artists decided to release "Marty" as a second feature. The modest black-and-white story with no stars, no action and a lot of dialogue seemed slated for an existence in the shadows. But then everyone (not least Harold Hecht) got a big surprise. The film won the prestigious Palme d'Or at Cannes. And the success continued. At the Academy Awards, "Marty" received four Oscars, including best picture and best director.
Ironically, the play Harold Hecht wanted to film was originally made for TV. And its author, Paddy Chayefsky, had many definite demands before selling the rights to his text. First, he wanted to write the screenplay. Then he wanted to have control over the casting. Last, but not least, Chayefsky wanted Delbert Mann to direct "Marty" (the same guy that had handled the television adaptation). If Hecht had any objections to any of this, he at least didn't mention it.
In September 1954 Delbert Mann began shooting exteriors in the Bronx. After a week of intensive work, the cast and crew then moved on to the soundstages at the Goldwyn Studio in Hollywood. But now it turned out that the film was in an awkward predicament. A bout of financial mismanagement had resulted in an empty production account. It was only after the Bankers Trust of America stepped in and granted a loan that "Marty" could be finished.
Unfortunately, the executives at United Artists decided to release "Marty" as a second feature. The modest black-and-white story with no stars, no action and a lot of dialogue seemed slated for an existence in the shadows. But then everyone (not least Harold Hecht) got a big surprise. The film won the prestigious Palme d'Or at Cannes. And the success continued. At the Academy Awards, "Marty" received four Oscars, including best picture and best director.